The American television sitcom “Three’s Company” aired from March 15, 1977, to September 18, 1984, and became an iconic series of its time. The show focused on three roommates living in a Santa Monica apartment and the misunderstandings that arose from their day-to-day interactions, particularly because of their living arrangement.
THREE’S COMPANY – Cast Gallery – August 23, 1977. (Photo by ABC Photo Archives/ABC via Getty Images)
Here’s a look at the original cast and what became of them:
John Ritter as Jack Tripper
John Ritter played Jack Tripper, a clumsy but endearing culinary student who shares an apartment with two women. Born on September 17, 1948, John Ritter was an incredibly versatile actor who went on to work in numerous TV shows and movies. Tragically, Ritter died at a young age, passing away on September 11, 2003. His death was caused by aortic dissection, and he died at Providence Saint Joseph Medical Center in Burbank, California. He was 54.
Joyce DeWitt as Janet Wood
Joyce DeWitt portrayed Janet Wood, a down-to-earth young woman working as a florist. Born on April 23, 1949, DeWitt largely retired from acting after “Three’s Company” but has made sporadic appearances in film and stage productions. She remains active in various charitable endeavors and has mostly stayed out of the limelight.
Suzanne Somers as Chrissy Snow
Suzanne Somers was Chrissy Snow, the stereotypically ditzy but lovable blonde roommate. Born on October 16, 1946, Somers left the show in 1980 due to a contractual dispute. She later became an entrepreneur, health spokesperson, and author, enjoying a long and diverse career. She passed away in 2023 after a decades long battle with breast cancer.
Norman Fell as Stanley Roper
Norman Fell played the role of Stanley Roper, the often-grumpy landlord. Born on March 24, 1924, Fell continued to work in television and film after his time on “Three’s Company.” He passed away on December 14, 1998, from bone cancer in Los Angeles, California. He was 74.
Audra Lindley as Helen Roper
Audra Lindley portrayed Helen Roper, Stanley’s more understanding and flirtatious wife. Born on September 24, 1918, Lindley continued to act until her death. She passed away on October 16, 1997, from leukemia in Los Angeles, California. She was 79.
Richard Kline as Larry Dallas
Richard Kline played the role of Larry Dallas, Jack’s best friend and a notorious ladies’ man. Born on April 29, 1944, Kline has remained active in both stage and television work. He has made guest appearances on numerous TV shows and continues to act.
The original cast of “Three’s Company” brought laughter to millions of homes, and they left a lasting legacy in the annals of television history.
The United States of America has always been a nation of immigrants. As new arrivals made their way to the country’s shores, they brought not only their dreams and aspirations but also their languages and cultures. One of the most fascinating aspects of this tapestry of diversity has been the proliferation of foreign language newspapers, especially around the turn of the 20th century. These newspapers served not just as a communication tool but also as a conduit for cultural preservation, political mobilization, and community building.
Pre-1900 Beginnings
To understand the history of foreign language newspapers in the U.S., it is essential to look back at the origins of American journalism itself. The first newspaper in the colonies was the ‘Publick Occurrences,’ published in 1690. As the nation expanded, the role of newspapers grew, and by the 19th century, newspapers were a staple of American life. The mid-19th century saw a significant influx of immigrants, primarily from European countries like Germany and Ireland. Responding to the needs of these communities, the first foreign language newspapers began to appear.
The Turn of the Century: The Boom Period
Around the 1900s, the United States experienced another wave of immigration, this time from Eastern Europe, Italy, and other parts of the world. This period saw an explosion in the number of foreign language newspapers. In major cities like New York, Chicago, and San Francisco, one could find newspapers in Italian, Yiddish, Polish, Chinese, and many other languages. These publications served various functions:
Information Dissemination – They translated American news and laws into languages that the immigrant communities could understand, thus helping them to navigate the complexities of their new homeland.
Cultural Preservation – The newspapers served as a repository for stories, traditions, and cultural narratives that helped immigrants stay connected to their roots.
Political Mobilization – During times of political upheaval or social change, these newspapers were platforms for activism. They galvanized communities around issues ranging from labor rights to anti-discrimination policies.
Community Building – The newspapers often carried job listings, advertisements for services catering to specific communities, and social announcements, fostering a sense of community and belonging.
Challenges and Controversies
However, the period was not without its challenges. The newspapers often had to walk a fine line between preserving cultural identity and promoting Americanization.
