decades." 1967. lyndon johnson was in office. the beatles released "sgt. pepper's lonely hearts club band." the first rolling stone magazine was published. the mod look in fashion was in full swing. gas was 33 cents a gallon and a movie ticket was a dollar 25. today on "through the decades," we're taking the hour to look back at the one year 1967. from the hit tv show about a fake band who became a real music sensation to the hippie movement. but, we start with a season that year. the summer of 1967. it is known as "the summer of love." scores of young people flocked to san francisco to be together, enjoy music, happiness, drugs and each other.

there are moments in american history that divide our story into a clear "before" and "after." from lexington and concorde to pearl harbor, those moments are most often defined by conflict. but in 1967, it was defined by a lack of sexual inhibition a steady supply of hallucinogenic drugs and a new thing called acid rock. that june a tidal wave of humanity packed san franciso's "haight-ashbury" district for what came to be known as "the summer of love." it was the watershed moment for a movement that had been slowly building fueled by main stream press attention at events like the "human be-in" at golden gate park and timed perfectly to the end of the university school year. the nation was at a turning

point. events in places watts, dallas and vietnam were unfolding. the baby boom was over... and it seemed like everyone had long hair. as spring semesters came to a close around the nation, young people couldn't wait to follow tim leary's advice to "turn on, tune in, and drop out." they made their way to san francisco anyway they could - hopping a train, pilling into the v-w bus or by sticking out their thumb. some estmates have as many as 75-thousand "flower children" descending on the bay area that summer. "in san francisco, a flower child is like a peace lover, happiness, go to love-ins and be-ins and i want to hear ginsberg." just a year before, life magazine told the world about the joys of l-s-d. "it's very difficult today to pick up a newspaper or a magazine or listen to the radio without hearing about l-s-d." a few months later california

outlawed the stuff. but l-s-d was a big presence during that summer as the sounds of the grateful dead wafted in the air. by the end of the summer, the drug scene had turned to speed. crime and hygene problems in the neighborhood had some of haight-asbury's own neighbors staging a "death to the hippie" ceremony. "many predict that there will be no beautiful summer for the hippies of san francisco, that the dreamy bohemia of haight- ashbury will be destroyed like the beat generation of the '50s by thrill seakers, tourists, and commercial exploiters. the psychadelic love generation of the '60s may find that it takes more than new words and new drugs to conquer the old order." still the impact of that summer would be felt as monterey and woodstock became musical milestones. the enviromentalist movement gatheredteam and tie-died fashion seemed to

last forever. these days, the image of a group of hippies dancing in golden gate park is an engrained part of the american mystique. not many rock stars get to be music legends with only one top ten hit to their name. but jerry garcia defied convention and the man behind the grateful dead was prolific, both professionally, playing more than 2,300 concerts in a career that spanned three decades and in his personal life, fathering four daughters with three different women. in 1967, garcia and his band were at the epicenter of music not just in san francisco but the entire country. "my motivation has been basically the love of music. i love music really. that's really what it boils down to." jerry garcia began his life on august 1, 1942 in san

francisc california. the second son of ruth "bobbie" garcia, a nurse of swedish- irish descent and joe garcia, a spanish immigrant who was a popular local band leader, he dropped out of high school and served nine months in the army before being discharged for poor conduct. that's when garcia began playing folk songs and blues guitar around san francisco, where he was front and center in the thriving haight ashbury hippie movement. "what we're thinking about is a peaceful planet. we're not thinking about any kind of power. we're not thinking about any kinds of struggles. we're not thinking about revolution or war or any of that. that's not what we want. nobody wants to get hurt and nobody wants to hurt anybody. we would all like to be able to live an uncluttered life." the grateful dead initally played 'psychededlic' rock, their music drawing ever bigger crowds. band members would come and go

over the years but garcia would remain at the helm. in the 1970's, the grateful dead adopted a more diverse repertory of rock continuing to expand its die- hard fan base of deadheads. "i can't explain it, theres no explaining it, but- uh we know what they mean and it's part of why we keep doing it." "it must have something to do with the idea ... with the way we approach music." "i've seen them like 30 times, but people have seen them hundreds of times. i'm just like a baby so." "wisconsin, d.c., i've seen them in new york, i've seen them in florida, new orleans." in the late 1970's and early '80s, the grateful dead toured constantly, playing at venues

