Although there had been speculation that Kristen Wiig would be leaving Saturday Night Live at the end of this season, up until last night’s season finale, there had been no official announcement. Watching the episode, one might have noticed that there were a number of sketches where Wiig performed some of her regular characters. But it was not until the very end, when host Mick Jagger addressed a graduating class and noted one very special person was going off to be a nun, where viewers slowly began to realize that the payoff was not a big laugh but an emotional goodbye to a beloved cast member. Check it out. [Update May 2015: Unfortunately, the official NBC video that was posted here is no longer available, so below is a video about the Wiig farewell.]
Especially when Lorne Michaels came on for a brief dance, we knew it was a goodbye. There are rumors that Andy Samberg and Jason Sudeikis may be leaving the show too, but those are just rumors at this point (although perhaps Samberg’s goodbye was a sequel to “Lazy Sunday”).
As for Wiig, the music of “She’s a Rainbow” and “Ruby Tuesday” were quite appropriate. How cool is it to get sent off with Rolling Stones songs with Mick Jagger right there? The show has big shoes to fill now that we no longer will see Wiig every Saturday night like we have for the last seven years. But considering Wiig’s big hit with Bridesmaids and that she has a number of projects in the works, we still will be seeing a lot of her. So, it is not goodbye, it is “see you later.” What was your favorite Kristen Wiig Saturday Night Live character? Leave your two cents in the comments.
In the thirteenth Oxford American Annual Southern Music issue, author Peter Guralnick wrote an excellent essay about Howlin’ Wolf, “What is the Soul of Man?” In the essay, Gualnick, who has written definitive biographies of great artists such as Elvis Presley and Sam Cooke, recounts how the greatest moment on television for him was Howlin’ Wolf’s appearance on Shindig! taped on May 20, 1965.
On that Thursday night, The Rolling Stones were the headliners on the show, and Wolf for some reason was listed on the show under the name “Chester Burnett,” as his given name was Chester Arthur Burnett. But when he took the stage and began his first hit, “How Many More Years,” the 6’3″ Wolf made it so “[e]very moment was larger than life.”
In this clip from the show, the Stones talk of their admiration for Howlin’ Wolf. Then Wolf took the stage and wiggled and leapt, as Guralink described, “with The Stones sitting at his feet, as if not just the stage but the entire world would shake.”
According to the website The 60s at 50, the May 20th taped show appeared on ABC on May 26, 1965.
What do you think of Howlin’ Wolf’s performance? Leave your two cents in the comments.
I just heard on the radio that Donna Summer passed away today at the age of 63 from cancer. Summer, who was born LaDonna Adrian Gaines, begin performing at the age of 10, although her first U.S. break came in 1975 with her song, “Love to Love You Baby.” Other songs such as “Last Dance,” “Hot Stuff,” and “Bad Girls” were some of the biggest hits during the disco era. Her 1983 song “She Works Hard For The Money” is often used as an anthem for women’s rights. Although that song was her last major hit, she released an album of original songs as recently as 2008 with Crayons. Throughout her career, Summer distinguished herself from many other artists because she was both an excellent songwriter and powerful singer.
Although disco was never my favorite genre, regular readers will know that I am not snobby about great pop songs. So, I will admit that in the early 1980s I had a cassette tape of Donna Summer’s greatest hits album that is pictured above. At college, one of my roommates with a powerful stereo liked to borrow the tape to blast “Love to Love You Baby” and its moaning sounds out his window at the other dorms.
I always recognized “Last Dance” as her best song, but the slightly lesser-known “On the Radio” also was one of her best. “On the Radio” was released as a single in 1979, and it was used in the soundtrack for the film Foxes (1980), starring Jodie Foster and Scott Baio. The song has been covered by non-disco artists such as Emmylou Harris. The sad sound of the minor chords give it an unusual twist for a disco song, and the lyrics are mysterious. The singer tells about a break-up but ends with a reconciliation while it is all twisted up with that letter that someone read on the radio.
You have to respect a singer who can sing a disco song while sitting down. Sorry to hear the bad news today on the radio, but rest in peace LaDonna. What is your favorite Donna Summer song? Leave your two cents in the comments.
In light of the recent news about President Obama and Vice-President Biden stating their support for gay marriage, the recent HBO documentary The Loving Story (2011) about a marriage law in the 1950s takes on an added significance.
