♪ stand by. here we go. >> take one. >> the average time spent watching television is five to six hours per day. >> holy residuals. >> there's a reason for calling it the boob tube and the idiot box. >> let's change the channel. >> we want to rap about our scene. >> yeah. >> here is the news.

>> we must give the american viewer the kind of television that people desire and deserve. >> let's try it again and see how it comes out this time. >> television has grown faster than a teenager, and now it is time to grow up. ♪ ♪ ♪

♪ the tv was the center of the house. i don't remember a time without tv. >> by 1960, essentially every household in america had a television. it was a new way of bringing the world to you. >> when something big happened on television, it really did happen to the entire country and impacted the entire country at the same time. >> keep an awakened eye on the world. >> suddenly television was the main event. everything else changed, even the way in which you went about the business of getting someone elected president. >> david, will you hit the one-minute button, please. 30 seconds and the cut, please.

>> in 1960, the nixon/kennedy debate was a first in television. a lot of people were watching that night, and it introduced a lot of people to kennedy. >> would you let me see the tight shot on camera one, please? >> can you hear me now speaking? is that about the right tone of voice? >> good evening. the television and radio stations of the united states and their affiliated stations are proud to provide -- >> when the networks offered a debate, kennedy immediately said yes because he was sure he could do better than nixon. >> i think mr. nixon is an effective leader of his party. i hope he would grant me the same. the question before us is which point of view and which party do we want to lead the united states. >> mr. nixon, would you like to comment on that statement? >> i have no comment. >> if you are live on television and there is a camera right here, there is really no place to hide.

once you see a guy sweating when asked a question, are you sure he's the leader for you? >> that's the question before the american people, and only you can decide what you want. what you want this country to be, what you want to do with the future. i think we're ready to move. >> if you saw it on television, clearly kennedy had won that debate. >> gentlemen, thank you very much for permitting us to present the next president of the united states on this unique program. >> it was the beginning of a new form of political craftsmanship. you could structure a message appropriately for the tv camera. you could have a huge impact. and if you couldn't, you were toast. >> i'd like you to give a real tonight welcome to the senator from massachusetts, mr. john kennedy. [ applause ] may i ask you -- so i don't look too naive, a tough question right off the bat? >> whether i'm democrat or republican? >> people recognized television

was now the medium that mattered. it wasn't before 1960, and it was every day after 1960 in those presidential debates. >> try to find a western. >> all right. >> once everyone had a tv set in their living room and advertisers had fully gotten a grip on how effective this was a way to sell products, the very definition of what you were doing was to create entertainment that would appeal to as many people as possible. >> beaver, eat your brussels sprouts. >> gee, mom, i can't. my stomach's filled up to my throat. >> now, no excuses. >> "leave it to beaver" was something that a lot of families understood. it's the first show that was ever shot from the perspective of a child. >> beaver. >> most people have had a lot of the experiences that the beaver or wally had, and everyone in their life has an eddie haskell. >> wally, some dumb kid fell in the soup.

good evening, mr. cleaver. some poor unfortunate child is trapped up there. >> everyone has that moment when they were so embarrassed and they thought they'd never get over it, but they did. >> tonight's special report from the scene of the 1961 emmys. >> whether it's a situation comedy or western or drama, i think it's the quality of the show itself that's important. >> the "andy griffith show," mayberry, it's just a kinder, gentler place. it would be hard not to want to be in mayberry. >> the core of the "andy griffith show" was this rock at the center of it. calm, wisdom. >> i have taken the best parts of myself and people i've known all my life and put them into andy taylor. ope, there comes a time when you have to stop the play acting and tell the truth. >> don't you believe me, pa?