across the country. this is also when garcia began using cocaine and heroin becoming heavily addicted as his drug use escalated. finally, after being arrested in 1985, he was sent to a treatment center and decided to turn his life around. the band made a comeback with a hit album, 'in the dark' and a hit single, 'touch of grey' in 1987. "a large part of my life, i've spendoing something which has turned out to be more fun than i thought it was gonna be and it's lasted way longer than i imagined it might." but the show couldn't go on forever. all the years of hard living caught up with garcia, and he died of heart failure on august 9, 1995 at a treatment center in forest knolls, california at the age of 53. garcia was celebrated by 25,000 family, friends and fans at a

public memorial in golden gate park. "he was life. he was everything to do with fun and living, you know and his death is going to just make us cherish life that much more i think, you know and keep things going." as we continue our look back on the year 1967, we sit down with mickey dolenz to look back on his rise to stardom as a member of the monkees. we remember how actress kathy garver helped make "family affair" one of the biggest shows on t-v. we're turning back the lens of time on the comedy team that became a pop culture touchstone in the '60s. then we remember broadway legend and film favorite carol channing. and we remember a man who generated a catalogue of era- defining films, dustin hoffman. stay tuned, it's all still to come right here on "through the decades." decades." the monkees was a t-v show that

had deubted in 1966, but by 1967 were a smash hit. the show was about a struggling rock band and starred davy jones, peter tork, michael nesmith and micky dolenz. the t-v show launched these actors into a very successful career as a very real band who scored 10 top 20 hits on the billboard charts. "my parents were both actors and singers. so i was born and

raised in the business. the earliest recollections of my father on the set, ya know. so it was the family business." in 1956, dolenz starred in "circus boy" about a kid who gets adopted by a traveling circus owner. when the show ended, dolenz returned to school until 1965, when he got a role in a sitcom about a rock n roll band. "the monkees was a television show about an imaginary band that wanted to bethe beatles. that was the essence, the theme of it. and on the television show, we were never successful." but the t-v band that became a real band was another story. dolenz , who sang and played the guitar *singing was cast as the drummer. "and i said, 'but i'm a guitar player' and they said, 'we have enough guitar players. you're the drummer.' but you know from my point of view this was a television show about an imaginary rock'n'roll band.

like circus boy was about a kid in an imaginary circus. and when i was circus boy they said, 'you're going to learn to ride an elephant.' i said, 'fine, where do i start?' and when they said, 'you're the drummer i said, 'fine, where do i start?'" davy jones, peter tork and michael nesmith -each of whom dabbled in the music business- rounded out the remainder of the monkees cast, but when it came to recording monkee music , much of the including the songwriting was left to the professionals. "we were surrounded by so many incredibly talented people." by the time the monkees began performing as a real band, live in late 1966, they were one of the hottest groups around *girls screaming dolenz has always maintained that he took the music part of the monkee business very seriously. "and i learned to play the drums for the part and i studied, diligently because eventually i did start playing everything and we went on the road. our

first concert tour was 200 cities and our opening act was jimi hendrix and we did it all. "it was just the four of us out there. we sounded pretty good. we were a hot, little, garage band cause that's what it was really about, a band that never really made it on the television show, we were always struggling." the monkees debut single, the last train to clarksville, was actually a vietnam protest song but quickly hit number one when it was released in 1966. *singing "take the last train to clarksville and i'll meet you at the station. you can be here by 4:30 cause i've made your reservation. don't be slow." "last train to clarksville is um, officially yeah, it's an anti-war song. but it was about as far as the record company and network would allow us to go. we were really under the thumb of censors and- but that's not what the monkees was about. it wasn't about protesting and it