Moreover, during periods of conflict, such as World War I, these newspapers came under scrutiny for their alleged “un-American” stances. Some were accused of promoting foreign agendas, leading to legal repercussions and, in some cases, closures.
The Legacy
Although the number of foreign language newspapers has dwindled due to the advent of the internet and the increasing assimilation of immigrant communities, their impact remains significant. They were crucial in shaping the political, social, and cultural landscapes of their respective communities and, by extension, of the United States as a whole.
Foreign language newspapers around 1900 played a critical role in shaping the American immigrant experience, influencing not just the immigrants themselves but also the evolving definition of what it meant to be American. These publications, thus, offer a window into America’s linguistic and cultural melting pot, capturing the essence of a nation built on diversity and inclusion.
By examining the rich tapestry of foreign language newspapers in the United States around the turn of the century, one gains unique insights into both the immigrant experience and the multifaceted nature of American identity.
Dive In
If you’re interested in foreign-language newspapers held by Chronicling America, you can use their advanced search feature and filter by language. Here’s a general guideline on how to go about it:
Under “Select Language,” you can pick the language of interest.
Hit “Search” to see a list of available newspapers in that language.
Alternatively, you can navigate to the “All Digitized Newspapers 1777-1963” section and scroll down to find a filter for languages.
Given the range of languages covered, you might find newspapers in German, Italian, French, Spanish, Czech, and more, depending on the extent of the collection.
For detailed information about each foreign language newspaper, including publication dates and places, you would have to browse through the entries individually.
Few films have been as transformative to the horror genre as the 1931 cinematic masterpiece, “Frankenstein.” Directed by James Whale and starring Boris Karloff as the Monster, this film adaptation of Mary Shelley’s 1818 novel not only captivated audiences but also set a standard for visual storytelling. A critical aspect of the film’s enduring impact lies in the innovative makeup and special effects that were pioneering for their time.
The Maestro Behind the Makeup: Jack Pierce
When discussing the groundbreaking makeup in “Frankenstein,” the name Jack Pierce is inseparable from the conversation. Hired by Universal Pictures, Pierce was a visionary in the field of makeup artistry. Unlike modern-day techniques that heavily rely on prosthetics and CGI, Pierce employed rudimentary materials like cotton, collodion, and gum, sculpting them directly onto Karloff’s face and body.
The Creation of an Icon
The flat-topped, square-shaped head, scarred forehead, and bolts on the neck are now iconic, but in 1931 they were revolutionary. The process was laborious, taking up to four hours to complete each day. The heavy makeup made it challenging for Karloff, restricting his facial movement and requiring him to emote largely through body language. Despite these challenges, the final result became the quintessential image of Frankenstein’s Monster, ingrained in popular culture to this day.
Ingenuity in Special Effects
While makeup took center stage, the special effects in “Frankenstein” were equally groundbreaking. Electricity plays a significant role in the film, and the special effects team had to create convincing electrical apparatuses and machinery for Dr. Frankenstein’s lab. The setup included Tesla coils, electrical arcs, and specially designed lab equipment to give the illusion of a mad scientist’s lair.
The Birth Scene: A Marvel of Practical Effects
One of the most memorable scenes is the Monster’s birth, complete with rising tables, flashing lights, and electrical discharges. Most of these effects were practical and orchestrated in real-time, a feat that is awe-inspiring, even by today’s standards.
Legacy and Influence
“Frankenstein” went on to inspire generations of filmmakers, special effects artists, and makeup artists. The techniques Jack Pierce developed served as a basis for future advancements in prosthetics and animatronics. The special effects in the film, although dated by today’s technological advancements, remain a study in practical ingenuity.
Conclusion
The makeup and special effects work in “Frankenstein” (1931) were more than just cosmetic enhancements; they were central to the film’s storytelling, setting a high bar for movies to come. The tireless efforts of artists like Jack Pierce and the special effects team transformed Boris Karloff’s portrayal into an enduring cultural icon. The film serves as a timeless testament to the art of movie-making, where ingenuity could overcome technological limitations to create something truly unforgettable.
So, the next time you watch “Frankenstein,” take a moment to appreciate not just the chilling narrative but also the exceptional craft that went into creating this masterpiece. From Jack Pierce’s cotton and collodion to the flickering Tesla coils, each element was a stroke of genius that has stood the test of time.
In the heyday of the 20th century, carnivals were the epitome of joy, wonder, and community engagement. They roamed from town to town, each a small kingdom on wheels replete with a dizzying array of attractions. From the Ferris wheel to cotton candy, carnivals promised an escape from the mundane.