don't you, pa? >> people appreciate emotional honesty. they appreciate it more than laughs. it's great if you can achieve both simultaneously and the "andy griffith show" actually did that very often. for a sitcom, it shows an unexpected depth. >> the second dance number should come before the big sketch. >> gee, i don't know. >> i like it. >> now i like it. >> yeah, me, too. >> yeah, i like it, too. >> what do you know? look at that tie you're wearing. >> i only wrote what i knew about, which was my life. and if you're writing about that, nobody can say that's not true. it is true. i'm living it. >> on the "dick van dyke show" we could believe the actions of the characters because we could relate to them. this wasn't a genie in a bikini in someone's bottle on their mantel. these were real people. >> women are more -- more -- >> honest and direct? >> no. they're more --

>> courageous? >> we all have the same needs, feelings, relationships with husbands and wives. that was the kind of comedy we did, the problems of living. >> honey, how much do you like that baby? [ laughter ] >> oh, rob, don't tell me you're jealous already. >> the season opening episode for the 1963 season was seared into my head. >> now, our wives had a baby on the same day, in the same hospital, and the hospital was very busy, mr. peters. what am i getting at? >> they thought they got the wrong baby from the hospital. so he calls the parents of the other kid and thinks, you know, we may have your kid and you may have our kid. >> hi. we're mr. and mrs. peters. >> uh, come in. [ laughter ] >> mrs. peters, won't you come

in? >> it was beautiful, absolutely beautiful. here they're tackling a subject without tackling it. >> why didn't you tell me on the phone? [ laughter ] >> and miss the expression on your face? >> the network worried about the fact that the african-americans might be upset by it. the network was always a little behind. there's always somebody back there who doesn't have b-a-w-l-s, bawls. >> in hollywood, the winner, carl reiner, "dick van dyke show." >> i wish somebody had told me. i would have worn my hair. day-in, day-out that's why dove men body wash has skin-strengthening nutrients and moisturizers that help rebuild your skin. dove men+care. smoother, healthier skin with every shower.

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i've got to tell you this one. you know those knock-knock jokes? >> yeah, but they're old now. >> yeah. i've got a real good one. i've got a really funny one. >> all right. >> go ahead. start. say "knock, knock." >> i say it? >> yeah, go ahead. >> knock, knock. >> who's there? >> there was only three networks. there was only one late night show, really, and it was jack paar. >> they don't understand how we do this show. we just keep talking with no script. >> i know. it's agony. [ laughter ] >> jack paar invented the late night television talk show. >> you feel confident? >> there is not a man in the world to beat me. i'm as pretty as liberace. [ laughter ] >> jack had in his corner his personality. his fabulously, interesting,

complex, frightening, neurotic, but in other cases enthusiastic and informed personality. it made for great television. >> how much time have i done? i don't have a watch either. how much? has it been charming? i'll quit now, then. >> here's johnny! [ cheers and applause ] >> johnny carson inherited "the tonight show," but he made it his own. >> it is going to be wild tonight. i can always tell. >> he hosted a nightly party. >> are you married? >> oh. [ cheers and applause ] >> and if his buddies came, and they started playing together, you felt like what it must have felt like to go to vegas at 3:00 in the morning and have the rat pack come out. >> no, but where is the guy you talk to? [ laughter ] >> it was a beautiful thing to watch a guy working at his best.

>> okay, bingo. get your ax and let's go. ♪ [ audience reacts ] [ laughter ] >> if you watch it closely, he is gauging how much longer he can wait to let the laugh die before what he says will be irrelevant to what happened. and he gets it just on the nose. it's beautiful to watch. >> i didn't even know you were jewish. [ laughter ] >> johnny was the best audience in the world, and he loved comedy. >> the woman is watching him. she's watching him from the corner of her eye. he says to him, what are you

looking at? the guy says i'm looking at that ugly baby. [ laughter ] that's a bad-looking baby, lady. >> johnny was there listening for you. he wanted you to score. and when you scored, he scored. >> i said now calm down. he said, madam, the pennsylvania railroad will go to any length to avoid having differences between the passengers. i said, perhaps it would be more to your convenience if we to rearrange your seating. and as a small compensation from the railroad, if you accompany me to the dining car, we'll give you a free meal. maybe we'll find a banana for your monkey. [ laughter ] >> i'm dick cavett, funnier than chet huntley, taller than mickey rooney, and pure and honest as new jersey. plaft >> the dick cavett show, you could get people like norman