wasn't about that. it was bringing long hair into the living room and saying, look these four young guys, masters of their own destiny, , nobody kinda controlling them keeping tabs on them but they're okay. they're just having fun. they were just having fun and doing music and just wanting to sing and dance." the monkees would do just that till 1971. there would be reunion tours and new records and even the death of davey jones in 2012. but even now, the fiftieth anniversary of the monkees, their fans still can't get enough "it's been about every ten years.the demand comes up. the music is, of course, always been played over the decades." after their twentieth anniversary, dolenz tried explaining the allure of the monkees with a little help from a friend. "we're an act like the marx

brothers." "i'm mick jagger. that's who i am." "it was john lennon who made that comparison way back in 1969 when he was asked about the monkees. he said they're like the marx brothers which is true." these days,there are some old monkees songs dolenz still performs for the audience and himself. "but gosh, stepping stone by boyce and hart you know still rocks and clarksville and i'm a believer." "but my attitude has always been, i was blessed to have been there and got that part, and then was blessed to be surrounded by these incredibly talented people and then, somebody picked me to sing these songs." "one of the producers of the monkees was asked years later, 'what do you think was the reason it caught? what?' he said, 'we caught lightning in a bottle.' and my feeling has always been that, it's like trying to reduce something scientifically. you take it apart and to its constituent

parts. you can't do that. it's like taking apart the watch and then, it doesn't work. the whole becomes greater than the sum of its parts and that's what happened with the monkees." still to come, why 1967 was an important year for the actress kathy garver on the hit show "family affair." plus, the tragic death of a hollywood starlet who was well on her way to legendary status and we'll recall the debut of one of t-v's longest running live action sitcoms, "my three sons." this is "through the decades." sons." this is "through the decades."

♪ it's here. the first night your teenage daughter stays out way too late. but after three years of specialist cancer care, to guide her into remission, you couldn't be happier about it. aetna. you don't join us, we join you. in 1966, three orphaned siblings came to live with their bachelor uncle and his butler in new york city in the premiere of cbs's sitcom, "family affair." by 1967, it was a bonified hit.

kathy garver who played cissy reveals what it was like growing up this unconventional family. "i had been an actress all my life and one of the first roles i did was as the young slave girl rachel in 'the ten commandments' which is shown every year. it has certainly a life of it's own as i guess the bible does and it's ongoing." kathy garver was at ucla when she got a call about about an audition. "i was in the pi phi sorority and my mother calls, and she says, 'kathy, you have an interview. we've got to be in westwood in the afternoon.' i said, 'okay, that's fine, mom. i'm done with my classes,' and i said, 'what's it for?' 'well, it's for this new television series but they want a blonde, blue-eyed girl.' i said, 'okayyy.' now at that time, i did not have little goldilocks. no. i had dark hair and i still had dark eyes and we did not have blue contact lenses during

that time." despite "their" preferences, kathy charmed the producers and won the role of catherine patterson davis better known as cissy on "family affair." the showabout 15 year old cissy and her six year old twin siblings moving in with their rich uncle and his butler after being orphaned, premiered on september 12, 1966 and ran untii 1971. "i term it more of a dramedy than a comedy and the essence of the comedy was situational and it depended on what was happening. you know the problem was set up, you know, how are you gonna solve the problem, it goes to the climax and so it followed a classic kind of theme, however, um the comedy was gentle." brian keith, played uncle bill in the beloved sitcom that redefined family. "how come we didn't think of a party?" "cause we needed uncle bill's

extra head." "that's right. i'll leave it up to you." "our show in particular was really about love." "there was a really connection and a true affection for the members of this unlikely troop that got together of three kids and a bachelor and a ... and a 'manny'." garver, who went on to have a successful career most notably doing voiceovers, says despite being an unconventional family, the show resonated with viewers because it stayed true to the family unit. "what we did was right for the family and right for the circumstances and right for a bachelor trying to have a ready made family given to him and then what to do. and there was maybe a little lesson. there was a kind of a moral but the morality was being honest and understanding a situation and understanding where another person was coming from instead of being so self-involved and

so entitled. that's all that the show was about." "so, i think that was the grand lesson." as we continue our look back on 1967, we would be remiss not to mention the rise of the counterculture -- also known as "the hippies" plus, the comedy-variety show that helped lay the groundwork for a generation of comedic talent. those stories and more are still to come right here on "through the decades." to come right here on "through the decades." the 1950's were a decade of

