Ep. 18 - Who is Gordon Sims?

February 22, 2015

Writer: Tom Chehak
Director: Rod Daniel
Original Air Date: April 2, 1979
***VERY IMPORTANT***

WKRP in Cincinnati may be best remembered for dropping turkeys and mascots fights, but if you were to ask the cast and crew, they will tell you that "Who Is Gordon Sims?" is what they want to be remembered for. This is among a handful of the most important episodes the show ever produced. It might be Tim Reid's finest moment as Venus Fly Trap.

In 1979, America is only four years out of the Vietnam War and its is a topic only being touched by dramatic movies of the week, or cloaked in euphemism, say on "M*A*S*H." The term PTSD is brand new and not widely understood. Desertion from the Army is a topic hidden from the world, as Venus does, and a shameful act. as Carlson reacts to it. For a first year sitcom to tackle it head on was crazy, but courageous. It is another reminder why anyone would bother to read a blog about WKRP.

Just broaching the subject was difficult enough, so it's easy to forgive that Gordon Sims's part of the story is pretty mild in retrospect. The war was over for Sims; he didn't go AWOL until he was back in the US. He didn't leave because he killed anyone but because he saw people dying in terrible ways. Also, because we already know this character, we don't want to see him punished or sent to jail. We have already seen that he is a good man.

It's also why the B and C stories are so over the top. Bailey trying to find everyone's address is a ridiculous task for a college graduate in charge of the station's paperwork. But Mr. Carlson, who turns out to be the moral key to the story, inflating a life raft in his office is nothing but a sight gag. It's a good sight gag but it exists to give the audience the laughs they won't be getting for the next ten minutes.

The story Venus tells about his chopper ride to Saigon lasts exactly three minutes - three uninterrupted minutes of Tim Reid delivering this monologue. That my not sound like much, until you remember the entire episode, including opening and closing credits, lasts just 24 minutes. In those three minutes, no one else speaks. There are no laughs. Just Venus talking, painting the picture in your mind's eye of Weird Larry giggling and dying.

The show is depending on the writing and acting to keep the audience interested without laughs. It works.

The writer for this episode was Tom Chehak, He would go on to write and produce for many shows, such as "Scarecrow and Mrs. King" and "Diagnosis: Murder." (Thanks, IMDB) He is also white, and that's important to note. Several times this episode makes reference to a dirty little secret of the Vietnam war (at least to mainstream white America in the late '70's) - that black soldiers were put in more combat positions, more frequently than their white comrades. It is central to Venus' distrust of the Army. This would have been a huge hurdle in getting this episode to air and Chehak was brave to include, and bring light, to this issue.

The other major player in this story is Mr. Carlson, a wealthy, privileged white man who immediately trusts that the Army (and the law) to act fairly with all people including Venus. Gordon Jump really takes Carlson through a range of emotions in helping the person at the station he has the least in common with. He moves from disgust to anger to confidence and finally compassion. When Venus refers to him as his "father," it's funny but Carlson nods and excepts that moniker with defiant pride, He will stand by Venus, and stand up against the Army, to get justice for a friend. At the start of the episode, they may have been to the two characters with the least in common but by the end, they have become a father and son.

That is a lot to say about one episode of a sit-com set in a rock station in Cincinnati. You may believe I'm over thinking things. I'm certain the creators of this episode consider each of these points and more. This episode is worth it.

Other notes: In Ep. 5 "The Hold-Up", one police officer is Hugh Wilson. I've mention that before. The other was the writer of that and this episode, Tom Chehak. You'll see I am correct about his whiteness.

Roy

Ep. 17 - A Commercial Break

February 18, 2015

Writers: Richard Sanders and Michael Fairman
Director: Rod Daniel
Original Air Date: March 26, 1979
^^^FAMOUSLY FUNNY^^^

Maybe I owe Richard Sanders an apology.

I have ranted on here how I felt he often wrote episodes that featured his character, Les Nesman, in a very Les-centric and actor-ly role. But I was very surprised to see he (and his writing partner) wrote this episode, in which Les barely has a line! This episode seems to exist solely to showcase the singing abilities of Loni Anderson and, most notably, Jan Smithers.