In 1958, Richard Loving, who was white, and Mildred Jeter, who was black, traveled from their home in Virginia to Washington, D.C. to get married. After their wedding, they returned home to Virginia where after five weeks police roused them from their bed in their home at 2 a.m. and arrested them for violating a law that banned interracial marriages. At the time, twenty-four states had laws banning interracial marriages. In January 1969, a judge accepted their guilty plea for the crime and sentenced them to one year in jail but suspended the sentence if the two left Virginia for 25 years. The Lovings, who wanted to go home, challenged the case all the way to the Supreme Court, which heard the case in Loving v. Virginia.
Although a unanimous Supreme Court eventually ruled for the Lovings in 1967 by finding that the Virginia law violated the Fourteenth Amendment of the United States Constitution, the Lovings spent roughly nine years as criminals between the time they were arrested and the time they won the case in the Supreme Court. The documentary tells their story during this time.
One of the great things about the documentary is the amount of video footage that was taken of the Lovings and others at the time the events were happening. Among the many images, the film includes never-before-seen footage taken by filmmaker Hope Ryden while the case was pending before the Supreme Court. It is interesting to see the couple meeting with lawyers and hear Mildred Loving explain why they decided not to attend the Supreme Court argument. The documentary is a fascinating portrait about another time period that was not that long ago, and it brings to life the two human beings at the center of one of the great Civil Rights cases of the 1960s.
Nancy Buirski, who made the film, first had the idea to make the documentary after reading Mildred Loving’s obituary in the New York Times in May 2008. In the February 2012 ABA Journal, she explained, “Not only was this an overlooked story but also. . . you read about them . . but you don’t know very much about the people involved.”
Singer-songwriter Nanci Griffith had a similar reaction when she read Mildred Loving’s obituary in the newspaper. Her response was to sit down and write a song, “The Loving Kind,” which became the title track of an album she released in 2009.
They changed the heart of a nation, With their wedding vows; From the highest court in the land, Their union would lawfully stand; Simply Mildred and Richard, That’s how they’d be remembered; They proved that love is truly blind; They were the loving kind.
Richard and Mildred Loving stayed together until Richard was killed in a car crash in 1975. They had three children and they will forever be linked together. On the fortieth anniversary of the Loving v. Viginia decision in 2007, Mildred released a statement saying that all people, including gay men and lesbians, should be allowed to marry because, “That’s what Loving, and loving, are all about.” Decades earlier, Richard summed up the Loving case too. When lawyers explained the various legal theories to the Lovings, Richard simplified the point, “[T]ell the court I love my wife, and it is just unfair that I can’t live with her in Virginia.”
Conclusion? Check out the film, which is on DVD and on HBO and online for subscribers. While the movie goes at a leisurely pace to let the story unfold in the participants’ own words and you know how the story comes out, it is still an interesting time capsule that reveals the human side of two regular people who quietly stood up to an injustice.
Did you know that the series “Happy Days” started out as a segment on the ensemble show “Love, American Style”?
“Aaaay! Why wasn’t I on this Love show?”
Television producer Garry Marshall recently wrote a book, My Happy Days in Hollywood: A Memoir (2012). In promoting the book he has talked about how his work on Happy Days was his favorite favorite work (as opposed to the often contentious work on Laverne & Shirley).
Some of Marshall’s revelations include that Fonzie was based on a friend of his from summer camp. Also, Nathan Lane auditioned for the show. Recently, I discovered something else interesting about the origin of Happy Days.
Do you remember the television show Love, American Style that ran on ABC from 1969-1974? The hour-long show featured different stories and casts each week. For awhile Love, American Style was on the same nights as The Brady Brunch, The Partridge Family, The Odd Couple, and Room 222. While reading about some of these shows recently, I was surprised to discover that the series Happy Days got its start on Love, American Style.
According to Wikipedia, in 1971 producer Garry Marshall had the idea for a sitcom featuring teenagers growing up in the 1950s. He created a pilot called New Family in Town, featuring many of the characters and several of the stars that would later appear in the Happy Days series. There were a few exceptions. In the pilot, Harold Gould played the father Howard Cunningham and Susan Neher played sister Joanie.
But no network was interested in the pilot, so Marshall sold the show to the producers of Love, American Style. That ensemble series then ran the pilot as a segment. The segment was retitled for the show as “Love and the Happy Days” and ran in early 1972.
After the network saw the success of the Broadway play Grease and the movie American Graffiti (1974), they remembered the Happy Days pilot and bought the rights. Happy Days ran on television from 1974-1984. One of the reasons Ron Howard got the part in American Graffiti was because George Lucas saw him in the original pilot.
If you are interested in seeing how it all began, below is the opening of “Love and the Happy Days” from Love, American Style. If you have never seen Love, American Style, though, I should warn you that if you view the opening you might have the song going through your head the rest of the day.
What is your favorite episode of Happy Days? Leave your two cents in the comments.
and on HBO and 