mailer and woody allen. >> my only new year's resolution this year, i think i'm going to try to sleep through the nixon administration. [ laughter ] >> you would have authors on. you would have heavyweight boxers. there were conversations. >> when you mentioned the national anthem and talk about playing it in any unorthodox way, you immediately get a guaranteed percentage of hate mail from people who say how dare -- >> that's not unorthodox. >> it isn't unorthodox? >> no, no. i thought it was beautiful. there you go. [ applause ] >> i just thought anything that is interesting ought to have a place on a talk show rather than young pretty actresses who use the word "excited" in every sentence. >> you're not frequently seen on television. is that by choice? >> well, of course, it is the most impressive medium of all. it's the medium that's going to either save america or send it down into demise. there's no question about it. >> i'm getting out of it myself. >> really? >> we'll be back after this. >> what you do is book the best

possible guests from different kinds of businesses, maybe not everybody in show business. some politics, some newspaper people. get them all on the stage together and hope that something works. but it's a great show. it's a great platform for people who have something to say. >> the point is they take these scripts out of the drawers. they change the things around. maybe it doesn't work on "green acres," but with many of these shows, and that's why night after night, you turn on these serials, and they all seem as if they came out of the same bread box. [ applause ] >> back then you had lots and lots of copycats. you have "the addams family" and then "the munsters," and you have "bewitched." and then "i dream of jeannie." if one person is doing this fantastical hit, we're going to do that. >> now, is that considered a crime? >> i'm afraid not. there aren't any laws to protect us against bad tv shows yet. so you're safe. >> thank you. [ laughter ] >> what i'm surprised by are some of the shows that i can't

even imagine the pitch meetings for, like "hogan's heroes." >> it's a story about american prisoners of war in a nazi concentration camp, which doesn't sound like it's a funny comedy. >> why don't they trust us, schultz? >> that shows you how weird the '60s was right there. [ applause ] >> there is another one of our fine shows for this year. pit stop! [ laughter ] the moving story of an effeminate race car driver who was really an astronaut for the mafia. [ laughter ] 9:30 eastern time, 8:30 central time, quarter after 2:00 pacific time. [ laughter ] ♪ hey google. ♪ ♪ ♪

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cbs presents this program in color. >> i didn't have color television until i was 16 years old. yes, i lived like an animal. >> the following program is being brought to you in living color on nbc. >> getting the color tv was huge because suddenly we could watch "walt disney's wonderful world of color" on sunday nights, which was like just an acid trip of a show. we just could not believe it. tinkerbell going bing, bing, bing. and it was like special effects par excellence. ♪ the world is a carousel of color ♪ ♪

>> it also happened just coincidentally at the time when what we think of as the mod '60s came in. colors were all over the place just as tv could start to take advantage of them. >> hi. >> well, glad you could make it. >> i remember saying stay tuned for "gidget" next, in color. wednesday nights, in color, on abc. it was a big marketing thing. >> color tv was a huge step forward as far as the technology went. and yet, i think of "lost in space." "lost in space" started off as a black and white show and went to color. it didn't get any better when it went to color. >> dr. smith, you're alive. >> of course i'm alive. do i look like a corpse? >> the period has a reputation for being tv as a kind of candy. sometimes it felt like there was this really aggressive innocence to it. >> you're only to blow that in an emergency. >> this is an emergency.

you're standing on my foot! >> "gilligan's island" made no sense whatsoever logistically. how is the professor able to build all this stuff but not build a damn raft? >> this stick of true dynamite that i made. >> it makes no sense if you pull any single thread on it, but it was just like the kind of show designed to live forever in syndication. >> who are you looking for? >> the nun. who else? >> are you kidding? >> "flying nun" is the most -- it's a crazy show. like what is that about? >> look, carlos, it's very simple. you see, i only weigh 90 pounds and the combination of my cornet and the wind lifts me. >> it was just complete nonsense, let's face it. it was the height of the '60s, and everybody was eating granola and dropping out and doing god knows what else, and i wasn't. >> hello, central? i'm switching to my eyeglasses. put a hold on my wallet but keep my shoe open.