Bailey's acapella rendition of "Amazing Grace" is stunning, both for its simplistic beauty, but as the action of such a shy character. Singing alone in front of your co-workers must be nerve-wracking. I wouldn't do it! Also, Bailey has never seemed like the sort of character who would choose a traditional gospel song to express herself. But Sanders must have known she could do it to write the scene especially for her.

Conversely, Jennifer singing "Happy Birthday" to Herb a la Marilyn breathlessly singing to JFK is exactly what you would expect her to do, but that doesn't make the effect any less funny. Her extreme emphasis on "Herbie" will fuel Herb's erotic dreams for weeks.

The unique plot for these showcases to hang on is one that could only appear on a show based on rock radio: the Ferryman Funeral Homes (please note the play on the name: in Greek mythology, the ferry man transported souls of the deceased to the underworld) want to buy the largest advertising block ever on WKRP and have the station create an upbeat jingle for the spots.

Once again I am struck by seeing how something that was "deeply weird" and in poor taste back in 1979 is hardly a consideration in 2015. Funeral homes are constantly trying to sell pre-planning packages to younger people nowadays. Most use uplifting music (if not a "swingin'" pop tune) to emphasis how natural end of life planning can be. On the weekend I'm writing this blog post, "Fifty Shades of Grey" just opened to a $81 million weekend so it would be difficult to argue now how a funeral home ad could be in poor taste.

I find it more "deeply weird" that we are suppose to believe Venus wrote this song. Venus listens to romantic '70's R&B all night for a living. We are told he came from New Orleans. We have seen him bang gongs, tinkle wind chimes and spin Bob Marley, yet he would choose to write "Hey! You're young and swingin'!" ?!?

The theme is really how far the station is willing to go to make a lot of money. Andy doesn't like the idea of a funeral home account from the very beginning. He is suspicious of it. It's Mr. Carlson who tells Andy "there's nothing wrong with a funeral home account." It's Carlson and his mother who are always concerned with how much money the station is making. Of course, in the end it's Carlson who resigns the account, finding their ads to be "in poor taste."

Maybe it's because I've grown up in a time of "morning zoo" type radio shows, in which the DJs don't take themselves very seriously, but I've often felt if the station had played up some of its "weaknesses" they would have had more success. Wouldn't you listen to a station where the newscaster mispronounces names regularly? Or run catchy, goofy ads for bait worms and funeral homes?

One last thought on money... from the first time the ad runs, everyone on staff wants to know when they are getting their raises. That's not how raises work - one big sales doesn't make everyone rich (except Herb who gets commissions). Or that is how raises work and I've been lied to my entire life by everyone I've ever worked for.

Fred Stuthman as Mr. Ferryman

Other notes: a weird shift in the air date shows this was the first episode in a time slot change to another day, something that plagued WKRP throughout it's entire run. Why would Andy want to create a "cheapo" ad for what would be his largest client? Fred Stuthman, who played Mr. Ferryman, is on a short list of the most memorable guests ever on the show. Perfectly cast.  Personal note: whenever this song pops into my head, I hear the Morrison Tire version of the song Herb sings at the end.

Roy

Ep. 16 - I Want to Keep My Baby

February 6, 2015

Writer: Hugh Wilson
Director: Asaad Kelada
Original Air Date: March 12, 1979


This episode does something unusual for a TV show - it plays with your perception of good and bad by showing you how TV manipulates your perception of good and bad.

The most obvious example of this is the two representatives from Family and Children's Services. When we first see them, her with her tight bun and pinched features and he with his thick glasses and weird name ("Chick"), they are Cincinnati's version of Miss Hannigan. They are the threat, that will steal a baby away from a helpless young girl. But by the end of the episode, they are sweet like a pair of Sunday School teachers who are going to take that child to her own private paradise.

