Morey Amsterdam

Moritz "Morey" Amsterdam was born on December 14 and was an American actor, comedian, writer, and producer known for his contributions to television and film. He hosted his own sitcom, The Morey Amsterdam Show, from 1948 to 1950 and was well recognized for his role as Buddy Sorrell on CBS's The Dick Van Dyke Show from 1961 to 1966. Born in Chicago, Illinois, to Jewish immigrants Max and Jennie Amsterdam from Austria-Hungary, he was the youngest of three sons. His career in entertainment began in vaudeville in 1922, where he initially served as the straight man to his older brother’s jokes.

A skilled cellist, Amsterdam demonstrated his musical talent throughout his career, including a stint at a speakeasy owned by Al Capone in 1924. Following an incident during a gunfight, he relocated to California to work as a joke writer. By the late 1940s, he was hosting a program on CBS and a daily show on WMGM in New York. His CBS program concluded in early 1949, and in 1950 he hosted Broadway Open House, a pioneering late-night comedy-variety show on NBC, which laid the groundwork for future late-night programming like The Tonight Show.

In February 1952, Amsterdam made his dramatic television debut in an episode of the DuMont series Not for Publication and later hosted Breakfast With Music on WNBT-TV. He appeared in the syndicated sitcom How to Marry a Millionaire in 1957 and played a saloon manager in a 1958 episode of the CBS western Have Gun, Will Travel. He also made guest appearances on various sitcoms, including CBS's Pete and Gladys.

Amsterdam's most notable role was that of comedy writer Buddy Sorrell on The Dick Van Dyke Show, where his character was known for quick wit and running gags, particularly with producer Mel Cooley. The character's Jewish background was significant for its time, featuring a storyline about Buddy deciding to have a Bar Mitzvah. Amsterdam wrote lyrics for the show’s theme song, although they were never aired but later performed by Dick Van Dyke in concert.

Later in his career, in the 1970s, Amsterdam appeared in a Partridge Family episode and an episode of The Littlest Hobo, where he played a con man. He occasionally participated as a panelist on game shows like Match Game and Can You Top This? and had roles on soap operas like The Young and the Restless in the 1990s. His final television appearances were alongside Rose Marie in The Hollywood Squares and NBC's Caroline in the City, both in 1996.

Amsterdam's film career included roles in low-budget movies like Machine-Gun Kelly (1958) and the film Murder, Inc. (1960), where he portrayed a nightclub owner. He also featured in two Beach Party films during the 1960s as the owner of a local nightclub. In addition to his acting work, he co-wrote and produced the film Don't Worry, We'll Think of a Title in 1966, which included appearances from other notable stars.

Amsterdam's personal life included two marriages; he wed actress Mabel Todd in 1933, but they divorced in 1945. His second marriage, to Kay Patrick, began in 1949 and lasted until his death. He passed away at Cedars Sinai Hospital in Los Angeles from a heart attack on October 28, 1996, at the age of 87.

Accordiana

 

 

Accordiana was a musical radio series broadcast on CBS in 1934, specifically airing at 8:30 p.m. on Tuesday evenings. Each 30-minute episode featured soprano Vivienne Segal and tenor Oliver Smith, accompanied by the Abe Lyman Orchestra. The show was occasionally listed in newspapers as Abe Lyman's Accordiana, highlighting Lyman's significant role as the conductor. Notably, Peter Dixon, in his 1934 column "Inside the Studios," mentioned that Lyman directed the orchestra from the control booth rather than in front of them, an unusual practice at the time.

Beyond Accordiana, Lyman's orchestra—alongside Segal—frequently appeared on numerous CBS radio programs throughout the 1930s. Abe Lyman eventually became known as the regular orchestra for the show Waltz Time, which showcased traditional music during the 1930s and 1940s. This series not only illustrates the musical culture of its time but also marks Lyman's enduring contribution to radio music programming in that era.

Academy Award Theater

Academy Award (Academy Award Theater) was a CBS radio anthology series airing from March 30, 1946, to December 18, 1946, showcasing 30-minute adaptations of plays, novels, or films. Actors portrayed their original roles in productions such as Henry Fonda in *Young Mr. Lincoln*, Humphrey Bogart in *The Maltese Falcon*, and Cary Grant in *Suspicion*. Notably, only six actors reprised their Oscar-winning roles during the series.

The series did not exclusively adapt Oscar-winning films, despite its title, instead focusing on dramas featuring at least one Oscar-nominated performer. For example, an adaptation of Robert Nathan's *Portrait of Jennie* aired on December 4, 1946, promoting its upcoming film release. Episodes included *The Front Page*, featuring Pat O'Brien and Adolphe Menjou, and *Ruggles of Red Gap* with Charles Laughton.