>> television more than ever in the '60s was a place to escape to. >> let's go. ♪ >> seemed like it was almost sort of a willful respite from the stuff that was going on out in the world in real life. >> here's a bulletin from cbs news. there's been an attempt -- as perhaps you know now -- on the life of president kennedy. he was wounded in an automobile driving -- >> in the early '60s, television was by and large seen as something of a backwater to print journalism. and even to radio. but the kennedy assassination was the moment that television journalism came of age. >> we'll continue full-day coverage of the presidential funeral and final procession. >> more and more people were depending on television to give them the headline news of the day. >> 330 americans were killed in combat last week in vietnam. but the number of wounded, 3,886

was the highest of any week in the war. >> most of the 1960s, the contrast between what you saw in your entertainment and what you saw on the news was, you know, planetary. >> never has this dissent been as emotional, as intense. >> in the '60s, it was one thing after another. each year it was filled with important events. >> governor wallace has ordered 500 alabama national guardsmen into tuscaloosa. at the moment, they are under his control. >> whether it was the civil rights movement or it was the kennedy assassination or the space race, when there was a huge thing that happened, it happened on tv. >> the witness to that violence that has seemed to be unprovoked on the part of the demonstrators. >> television became the fire in which the whole tribe gathered around to listen to the elders tell them what was going on. >> police reinforcements moving down balboa street now.

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♪ good evening, ladies and gentlemen. tonight, live from new york. >> from hollywood. >> from beautiful downtown burbank. >> here is the star of our show, bob hope! [ applause ] >> variety was the backbone of television back then. one year there were like 18 different variety shows. everybody had a variety show. ♪ it's the jimmy dean show ♪ >> everyone was different because of who was helming the show. ♪ everybody loves somebody some time ♪ >> dean martin was just so loose he acted as though he was doing the whole show drunk without a rehearsal. >> this is a real international show. now, where else could you see a smooth italian and a slippery pole?

>> he was funny. he was really, really funny. ♪ >> he always looked as if he was a bit lost. people thought that it was because he was tiddly. but that was part of the charm. >> here he is, ed sullivan! ♪ >> thank you very much. thank you. >> no matter who controlled the tv set the night other nights of the week, on sunday night, you know, 8:00, you were going to watch ed sullivan. >> now, ladies and gentlemen, a very fine novelty act. >> ed sullivan was a phenomenon. he was a powerful force. >> quiet, please. >> the beauty of the sullivan kind of variety show is that if you didn't like something, something else would be around in four minutes. >> no. >> no. >> why? >> it is very difficult. >> easy.

>> advertisers wanted everybody. and so they got everybody. a little kid and his grandparents could watch the same show. >> they would have an elephant on, and then the next thing somebody doing shakespeare, and the next thing, a comic. there would be an acrobat and then an opera singer the next bit, which was true variety. ♪ go downtown ♪ ♪ things will be great when you're downtown ♪ >> anything that was current was on "the ed sullivan show." >> a young richard pryor. >> thank you, thank you. joan rivers. rodney dangerfield. >> everybody wanted a showcase. if you got on sullivan, you knew you could talk about it. did you see sullivan? >> my whole life i don't get no respect. no respect from anyone. >> as a performer, you couldn't get a place to sell your product.

♪ >> when i started out, they would say, variety is a man's game. it's dean. it's milton berle. it's jackie gleason, you know. it's the guys. but variety is what i know. i felt it was in my genes to do this. [ yelling like tarzan ] >> she had been so good on the garry moore show. she always knew she could sing and dance and be funny. >> on my show, i would do pratfalls and jump out of windows and get pies in the face, and it was heaven. >> you know, i still see a rerun of "the carol burnett show" and i think, goddamn, they're funny. [ laughter ] there's never been a better three-wall sketch show ever. >> she was great in bed, too, dickey. remember? >> you never went to bed with -- >> well. >> you're not supposed to curtsy. you're supposed to bow. >> well, i get dizzy when i bend over.