Next we have Peggy, the unseen mother. At first, we think she must be crazy to abandon her child (and with all people, the wholly irresponsible Johnny Fever). Then we hear Johnny sympathize with her story of being alone and confused and we hope the mother and child can be reunited. Finally, once the Family and Children's Services people are shown to be friendly, we believe Peggy has made the right decision after all. But honestly, we don't know anything about Peggy or her circumstances to be able make an informed decision - it's all about what's presented to us in the moment. That is something worth remembering in a world of 24 hour news and reality television.

WKRP teaches us all not to judge a book by its cover.

This is an episode full of teaching moments. First we learn not to call the fire department when someone abandons a baby. We also learn that people will believe a black man carrying a bassinet shaped sheet is "da laundry man" and not a guy trying to smuggle a baby out of an office.

The audience greatly benefits from using the original music in this boxset. Much of the commentary that Johnny makes - first in getting the mother to call him back after she leaves her baby on the station's doorstep; then in thanking her for this gift in the end - is made through his choice of songs. We don't see it focused this clearly all the time, but this love in the communicative powers of music is why Johnny goes through all that he has gone through to remain a DJ all these years. Music is how Johnny talks. Music is how Johnny shares his feelings. Everything else is sarcasm.

Many ideas that pay off in future episodes are introduced in "I Want To Keep My Baby." This is the first reference we've had to Jennifer dating wealthy older men. Mr. Carlson tells us he has a son in military school. Even the idea that Johnny might have some experience caring for a baby girl - each idea will be the focus of a future episode.

Other Notes: Good budgeting on the part of the producers by using the Johnny's Apartment set in the second episode in a row. The crying sounds of this baby are terribly fake! It sounds that a full grown adult of to the side making that noise (I have no idea how it was done, but that's what it sounds like) Nice pay-off of the "baby crying when Herb's around" running joke at the end. Venus in the morning! with one of the best lines in WKRP lore "Get the funk out your face Cin-cin-nati!"

Roy

Ep. 15 - Never Leave Me, Lucille

January 24, 2015

Writer: Bill Dial
Director: Asaad Kelada
Original Air Date: March 5, 1979

Here is a script that doesn't get written today. Herb and Lucille have a fight and he leaves her (or, more likely, she kicked him out. But he said he left so who am I to argue). There's no discussion of counselling or child custody or lawyers. All Herb can see is his chance to do all the things he thinks everybody else is doing - namely picking up ladies in singles clubs and eating dip without chips!

Maybe it's because divorce is more prevalent in our world today or, I think more likely, more TV shows have tackled the topic of separation and divorce in the past 30 years, that this take seems superficial. In the previous episode, WKRP tackled payola because it was the only show on TV that could. But LOTS of shows involve families and so many have tackled separation better.

Let's be real though. Separation is just a frame used to set up a few very funny bits. Starting right off with the image of Les coming into the office early to strip? do calisthenics while singing like Elvis, leading into a "Three's Company"-like misunderstanding of Bailey thinking Les and Herb are having a lovers quarrel. (I know he's not the writer of record, but that scene seems like it would have been Richard Sanders's idea)

Personally, I love the scene of Venus and Johnny in the control room when Les comes in and double-talks Johnny into taking Herb in for a few days. The scene runs like architecture to get to the payoff line "You're Dummy sign is on crooked." (Bill Engvall... you're welcome)

There are two big set pieces in this episode. The first is in Johnny's apartment and we have never seen it before. It looks like the apartment of a college student which is pretty much how Johnny has described his life in past shows. All the single and newly single guys at the station gather to take Herb out for a night on the town. Of course, all the guys really want to do is demonstrate to Herb how hard it is to be single in the 70's. Even Les tells him "One night stands gets old after a while." It seems too simple that just looking at a few pictures of his family is enough to convince Herb he has made a mistake.

You kids today (the blogger yelled, shaking his fist) will never know the panic that is visiting someone's house to see they have set up a slide projector and a screen. You know how on Facebook someone will post 350 vacation pictures? You have a choice whether you want to view any, some of all of those pics. But a personal slide show? You would have been in for the entire run, complete with narration. Herb having slides of his car mixed in with ONE picture from Disneyland is a pure slice of seventies. (It also gives us the classic WKRP line "The other guy is Goofy.")