Frank Wilson scripted the adaptations for producer-director Dee Englebach, with music by Leith Stevens and sound effects created by Gene Twombly, Jay Roth, Clark Casey, and Berne Surrey. The premier episode of the series featured Bette Davis, Anne Revere, and Fay Bainter in *Jezebel*, introduced by Jean Hersholt, president of the Academy of Motion Picture Arts and Sciences. The show, sponsored by E.R. Squibb & Sons, was expensive to produce, costing about $4,000 a week for stars and an additional $1,600 weekly to the Academy for the show's title rights.

The program aired initially on Saturdays before moving to Wednesdays at 10 PM. The series concluded on December 18, 1946, with an episode featuring Margaret O'Brien and Jeff Chandler. The decision to cancel the show after 39 weeks was reportedly influenced by high production costs, a shortage of film scripts, and competition from similar programs, according to reports from *The New York Times*.

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Abie's Irish Rose

Abie's Irish Rose, a comedy by Anne Nichols, debuted on Broadway in 1922 and centers on the marriage of an Irish Catholic girl and a Jewish man amidst family opposition. Though initially panned by critics except The New York Times, it enjoyed remarkable box office success, running for 2,327 performances until 1927 and setting a record for Broadway at the time. The touring production also gained popularity, with George Brent and Peggy Parry in lead roles. There were Broadway revivals in 1937 and 1954.

The play spurred two films, the first in 1928 featuring Charles "Buddy" Rogers and Nancy Carroll, and a second in 1946 starring Richard Norris and Joanne Dru, which received negative reviews for being outdated. Nichols attempted to protect her work from imitators, particularly Universal Pictures' The Cohens and Kellys, but the court determined that stock character traits did not warrant copyright protection.

From 1942 to 1944, NBC aired a radio adaptation of Abie's Irish Rose, crafted by Nichols and featuring a cast that included Richard Bond and Mercedes McCambridge. Listener backlash over ethnic stereotypes led to its cancellation in 1945, despite its popularity at the time. The show's theme music was "My Wild Irish Rose."

The play's influence continued, as seen in the comedy duo Stiller and Meara, who referenced their Jewish and Irish Catholic backgrounds in their routines. Additionally, the 1972 television series Bridget Loves Bernie mirrored its premise, presenting a wealthy Irish Catholic woman and a struggling Jewish man in love. Although the series received high ratings, it faced backlash from Jewish groups for its portrayal of interfaith marriage and was canceled after one season.

In the 1990s, the television show Brooklyn Bridge echoed similar themes, featuring a Jewish boy and Irish Catholic girl in a romantic relationship. The series reflected a shift in social attitudes towards interfaith relationships and continued for two seasons. The creator, Gary David Goldberg, previously produced Family Ties, notable for its connections to his personal life and the casting of Meredith Baxter, who played a similar role in Bridget Loves Bernie.

Overall, Abie's Irish Rose left a significant cultural impact, inspiring adaptations and discussions around ethnic identities and interfaith relationships in American society across generations.

21st Precinct

 

 

 

The 21st Precinct, also known as Twenty-First Precinct, was a police drama aired on CBS radio from July 7, 1953, to July 26, 1956, initially serving as a summer replacement for My Friend Irma. The show was produced in collaboration with the Patrolmen's Benevolent Association of the City of New York and was distinctive for its storytelling, presenting adaptations derived from true criminal records in New York from the perspective of police officers.  

 

Although historically the 21st Precinct was situated near Gramercy Park in Manhattan, the precinct was reorganized in 1929, and the 21st designation was eliminated. Consequently, during the show's airing, no actual precinct by that number existed; nevertheless, its fictional territory closely resembled that of the Upper East Side's 23rd Precinct. 

Stanley Niss took on roles as producer, writer, and director for the series. Captain Frank Kennelly was portrayed by Everett Sloane in the first 109 episodes and briefly returned in episode 135 after being promoted to Deputy Inspector and reassigned from the precinct. He was succeeded by Captain Cronin, played by James Gregory from 1955 to 1956, and later by Captain Keough, portrayed by Les Damon in 1956. 

Other notable cast members included Ken Lynch as Lieutenant Matt King, Harold Stone as Sergeant Waters, Jack Orrison as Sergeant Collins, and Santos Ortega as Lieutenant Gorman. Each episode commenced with an announcer stating, "21st Precinct. It's just lines on a map of the city of New York," emphasizing the precinct’s role in ensuring the safety and security of the 173,000 residents within its jurisdiction. This was followed by Captain Kennelly introducing himself and his command, summarizing the composition and authority of the precinct's personnel, which included 160 patrolmen, 11 sergeants, and four lieutenants. The program’s announcers featured Art Hannes, Bob Hill, and Hugh Holder.

 

The series "21st Precinct" was produced by John Ives, with Stanley Niss typically handling direction and writing, although some sources mention Niss as the producer. Norman Frank served as the program supervisor. A review in Variety praised "21st Precinct" as "an exciting show," highlighting its resemblance to "Dragnet" in the authentic presentation of police procedures and the use of the standard curtain-line explanation that "names have been changed to protect the innocent." However, the review noted that "21st Precinct" provided deeper insights into the daily routine of a police captain, portraying the character in a manner that rendered him more relatable and human than in "Dragnet."