rigid social conformity. people were expected to look, talk, act and think like everybody else. it was only a matter of time before that cracked up. in the 1960's, faced with an unpopular war that they were told not to criticize, a significant segment of the younger generation rebelled against their parents, their communities and their government. spurred on by rock-and-roll, they chose as counterculture guru timothy leary put it to "turn on, tune in, and drop out." in other words, they became hippies. the long hair, the stoner speech patterns, the

peace symbols and the flower-power, at the time, they were viewed as a very real threat to the american way of life. in addition to opposing the war, hippies advocated communal living at a time when communism was the country's ideological enemy. they spurned the work ethic in an era when people defined themselves by their jobs. they embraced eastern philosophies and religions that were alien to most americans. and they took over whole neighborhoods, most famously san francisco's haight-ashbury district where a hundred thousand hippies settled in for 1967's "summer of love." but most alarming of all to '60s america was the hippie embrace of marijuana. hippie culture reached its peak of both visibility and influence at woodstock in 1969. billed as "three days of peace and music," the festival was

also a celebration of free love and chemically altered consciousness. the darker side of all these freedoms started to surface in the '70s, with acid casualties and rampant std's and as hippies aged and had children of their own, they inevitably became less radical. by the late '70s, they were all but extinct. still their legacy remains strong. they didn't stop the war but they did give america more relaxed standards of dress, sexuality and recreational drug use. and of course, every major music festival still strives to be the next woodstock. maybe no one says "groovy" or "outta sight" anymore, but where it counts, we're all still a little hippie.

it was a comedy phenomenon which took america by storm in the late 1960s. a fast-paced variety show filled with one-liners, sight gags and topical humor. "laugh-in" was top-rated t-v almost from the time it first aired in 1967. so are we celebrating "laugh- in" right now? you bet your sweet bippy we are! "nbc ignores several threatening phone calls and presents "rowan and martin's laugh-in." it was a fast-paced sketch comedy show which was unmistakably part of its time - the late 1960s. this was "rowan and martin's laugh-in," one of the most influential comedy shows to ever appear on television even though its run on "n-b-c" was relatively short lasting only six seasons. "it happened in the '60s. it was the age when we lost our innocence and people wanted a release valve. they wanted

something to laugh at. they felt badly about the war, the economy. all the same things we're having trouble with now, we had in the '60s. we haven't fixed anything." george schlatterproduced "laugh-in" as a "one-off" comedy special for "n-b-c" in 1967. the nightclub comedy team of dan rowan and dick martin hosted and that pilot show was a success. "and now folks, it's sock it to me time." so "laugh-in" was launched as a series on monday nights in january, 1968. in addition to rowan and martin, the show featured a cast of talented, then-unknown comedians. "they put us opposite "lucy" and "gunsmoke." the number one and three show in the country and on our ninth show, we had climbed to number one and that's pretty tough competition." the show stayed in that top spot for the next two years.

it featured rapid-fire comedy bits laced with topical and political humor. "i have nothing against minorities but what happens when there's more of them than there is of us." from the weekly "cocktail party" sketch where the cast and guest stars traded jokes. "i plan to run in mississippi." "for what?" "the state line." "oh." to "the joke wall" segment which ended every show. "there were no sacred cows with us. we hit the left. we hit the right. we hit the democrats. we hit the republicans." the show's incredibly fast pace was new on television and so was the show's mod look influenced by the psychedlic styles prevalent in the late 1960s. "much of what we did in those days is now being utilized in advertising and in ... we broke the ground for a lot of television." "ours was the first show that i know of that was done for television. it was electronic

and it was visual - totally visual. you couldn't walk out of the room on ours because you wouldn't know what was going on." "you mean that you would deliberately mislead these people to make them watch the show because kirk douglas is on." "you bet your sweet bippy i would. heh. heh." it's catchphrases soon became a part of the american lexicon. from "you bet your sweet bippy" to "you can look it up in your funk and wagnalls" to the most popular one, "sock it to me" which richard nixon even uttered in september, 1968 in a five-second appearance which some say catapulted him to the white house a few months later. many from the show's cast soon became stars. most notably, a very young, often bikini-clad goldie hawn whose ditzy blonde character