Finally, we have the scene in the bar between Jennifer and Lucille (Welcome back, Edie McClug!). As much as Herb is looking for a chance to get out on the town, Lucille also wants to go even more. She is so excited someone would ever send a drink over to her, she is immediately ready to go say hi. Jennifer is of course a little more experienced with this, as the ridiculous number of drinks coming to the table shows us. I think, if Lucille learns anything from Jennifer here, it's that maybe she doesn't have to jump at the first offer. Eventually, Lucile even makes Herb squirm a bit before agreeing to take him back.

As hard as I've been on how blithely the issue of separation has been dealt with on this episode, the genuine fondness you feel between Herb and Lucille is well acted and very sweet. They are a couple who should be together - neither is too bright (one doesn't know you serve chips with dip; the other doesn't realized that "primitive" isn't a compliment in pottery class); both dress in colourful suits and both just want to have fun with each other.

The waiter droning "Short man in bow tie. Tall black man. Cowboy and Longshoreman" is funny enough; then you see the four men he's talking about, it's even better. The episode ends with each of the guys giving their opening lines to Jennifer. This is the last piece of our '70's flashback - only Les's pick up line would still work today. Ladies, would you turn your head for a guy asking "What's your sign?" or "Looking for a little action, sugar?" But who wouldn't look at the guy who sits down, lifts his drink and states:

"Hi! I'm incredibly wealthy!"

Roy

Ep, 14 - Welcome Home Johnny

January 23, 2015

Writer: Blake Hunter
Director: Asaad Kelada
Original Air Date: February 26, 1979

This is a strange episode to be the second part of "Goodbye Johnny" as it is VERY different in tone and story from the first part. WKRP goes back to "very special episode" territory with this episode about both cocaine and payola. What do either of these topics have to do with last week's topic of friendship? Not too much.

The seventies were a time of tremendous corruption in the music industry, as organized crime had gotten its claws into many corners of the industry. Lots of fast cash could be made that wasn't being closely monitored. Although payola had been illegal since the '50's, many DJs and program directors were used to receiving "gifts" of backstage passes, drugs, women or cash in return for increased airplay or promotion of certain acts. With the passing of the RICO act, organized crime was targeted by law enforcement and the payola scandals of the '70s were brought to light.

"WKRP in Cincinnati" was a show in the unique position to handle this topic directly. What other show in the seventies was about the business of rock and roll? Going back to the third episode about the stigma of homosexuality, WKRP liked to work on topics no other show even attempted to touch.

At one point, Venus says he doesn't like the new morning man because there was something about him that was "too white." Could they have found a whiter name than "Doug Winter"? Brought to Andy by Murray Glessler the sleezy promoter of fictional Onslaught Records, Doug blatantly sucks up to Les and Herb, which is a signal to the audience he is not to be trusted. It's not surprising Herb likes Doug; Herb would love to be a record company promoter and work in a world of free stuff, drugs, women and cash.

To beat the point home, Doug seems to only play one song every time he is on the air. "Nowhere Band" by the Soundtastics is a fictional song by a fictional band, which means it never had any rights issues in syndication or other releases. I actually find it kind of catchy. I don't know why Andy wouldn't want to promote it.

Johnny comes back to Cincinnati after getting fired in LA and nothing more is made of his time in California. This, to me, is another indication that the "Johnny leaving" plot of the last episode was shoehorned into this episode, perhaps to make the controversial topics in this episode more palatable. He goes back on the air as "Heavy Early" the midnight to 6 am DJ. My question is, why is Johnny just as sleep deprived as when he worked morning drive time? He's sleeping all around the station the same way he always does. What time wouldn't be so "Heavy" for Johnny?

My other question is why it takes so long for Andy to look into Doug's background? I know he was anxious to hire someone, but didn't Doug provide three references, like I have had to for every job I've ever had? Was Murray, a guy Andy doesn't even want to talk to, reference enough?