Don Ameche

Don Ameche, originally named Dominic Felix Amici, was a prominent American actor, comedian, and vaudevillian, born on May 31, 1908, in Kenosha, Wisconsin. He began his career in college productions, repertory theatre, and vaudeville before achieving fame as a major radio star in the early 1930s, ultimately leading to a movie contract with 20th Century Fox in 1935.

Throughout the 1950s, Ameche expanded his repertoire to include Broadway and television, notably hosting NBC's International Showtime from 1961 to 1965. His later years saw a career resurgence marked by his role as a villain in the film Trading Places (1983). He received critical acclaim, winning the Academy Award for Best Supporting Actor for his performance in Cocoon (1985) and the Volpi Cup for Best Actor for Things Change (1988).

Ameche was the second of eight children in a family with mixed heritage; his father, Felice Amici, was an Italian immigrant, while his mother, Barbara Etta Hertel, had Scottish, Irish, and German roots. He was educated at several institutions including Marquette University, Loras College, and the University of Wisconsin–Madison, where his cousin Alan Ameche notably won the Heisman Trophy in 1954.

Ameche's journey began at the University of Wisconsin, where his talent in college dramatics caught the attention of a friend, leading him to substitute for a missing lead actor in a stock company production of "Excess Baggage." This experience sparked his interest in acting, resulting in a juvenile lead role in "Jerry For Short" in New York and a subsequent tour in vaudeville with entertainer Texas Guinan, although he was later dropped from the act for being "too stiff."

In 1930, Ameche transitioned to a radio career in Chicago, starting with the program "Empire Builders" and soon becoming the leading man on notable shows such as the dramatic anthology "First Nighter" and the pioneering soap opera "Betty and Bob." His work in Chicago laid the groundwork for his future success in Hollywood, where he was brought in by 20th Century Fox producer Darryl Zanuck. Ameche quickly became known for his romantic lead roles alongside many of the era's top female stars.

His film career flourished in 1939, as he starred in the comedy "Midnight," and portrayed Alexander Graham Bell in "The Story of Alexander Graham Bell," a role that popularized the term "ameche" as slang for a telephone. This connection was so strong that by 1940, the film "Go West" referenced Ameche in a comedic dialogue regarding the invention of the telephone. His romantic trajectory continued as he starred alongside Alice Faye in "Hollywood Cavalcade," and further showcased his range by playing historical figures like Stephen Foster in "Swanee River" and Lillian Russell in the biopic of the same name. Ameche also made significant contributions to the musical genre with films like "Down Argentine Way" and "Moon Over Miami," the former of which advanced the careers of Betty Grable and Carmen Miranda. His popularity peaked in 1940, when he was ranked as the 21st most popular star in Hollywood, solidifying his status in the entertainment industry.

Don Ameche, a distinguished performer, gained fame in the late 1940s as a key participant in the radio comedy series The Bickersons, alongside Frances Langford. This popular show, which depicted the tumultuous relationship of a married couple, began its run on NBC in 1946 before moving to CBS the following year. Ameche’s early career included hosting his own show, The Old Gold Don Ameche Show, on NBC Red in the early 1940s. In 1950, he transitioned to television as the star of Holiday Hotel on ABC-TV.

Throughout his career, Ameche released numerous singles and albums, notably two that charted with Langford: The Bickersons (1962) and The Bickersons Fight Back (1962), which reached No. 76 and No. 109 on Billboard's Top LPs, respectively. From the 1930s until 1970, he appeared regularly in films before shifting focus to television and stage performances. His cinematic comeback occurred with Trading Places (1983), where he was cast after the director sought an actor from his era who had predominantly non-villainous roles. This resurgence led to subsequent film roles including Cocoon (1985), for which he won an Academy Award for Best Supporting Actor, and other notable films such as Harry and the Hendersons (1987) and Coming to America (1988).

Ameche received acclaim for his performance in Things Change (1988), with The New York Times praising his comedic timing. His later credits included an appearance in The Golden Girls (1990), and he lent his voice to the character Shadow in Homeward Bound: The Incredible Journey (1993). His final film was Corrina, Corrina (1994), released posthumously.

In addition to his entertainment career, Ameche co-owned the Los Angeles Dons football team from 1946 to 1949, contributing significantly to its establishment and serving as team president. He had a complicated personal life; he was married to Honore Prendergast from 1932 until her death in 1986, although they were separated at that time. Together, they had six children. Ameche was a Roman Catholic and a Republican, publicly supporting Thomas Dewey during the 1944 presidential election.

Don Ameche passed away on December 6, 1993, from prostate cancer at his son Richard's home in Scottsdale, Arizona, at the age of 85. He was cremated, and his ashes were interred at Resurrection Catholic Cemetery in Asbury, Iowa.