>> when tim conway came on his goal in life was to destroy harvey. here's tim with our own harvey korman as a brand-new dentist with his very first patient. we used to have a pool backstage, not as to whether harvey was going to break up, but how far he could get along in the sketch before he broke up. >> novocaine. here we are. novocaine. take a firm hold of the hypodermic needle. right. [ laughter ] >> they never knew what he was going to do. but they knew it was not going to be what they expected. [ laughter ] >> when they did the dentist sketch, none of that was rehearsed. >> yeah, be right with you. [ laughter ] >> poor harvey was helpless, tears coming down. and tim swears that harvey wet his pants during that sketch.

[ laughter ] >> i don't know why that worked so well. watching two actors break character and just crack each other up should not be as entertaining, but somehow when it's tim conway and harvey korman doing it, i could watch that stuff forever. >> i just thought if we have fun, the audience will. we're going to go out there and do what we do best, and it worked. >> you can plan it. you can write it. you can rehearse it. but you hope for some magic, it was carol, carol, the magic of carol burnett.

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are you saying he is a tv addict? >> well, perhaps he's been staring at this electronic blessing, the television set for so long that his life has become his. >> yeah. >> and he's reached such a stage of confusion that he no longer knows whether he's watching the action or participating in it. ♪ >> you unlock this door with the key of imagination. beyond it is another dimension. >> there was desire on the part of writers and producers to push the envelope and stretch the medium. you certainly saw that with "the twilight zone." it was a very cinematic show. >> this is not a new world. it has patterned itself after every dictator who has ever planted the rippling imprint of a boot on the pages of history since the beginning of time. >> rod serling, who created "the twilight zone," came to the realization that through a lens

of fantasy or science fiction, he could tell stories about racism. he could tell stories about fascism. >> tonight, i shall talk to you about glorious conformity. >> it was a way to deal with a lot of the issues that america was starting to go through at that time but in a fantastic setting so that there's some divide between you and the show. >> they sent four people, a mother and a father and two kids who look just like humans, but they weren't. >> "the twilight zone" had these little o. henry-like twists on it. it was allowed to have unhappy endings. >> they picked the most dangerous enemies they could find, and it's themselves. >> now six months a fugitive, this is richard kimball with a new identity and, for as long as it is safe, a new name. >> "the fugitive" was a kind of somber character study. >> beware the eyes of strangers, keep moving.

>> everybody wanted to see what happens to "the fugitive." >> i'll ask you a question, how long is he going to go on? will they ever find him? >> i'm about ready to give up. >> when it ended, it broke the viewership record set by the beatles on ed sullivan. it was one of the first tv shows that actually went somewhere. >> you know, youngstown is not exactly on our course. >> in a lot of ways, television was showing slices of the world that people may have never seen before. "route 66" was an innovative show because it was actually filmed on location. so the audience was being exposed to things that just weren't part of their local orbit. >> space, the final frontier. ♪ >> you know, there's a little bit of the mayberry aspect to the world of "star trek." that's going to sound like an odd analogy, but follow me here. people want to believe that such a place can exist. the idea of a future in which a lot of the biases and the fears

of the past has evolved out of us. >> where i come from, size, shape or color makes no difference. >> there's one episode where some of the members of the crew were taken over by these mental giants. >> this psychokinetic power of yours, how long have you had it? >> they forced captain kirk and and lieutenant uhura to kiss. it was the first interracial kiss on television. ♪ >> nbc asked me if i would do my own special, and i had always adored harry belafonte. we decided to do one duet called "the path of glory." ♪ it was an anti-war song, and we both felt very strongly about it. i just touched his arm. the sponsor went crazy.