became a breakout star. "those of us who were in the show were just so joyful and so happy to be in it, to be on it, to be part of it." arte johnson, lily tomlin, henry gibson, joanne worley and ruth buzzi also became stars after being on "laugh-in." and "laugh-in" became a major influence on other t-v shows. from "hee-haw" a country-themed version of "laugh in" to the "p-b-s" children's show "sesame street" which adopted "laugh-in's fast-paced style and one of "laugh-in's" writers, lorne michaels, developed another sketch comedy show a few years later for "n-b- c" called "saturday night live." as for "laugh-in," the show began to drop in the ratings as its homegrown stars began to leave and it was cancelled in 1973. but it re-runs are still running today providing nostalgia for a time when it was the "must-see-tv" of its day.

"it's nice to look in all of the history books of televsion and there you are. that's kind of fun." in 1967, the film "thoroughly modern millie" was released starring julie andrews as the title character, it was carol channing who would bring home the best supporting actress golden globe for her role of muzzy van hossmere. channing's distinct style with her tall stature, her big eyes and her wide smile made her a favorite of fans in the theater and on the big and small screens. *singing "well hello dolly." "glad to see you and let's thank thank my lucky stars." "your lucky star." carol channing's signature raspy, deep voice helped make "hello dolly" a mega hit when it debuted in 1964. it won 10 tony awards including best actress.

it's an enduring musical that has seen revival after revival. "we did it four years the first time and when we closed it, i cried my eyes out and i thought, there it is, it's gone forever. and then 10 years after we closed it, suddenly, ere was a grand revival and we were to go to london, 25 major american cities and almost a year in london at their biggest theater there, the drury lane." channing has performed the title role over 5000-times. "each time, she's deeper and deeper in my system. each time i understand more and more why thornton wilder wrote that speech, why jerry herman wrote that music to swell at this particular time. every performance i understand more." the numerous revivals and regional productions of the show have seen many other actresses tackle the role including pearl bailey and ginger rogers.

and plans are in the works to revive hello dolly once again, this time with bette midler. "i'm the mother hen who hatched all these 'dolly's.' the greatest musical comedy stars in every country in the world today.but the greatest women have sung our little dolly. i mean i am the mother hen. i gave birth to all these. and they've done my part. do you know how i feel? i'm proud, terribly proud." but pride wasn't exactly the sentiment she had when she found out she'd lost the role of dolly in the film adaptation of hello dolly to barbara streisand. "at the time, i just wanted to jump out the window because i just read it in the paper. that's all and ahhhhh! but this was before the whole world started playing dolly and everybody else did not realize well this is wonderful. this is just mushrooming." before hello dolly, channing had starred in gentlemen prefer

blonds in 1949. she lostthatrole to marilyn monroe in the film adaption. channing may not have starred in the film versions of these two iconic characters but they're stillher signature roles. "i would have loved to have done those two parts. you know, as i say, if you're crazy in love with the character which you have to be, and wasn't i fortunate, lightning in a bottle twice in my life. i mean, wasn't i lucky? when i walk into a restaurant or anyplace where there's an orchestra, they play hello, dolly and they play diamonds are a girl's best friend." channing did eventually expand her career to include the big and small screen. she guest starred on numerous television shows and she also won a golden globe for her performance in 1967's thoroughly modern millie. *singing "i have always been a woman who arranges ..."

and through her decades long show business career, she's never lost passion for her craft. "that's my joy in life. that's my gift. that's my talent. i have nothing else." he's one of hollywood's most versitile stars and one of his most iconic roles landed in theaters in december of 1967 when we return, we remember how a young unknown actor name dustin hoffman became a household name. this is "through the decades."

