"In the Heat of the Night" - Season 1 (1988)

One of the gifts I got for Christmas was the First Season DVD collection from the TV series “In the Heat of the Night”, which was based on the 1967 film of the same name starring Rod Steiger as local sheriff in Bill Gillespie the town of Sparta, Mississippi. In that film a police detective by the name of Virgil Tibbs;by Sidney Poitier; is passing through Sparta on his way home to Philadelphia. While awaiting the 4:30 AM train he is picked up for the murder of the town’s biggest employer who is about to open a factory. The most often remembered line of the film occurs when Tibbs is called boy by the Sheriff and he replies with the stinging rebuke, “They call me Mr. Tibbs!”

The film was so iconic of the times that I never really paid much attention to the TV spinoff starring Carrol O’Connor; Archie Bunker from TV’s “All in the Family”; figuring that aside from the name of the series, there wasn’t much potential there. And, aside from that, what could ever top the scene where Tibbs; played by Sidney Poitier; smacks back the town’s oldest revered segregationist in his very own green house? Howard E. Rollins Jr. plays Virgil Tibbs in a very convincing manner, while never making you feel as if he is trying to emulate Poiter’s treatment of the role.

Well, last night (actually a few nights ago by the time you read this) I decided to check the series out, beginning with the 2 part Pilot episode, which sets up the whole series based upon the movie. I was pleasantly surprised. The hardest part of adapting any type of movie or show to another genre; particularly television; can be a road fraught with pitfalls.  It’s so easy to take something millions of people have come to love in its original form and screw it up.  However, I was pleasantly surprised at the way they adapted this story for the pilot. I still haven’t begun the rest of the series, but the pilot is really well done.

To begin with, picking Carroll O’Connor for the role of Gillespie was a great choice.  And the way they bring Tibbs back to Sparta for his mother’s funeral is fairly believable. The only real discrepancy is that in the film Tibbs was visiting his mother in a neighboring town, hence the need for the train connection. In the series she appears to have been a longtime resident of the town, which raises all kinds of questions about why he was portrayed as a stranger passing through in the film.

These differences aside the pilot is beautifully executed. They even have a scene where Tibbs gets to reiterate that they call him Mr. Tibbs after being called boy by Deputy Bubba Skinner; played by Alan Autry. This is good because it gets that whole image out of the way and allows the series to take on its own flavor. They must have done something right as the show ran from 1988 through 1995 drawing praise for the entire run. What can I say; sometimes it just takes me a while to catch on to something good.

"Randy Scouse Git" - The Monkees (1968)

This is one of those songs that sometimes nag at your memory. You can almost hear it but not quite. I was trolling through the You Tube garden and ran across a title I didn’t recognize; which is this record. That was weird, because I remember the song completely. Just never stored the title I suppose.

The real reason I probably remember this song is because of the backstory to it; which involved The Beatles, who had thrown a party welcoming the Monkees to London in May 1967. This was the same time frame as the Mick Jagger/Keith Richards “Redlands” bust. I remember the news saying stuff like “but the American pop group The Monkees have stayed out of trouble while in London.”

   

Micky Dolnez came up with the title while watching the BBC show Til Death Do Us Part”; which was the precursor to our American series “All In the Family.” In this show the main character was a guy named  Alf Garnett who spent much of the shows insulting his son-in-law from Liverpool and calling him a “scouse”; which is is kind of a nasty term. Anyway, it made an impression on Dolnez; enough that he wrote his first song about it. That’s some powerful TV!

The Beatles threw a party at the Speakeasy; a popular London nightclub of the day. The song is really about the people at the party. From the opening line of “She’s a wonderful lady, but she’s mine…” it alludes to the people they met that night. The “wonderful lady” is Mama Cass Elliot; while “the four kings of EMI” are The Beatles themselves. The “disc  girl” is Samantha Juste, who later became Micky Dlonez’ wife. It’s interesting to note that this is kind of the same way in which Don McClean wrote “American Pie” about 4 years later.

This song was never released as a single; only on the album. The Monkees; as was the practice with most groups at the time; released several singles which were not on the LP’s; like “D.W. Washburn”, which was a favorite of mine.

"Dyn- O- Mite" by Jimmie Walker (2012)

This book came as a total surprise to me. I had just seen some short sound bite thing about the author while passing through the living room the other night. Sue had on some show, ET, etc., and I caught him out of the corner of my eye. I have no idea what he was saying, as I didn’t take the time to listen. TV in the mid-seventies was a blank for me; I was simply too busy doing other stuff.

So, when I went to the Mooresville Public Library the other day; and saw this book staring me in the face; I took it as an omen that I should read it. I’m glad I did. The author, veteran stand-up comic Jimmie Walker, one time star of TV’s “Good Times”, has written a really good book. He discusses everything with candor, from his own upbringing; and his father’s desertion of the family; to his experiences in the projects of New York City, and his slow climb to fame. Along with the likes of Jay leno and david lettermen, the author came of age in a world of comedy where it was okay to be edgy, but there were still boundaries not to be crossed.

I was amazed at his relationship with legendary Norman Lear, the groundbreaking producer behind shows such as “All in the Family”, as well as well as his connections to other “white” comics of the era. The author’s flexibility allowed him to be influenced by, as well as becoming an influence to, many of his colleagues. He has remained in contact with many of those people to this day.

His stories of the last days of the old “Chitlin’ Circuit” are priceless, as those are times that will never be with us again. Although for good reason, one can’t help but wonder if the hardships these guys endured as a result of racial disparity actually added to the edge which they bought to comedy. After all, sometimes the only thing you can do is laugh.

The book is written in the imitable style of Jimmy Walker; fresh and irreverent. He gives his side of the ups and downs of TV sitcoms, versus standup comedy, holding nothing back. He quotes accurately from his former colleagues Jay Leno and David Letterman, and along the way has managed to introduce me to several more writers and comedians to enjoy.

The real complaint, if any, which Mr. Walker has, concerns the producers who said he was “too black” black in the 70’s, and then found him to be “not black enough” in the 90’s! This is something I have read about in other actor’s memoirs, and some good actors were passed over for this very reason, which seems silly now, but was of great significance back then.

This book has me watching some re-runs of “Good Times” on You Tube, and it’s actually a pretty good show, which captured 25% of its audience time slot for 6 years, in spite of constantly shifting nights in order to aid another show. Some of the plots were edgy for their timing, and relevance, to the black community; but to paraphrase Director Norman Lear, it was so much more. It was the first time in which white Americans got a look inside the projects, and realized just how similar all of our problems are. And Jimmy Walker played no small part in communicating that message to us all. This was a very surprising, and engaging book.