my star doesn't touch a black man's arm. >> petula clark said, i'm not doing it over, and it's my show and it's going in that way. >> we weren't having any of that nonsense, no way. so it went out the way we wanted it to go out. i didn't really have any other problems with sponsors, but that sort of gave me a taste of what could happen. ♪ a car that's moving fast and clean and strong ♪ ♪ get the plymouth beat, you can't go wrong ♪ >> in the tv business, the '60s was probably about the last decade during which the sponsors had a really iron grip on content. >> brought to you by dash. >> even if they tried to keep tv this white homogenous whole milk product, the world found its way in. it just had to. >> what's the trouble, driver? >> can't you ever remember to

bring a silencer? >> it ruins the line of my suit. >> with "i spy," robert culp and bill cosby were equals. cosby is this pioneer in terms of a black male lead in a drama. he made race a non-issue because he's undeniable. >> the winner is bill cosby in "i spy." [ cheers and applause ] ♪ >> bobby and i tried to put forth an example of the way it should be racially in this country. we need more people in this industry to put forth that message and let it be known to the bigots and the racists that they don't count. thank you. [ cheers and applause ] >> as television changed, it was helping all americans to understand that this is what america looks like.

>> frankly, you're not exactly what i expected. >> no? >> no, not from what i read here. >> did you expect me to be older or younger? >> "julia" was going to be the first time a black woman starred in her own television show. >> has mr. colton told you? >> told me what? >> i'm colored. >> what color are you? >> she was a young black woman who had been educated, raising her son alone. it had a universality that was just something new. >> and you'll keep out of mischief? >> i'll just watch the old tv. >> good. >> in the '60s, america was exploding in a way that needed to be reflected on tv. ♪ >> stand still. >> "dragnet" came back in the late '60s and friday was now in a very different world than he had been in in the black and white days. and suddenly there were the damn, dirty hippies.

>> i bet he's been dropping that acid we've been hearing about. >> jack webb would lecture you about the dangers of marijuana smoking and crazy drug culture. >> they're trying to deal with the counterculture, but they don't understand it. so it is basically the stereotypes of what the hippies were like, and it plays exactly like that. >> keep your nose out of my purse. >> keep yours out of the acid. next time i will.

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nbc presents rowan and martin's "laugh-in." [ applause ] ♪ >> our country will be much better off with a strong leader. >> i know, but sinatra can't do everything. >> when "laugh-in" came along, we'd never seen anything that was kind of like grown-ups acting goofy and hip that way. you know? they had girls dancing in bikinis and the joke wall. >> who's in there with you? >> cool hand luke. >> and it was nothing but jokes. >> i was at the hospital. >> anything serious? >> a black widow bit me. >> well, it never would have happened if he'd been a gentleman. >> jugs. >> we took it to the network and the network said what the hell

is this? this makes no sense. i said, right. >> they acknowledged the hippie generation, yet the hosts were in tuxedos smoking cigarettes. they were still your parents. but the other people let loose on the show were this kind of young vaudeville. >> it's sock it to me time. >> hey, she socked it to herself. >> we knew that sock it to me didn't mean sock it to me. right? so we thought, oh. >> sock it to me. >> sock it to me. >> sock it to me? >> it wasn't as subversive as it sounds. yes, it was. it was -- it was -- it was fun. >> sock it to me? >> was the first time presidential candidate had ever appeared on a comedy show. and that may have got him elected, and i've had to live with that.