while her movie career was brief, the world remains dazzled by the unmistakable allure of jayne mansfield. in 1967 the world lost her at the young age of 34.. "if you're any good at geography, you'll recognize jayne mansfield and you'll recognize her car as a 1906 gregoire, if you don't care about geography. jayne, who for excellent reasons you can probably see for yourself, has been stealing the picture at the cannes film festival. the muscular gentleman with her? oh, well, that's her husband. jayne visited the late aga kahn's widow at her villa. wearing an outstandingly

attractive swimsuit, she decdied on a plunge into the pool. well, plunging in this case is not quite her line, perhaps. still, it's a new angle on miss mansfield and the famous film star's quite as buoyant as you'd expect." jayne mansfield always wanted to be a movie star. even her first marriage in dallas, while still a teenager, didn't slow her down. "you know, even when we would just be together in public, i don't care whether we were having a soda at the drugstore, or what, she was the center of attention." ironically for this future film star, when her big break came, it was on the stage. "jayne became famous doing a broadway play called 'will success spoil rock hunter?' it was originally written for me by a young playwright named george axelrod and i turned the role down like a dummy and jayne took it and became a star." mansfield's broadway debut coincided with another famous blonde's arrival in new york. marilyn monroe had abandonded

hollywood to study at lee strasberg's actors studio. "when marilyn left twentieth century fox, they said, 'well, we'll show her.' and they said 'there's this hot blonde in this play in new york. we'll bring her in.' so, they brought jayne in, and they were trying to create like a super-monroe to lure marilyn back. for a brief period, while marilyn was gone, she was it in this town. she showed up at all the premieres and she was very glamorous and her second husband, the muscle man, mickey hargitay, would carry her in, and make quite a spectacle. she lived the life to the hilt." mansfield was the ideal '50s star like the cars of the era, she flared out in althe right places. but her hollywood career was about to come to an unexpected halt. "once marilyn came back from the actors studio, with 'bus stop,' and it was a really huge hit, it was awkward for them to have the two blondes on the same lot, so immediately jayne was shipped overseas to europe and all the rest of her films were done in europe until about 1964, when she came back

to do films here. ." undaunted, mansfield used her banishment overseas to join bob hope's famous u-s-o tours. "she was something. and i'll never forget, in -- she came along at the right time for these kids overseas, i'll tell you that. they just loved her." i'll tell you that. they just loved her." in 1963, mansfield became the first major american actress to do a nude scene. the controversy helped make the film a hit and earned her a place in the box office top ten. but in subsequent years her

career stalled after she had a child and while she dealt with a troubled third marriage. then on june 29, 1967, jayne mansfield was killed in a car accident. she was just 34. "i was shattered by her tragedy. i mean, i just ... i never really quite got over jayne. marilyn, she had so many problems, you know, always trying to commit suicide and she had so many problems that you sort of maybe expected maybe that would happen but you never thought it would but with jayne it was more of a tragedy." "and the last time i saw her, it was sad. i kissed her goodbye in acapulco and she was with her attorney and the next day she was killed." in 1967 a film called "the graduate" hit theaters and left a mark on audiences for decades to follow. although he had done some work, a young actor by the

name of dustin hoffman garnered well deserved attention for his role in this film and hoffman parlayed that into an impressive career. "mrs. robinson, you're trying to seduce me... aren't you?" it was a huge hitand brought hoffman instant fame. two years later hoffman hit the big screen again, this time playing a street con man in the blockbuster midnight cowboy. (horn honks) "hey! i'm walkin' here... i'm walkin' here! "you can't ask for more dimensional material and i took it because it was a great part. however, after 'the graduate' i

was sensitive to the fact that i would read interviews and they were saying that mike nichols had found this passive kid that was just like that character on the screen and i had a strong desire to say to a public who was accusing me of being typecast you ain't seen nothing yet ." versatility became hoffman's trademark. he played one of his most memorable roles in the movie "tootsie," an actor struggling to find work until he dresses as a woman. "i wanted to move the men as much as the women, aside from the comedy. i wanted everyone to feel about that woman the way i did, as i was trying to portray her. she made me sad." "i think he may - because of this energy and drive, possibly may even destroy a director, but if a director feels secure enough that he can deal with

dustin, dustin will make him do his best work." "i get upset if i feel that the person who i'm working with is satisfied before they should be satisfied and satisfied not because they really think it's that good but because they are yielding to the pressure of schedule and budget." that drive and dedication paid off for hoffman, winning two academy awards, six golden globes and an emmy in a career that has spanned more than half a century. a remarkable legacy for one of the greatest actors of all time. still ahead, we turn to a sitcom that saw immense success on television not shared by many others on not one but two television networks. we're looking back on the classic series "my three sons." it's next right here on "through the decades." it's next right here on "through the decades." it's one of those '60s sitcoms

that still resonates with audiences. my three sons, about a widowed dad raising his three boys. it ran for 12 seasons, including a very popular one in 1967, making the show one of the longest running and most beloved comedies in t- v history. when film star fred macmurray got an offer to star in a new tv series, he turned it down.