A very nice touch at the end is a joyous Dr. Fever returning to the air after Winter has been fired. He's skipping and singing along to the Red Wigglers commercial that was driving him crazy a few shifts ago. Johnny is rarely this exuberant and it's fun to see him playing along with the worm song!

Other note: Welcome Sam Anderson! Anderson might now be best known for his recurring role on "Lost" but he is legend in the WKRP universe. He will have a number of guest shots throughout the shows run and NEVER as the same character. I don't know if we were never meant to notice or if it was an intentional running joke but it will now definitely be a checklist item for this blog.

Roy

Ep. 13 - Goodbye Johnny

January 20, 2015

Writer: Blake Hunter
Director: Asaad Kelada
Original Air Date: February 19, 1979

As I write this blog, the weather is pretty close to what Johnny describes in the cold open (get it? COLD open? Ha!). "A blistery 14 degrees (-10 C) with winds from the north at about a thousand miles an hour." I want to move to LA right now too.

That is probably my biggest issue with this episode: there is no good reason for Johnny to stay in the 24th ranked station in Cincinnati when he has a chance to go back to the second largest market in the country, that has 12 months of beach weather, to join the competition of the station that fired him for saying "Booger" on the air. Why shouldn't he? Because he has friends? Because Jennifer may, might, possible, someday sleep with him maybe?

Perhaps part of what makes "WKRP in Cincinnati" important to anyone reading a blog about it, is that the characters considered that station and the people in it so important to their own lives, that they continuously chose WKRP over what are objectively better offers from life. I'll keep that idea in mind as I watch future episodes.

I also noticed Venus' recurring roll now, as the guy who comes to Andy's rescue. In "The Contest Nobody Could Win" Venus thinks up the idea to splice the songs together too closely to be guessed. Here, when Andy is in jeopardy of losing his top DJ, it's Venus who comes up with the plan of shaming him into staying.

This whole episode is just building up to the banquet scene; a chance to see how each character dresses and acts outside of the station environment.

Before I get into that, may I just point out that this scene would never be filmed this way today? All the characters are sitting on one side of a long table like a recreation of "The Last Supper." Today, in a single-camera universe, one steadicam would be constantly circling the table, darting in and out of conversations.

Let's go down the table. Look where Johnny is: the very end of the table with practically one foot out the door, separated from the regular cast by a character we've never met before. This is a party to show Johnny how much he is loved and he couldn't be further away from his friends

Next is Herb and his wife Lucille (played by the incredible Edie McClurg. For a certain generation, this is probably the first thing you remember seeing her in, but just go to IMDB and see how many amazing supporting roles she has had; my favourite being in "Planes, Trains and Automobiles."). Herb is embarrassed to have brought his wife and that's because she's acting embarrassingly. Herb, who is so concerned about appearances, is embarrassed to have a wife who is eating like a prisoner released from solitary. The question is not why wasn't Herb's wife invited but why was Herb invited. He obviously doesn't like Johnny, Johnny doesn't like him and he couldn't care less if Johnny stayed.

Frank Bonner and the great Edie McClurg

Andy is wearing the child of a suit and a leather couch. He's the one who needs Johnny to stay the most, but he's the one who can't go two sentences without telling Johnny the banquet is a scam. For all his smooth talking ways, Andy just can't be disingenuous. The funny thing is, he's NOT going to be disingenuous in his speech - he really DOES want Johnny to stay and really DOES feel they are friends. Way to go, Cowboy!

Master of Ceremonies Venus is next wearing the opposite of the traditional tux Mr. Carlson is wearing. The aspect of his personality we see hear is his ability to smile and push forward when everything is collapsing around him.

Next is Jennifer, and I wonder if Andy and Venus came to her and asked her to literally seduce Johnny into staying or if she just naturally knows that is her role. The reveal of that dress, the speech and her arm gestures as she speaks are all calculated. I also wonder what she would have done if Johnny had stayed. If Johnny came to work the next day and said "Jennifer, I really thought about everything you said and I really want to give us a try" would she have gone for that? I don't think it's likely and I think Johnny would know that too.