anyway. >> the family that watches "laugh-in" together really needs to pray together. >> just seemed like it's happening right now and it's about right now that is the greatest thing ever. that it was a fusion of politics and comedy and everything else into one television show. >> when we take over, i'm going to look out for you. >> the subjects that were verboten, we don't talk about these things, were starting to come up in tv. and because it was well executed, it changed everything. >> this is the smothers brothers comedy air. take one. production 124 air, take one. ♪ >> good evening and welcome to "the smothers brothers show." >> if rowan and martin and the smothers brothers are the new stars of tv comedy, it is the comedy itself rather than the comedians which is more often in the spotlight. these two programs have consciously tried to influence people by comedy techniques that break through the traditional

song and skit routines and by subject matter that is often on the cutting edge of what is new. >> our government is asking us as citizens, good citizens, to refrain from traveling to foreign lands. >> okay. all you guys in vietnam, come on home. >> the times were changing so quickly in the '60s. and we didn't change them. >> we just reflected them. >> i can't hear you. what are you doing? >> i'm getting ready to go to college. >> cbs gave the smothers brothers that show because they were clean-cut folk satirists. you know, they wore blazers. they could sing well. they were funny. >> mom liked you best! >> you lower your voice. >> mom liked you best. >> they told us what they thought we could do and what we should do, and it was totally wrong. and tommy came in saying, i would like a show where we can be relevant. ♪ if we could get a war without blood and gore i would be the first to go ♪ ♪ but until then mr. mcnamara ♪ ♪ i'm only 18 ♪

♪ and i always carry a purse ♪ >> the people in the counterculture started making these shows and they don't want to play by the rules that other people did before then. but who would expect the smothers brothers of all people to be the ones raising this much of a fuss? >> good script. >> i held my breath every time they did the show. because i knew the network people were befouling their trousers with fear. >> nothing funny in this. yeah, boys, we're through censoring your show. >> they said that the social subjects we touched on were not appropriate for the 9:00 family-viewing hour. they came up with any excuse to make it difficult. >> and i came up with any excuse to push it. >> yeah. ♪ cbs would like to give us notice ♪ ♪ and some of you don't like the things we say ♪ ♪ but we're still here ♪

♪ oh yeah we're still here ♪ >> they were going to speak truth to power. and they were not compromising. >> you have something important? >> something very important to say on american television. >> a lot of times we don't have the opportunity to say anything important because it's american television, every time you try to say something important -- [ cheers and applause ] >> well, whether you can say it or not, keep trying to say it. that's what's important. you get that? >> there's no way in the world if anything is meaningful and truthful that you're not going to offend someone. you've got to be able to say what it is. say how it is. and take the consequence. >> cbs announced today that the "smothers brothers comedy hour" will not return to the cbs television network next season. network president robert woods said it became evident that brothers, quote, were unwilling to accept the criteria of taste established by cbs.

cbs news efforts to reach the brothers for comment have been unsuccessful. >> i was angry. but we never regretted it. we never did regret it. >> what do you think of television, honestly? do you think it's good? >> yes, i do. i think particularly for what it is. for the amount of hours that it gives you for enjoyment. either in education or for pure entertainment, it's remarkably good. >> what television did in '60s was to show the american people to the american people. until then, we did not truly know much about each other. we knew only what we had seen, which was very little, and what we had read, which was even less. >> a few years ago i thought it was the end of the world. >> no, it's just the beginning. >> i think people looked at television for answers, maybe. that the world's just confusing, it's going to hell all over the place. maybe something on here will help. >> there was no denying the shift in attitudes towards sex,

towards race relations, towards politics. it was all televised. >> that you will faithfully execute the office. >> that i will faithfully execute the office. >> when it works, television conveys impressions and evokes memories. when it works well, television makes us feel. >> good morning. it's t-minus 1:29:53 and counting. >> television created a sense of national unity around cultural events. >> okay, neil, we can see you coming down the ladder now. >> you could turn on a machine and be somewhere else. >> you're looking good. >> boy. >> television changed absolutely everything. >> beautiful view. isn't that something ♪

tonight our topic will be murder as a growth industry. >> murder has become an epidemic in america. >> the last ten years, the homicide rate has increased by leaps and bounds. >> my god, somebody fired a shot! >> these tragedies keep getting closer and closer to home. i'm afraid to let my kids walk out the door. >> the interurban crime wave has touched off a new round of gun buying. >> step out, mr. bundy. >> i'll plead not guilty right now. >> there has been a disturbing growth in cult phenomenon in this country. >> i shall be god.