the producer called him back. "he said, 'look, i don't want to be a pest but if we can do the series in three months, would you? what would you think and you wouldn't have to work after 6:00 at night." "and i said, well, that sounds interesting, but how are you going to do that?' and he said, 'well, i think if we get enough scripts ahead and we'll just shoot your part and then after you've left, we'll finish those shows and that's the way we did it and it turned out to be - we did it very successfully." dubbed "the macmurray method," where all of his scenes were shot first and the rest of the actors filled in their scenes later, "my three sons," premiered september 29, 1960. it was the first time a t-v show was filmed this way. "starring fred macmurray." "they did it to get fred to do

the show and... so it was a pretty hectic schedule. we were filming 10 to 12 sometimes 15 different pieces of different shows a day." "it was a hectic schedule, not only that, the continuity because if there was a scene with fred in it and he walked out of it, we wouldn't shoot the end of the scene then. we'd wait maybe two or three months, come back, and re-film it." "we'd all get into these weird positions. they'd roll cameras and we'd just start the scene from that point." "or a lot of times, we'd film scenes that fred would eventually walk into and stop at that moment and then pick it up when fred came back at the end of the year." "the matching was incredible. we had two matching ladies on the show you know." "matching means like when you have to write down what you were doing now so that when you cut in for the close up you know you're doing the same, you're taking about a mouth full at that time of cereal or whatever." but for macmurray it was a perfect solution. "it was the kind of a show where i wasn't the big star." "the dog tramp would have a show one day and ernie would have a show one week and i was just kind of there so it was a

lot of fun and it was very interesting to do and as i say, it turned out right. we were on 12 years." the show about a widowed father raising his three boys with the help of an older relative had numerous cast changes over its 12 seasons but never lost its relatable touch. "i i felt that as an actor i had done everything that i could do with that part." the oldest son, mike douglas, played by tim considine left after five seasons. then ernie, a friend of youngest son chip douglas, was added to the cast after being adopted by the douglas'. and when the boy's grandfather, played by 'i love lucy's' william frawley, left the show, his brother, uncle charley, played by william demarest, took over in the douglas house. even the network the show originally aired on changed.

the series started on abc but five years later moved to cbs after abc refused to pay for the cost of switching from black and white to color. but for 12-years the audience always followed the douglas's wherever they were. "one of the things about the show in the beginning that a lot of people have forgotten the uniqueness of it was that 'three sons' was the first show that had like - the place was a mess. the dog was on the table. there were clothes all over the place. you know we weren't coming down to dinner in our suits and things like that. and for the time in the early '60s that broke a lot of traditions. it was kind of unique to see. i remember a lot of people saying, 'that's the way my house looks,' you know." "and so it was fresh. you know when it came on it had a very natural kind of... it was at the time portraying what people thought their lives were in america."

that'll do it for us today.

i'm bill kurtis. as we leave, one last look back at the summer of love, "through the decades."

>> i'm natasha brown. next on "eyewitness news," a mistrial in the case against bill cosby. a deadlocked jury forces the judge to make a decision. what it means for cosby and his accusers. plus, a u.s. navy destroyer collides with a ship near japan. what we've now learned about the injured on board. chelsea. >> a steamy and unsettled father's day on tap. i'll have details in your

>> ♪ >> live from the cbs broadcast center in philadelphia, this is cbs3 "eyewitness news". >> a mistrial. >> we will take a hard look at everything involved and then we will retry it. >> the people of pittsburgh that came here and deliberated long and hard over the case, 52 hours of deliberations. the judge is