The funniest character is seeing Mr. Carlson drunk, although Gordon Jump doesn't really play drunk that well. It's funny to see that when drunk, Mr. Carlson is really just a loud version of himself - talking about fishing and distracted from what's really going on around him. Also that the only person who puts up listening to him at those times is Jennifer.

Bailey is no different at all. She is wearing the sort of flowing, belted outfits she almost always wears to work. She starts out painfully shy and then builds up her courage to give the most poignant speech of the night - like she always does, Honestly, Andy could have sent Johnny and Bailey out to lunch to get the same results.

Finally, Les is at his cockiest, which is nearly as funny as his most confused. Past president of the speech-makers club, this night has nothing to do about Johnny for him, but is a chance to impress his co-workers with his speech making abilities. What does stand out is, as things don't go well for him, how quickly he his ready to blame those around him, like Bailey and the waitress.

But Johnny does leave for LA. What will happen next?

"To Be Continued"

Also a note. The insert picture of the banquet hall is the Cricket Restaurant. This is a classic old restaurant in the grand Cincinnati Hotel. It was remodeled in 1987 and renamed the Cricket Lounge.

Roy

Ep. 12 - Tornado

January 12, 2015

Writer: Blake Hunter
Director: Will Mackenzie
Original Air Date:  February 5, 1979

"I'm in charge here now."

With those words at about the halfway mark, this episode takes a 90 degree turn from wacky slapstick to a deeper character study of Arthur Carlson. And my thought was "Aren't you always in charge? You're the station manager!"

But sometimes he has to remind everyone of that, including himself. I enjoy Mr. Carlson when he takes charge and leads the way. His humanity and goodness of spirit come to the fore and we can see why people would want to stay at this crazy radio station to work for him.

As we watched with the "Turkey Drop" episode, this one relies in the theatre of the mind elements of radio. If anything, the most unbelievable shot is the obvious stock footage insert of some generic tornado. However, when Mr. Carlson is talking a little seven year old girls into going down to her basement to hide from the storm, we completely believe she is there although we only ever see his side of the conversation.

Carlson shows some of that Marine leadership training in this moment (Does it seem odd that Carlson is a former Marine? Is this how you imagine most Marines are treated by their mothers?) , much better than the Marine training he uses early, when he demanded the Japanese businessmen to surrender.

The whole scene involving the arrival of the Japanese businessmen plays very favourably for "WKRP" in regards to a surprisingly positive treatment of minorities. This is 1979 and a lot of shows at this time would have gone for the easy racial stereotypes for the source of their humour. But "WKRP" goes for something different here. The mix-ups of a Spanish translator (actor Rene Enriquez, who later achieved fame on "Hill Street Blues") translating mid-west English to the Japanese is ridiculous without being insulting to either of those cultures. About the worst it gets is the stereotype of the Japanese being camera happy.

The mockery is saved for the dumbest characters: Herb calling his maid a "Kraut" and Les' obsession with a "godless Russian" attack.

Every so often, one of these episodes is a time capsule of the late 70's or early 80's and this is very much one of those time capsules. Look a technology! From the very first shot of Les pecking away on a manual typewriter to Les' teletype machine, with an actual bell attached, this does not look like any newsroom you would walk into today. No computers on any desks. Digging through paper filing cabinets for important documents. Even some of that basic translation we discussed earlier could have been fixed with an iPhone translation app today!

What makes it stand out is how much of what happens in this episode is dependent on that technology.

Other notes: No Bailey or Venus. They were wise enough to stay home in the storm I guess. I don't think Venus misses anymore shows after this one.
Johnny's speech about being trapped in a tornado with his mother is sweet but it gets left behind with so much else going on in this episode.
Herb might be on to something... it does seem like Andy and Jennifer have had that kiss before...
If you've been waiting for the WKRP episode with all the special effects, this is the one that has one! Enjoy that window!!

Roy