Central to this experience were the various games that drew crowds into a competitive frenzy, each offering a chance at glory and a coveted prize. Today, we are taking a nostalgic trip down memory lane to discuss the five most common carnival games that dominated the 20th-century fairground landscape.
1. Ring Toss
Ring Toss was a staple at nearly every carnival during the last century. It was elegantly simple yet maddeningly difficult. The setup involved a series of wooden pegs or bottles arranged either on the ground or on a table. Participants were given a set number of rings, usually made of plastic or wood, with the objective of looping these rings over the pegs or bottles. Despite its apparent simplicity, the game was notoriously challenging, as the rings were often just barely wider than the pegs themselves. The lure of Ring Toss lay in the deceptively easy appearance that beckoned you to try “just one more time.”
2. Shooting Gallery
Ah, the classic Shooting Gallery! Armed with an air rifle or sometimes a water gun, participants took aim at a range of targets that often included ducks, stars, or bullseyes. Mechanical intricacies ensured that the targets moved, making the game an entertaining test of skill and focus. Whether you were a sharpshooter or a novice, the allure of hitting a moving target and winning a prize was irresistible. The sound of pellets hitting metal and the subsequent cheer of the crowd were defining elements of the carnival experience.
3. Skee-Ball
Skee-Ball had its origins in the early 20th century and quickly became a mainstay in carnivals, amusement parks, and later, arcades. In this game, players rolled a wooden or composite ball up a ramp in an attempt to have it land in one of several holes, each assigned a different point value. With its unique blend of skill and luck, Skee-Ball was a crowd-pleaser that transcended generations. The captivating part was the gradual accumulation of points, which often could be traded for prizes or tickets.
4. The Claw Machine
While not a game in the traditional sense, the Claw Machine was a highlight of many carnivals and arcades throughout the 20th century. It was a glass box filled with an assortment of plush toys, trinkets, and sometimes even electronics. Players controlled a claw mechanism in an attempt to grab a prize and convey it to the drop-off slot. The Claw Machine was particularly thrilling because it offered the illusion of skill, even though the claw’s grip was often frustratingly weak. Regardless, the anticipation of the claw descending toward a coveted prize was a magical moment.
5. Whac-A-Mole
Emerging in the late 1970s, Whac-A-Mole was an instant hit at carnivals and arcades. The game featured a series of holes out of which plastic moles would randomly pop. Armed with a mallet, players had to quickly “whack” the moles back into their holes to earn points. Whac-A-Mole was addictive, not just for the player but also for the spectators who cheered on the frantic attempts to keep the pesky moles at bay.
Each of these games encapsulated a unique facet of the carnival experience. They served as an intriguing blend of skill, luck, and showmanship, all wrapped up in a kaleidoscope of lights, sounds, and colors. These games remain etched in our collective memory as quintessential aspects of the 20th-century carnival, serving both as relics of a bygone era and enduring symbols of simple, unadulterated fun.
In the 1950s and 1960s, the concept of primetime animated television was a relatively new phenomenon. However, there were several groundbreaking cartoons that originally aired during primetime hours, aiming not just for a young audience but also for adults.
Gerry Johnson, Alan Reed, Mel Blanc, and Jean Vander Pyl in The Flintstones (1960)
“The Flintstones” was a monumental cartoon in this context. Premiering on September 30, 1960, on ABC, it was the first animated television series to hold a primetime slot. Set in the fictional prehistoric town of Bedrock, the show followed the daily lives of the Flintstone family, providing social commentary and humor that resonated with both kids and adults. Because of its popularity, “The Flintstones” ran for six seasons and even inspired multiple spin-offs and films.
Daws Butler, George O’Hanlon, Penny Singleton, and Janet Waldo in The Jetsons (1962)
Another primetime animated series was “The Jetsons,” which debuted on September 23, 1962. Also produced by Hanna-Barbera, the creators of “The Flintstones,” “The Jetsons” was a futuristic counterpart to its prehistoric predecessor. The show was set in a world of flying cars and high-tech homes, offering a vision of what the future could look like. While it wasn’t as successful as “The Flintstones,” the series has retained a cult following and influenced various aspects of popular culture.
Leo DeLyon, Maurice Gosfield, Allen Jenkins, Marvin Kaplan, Arnold Stang, and John Stephenson in Top Cat (1961)
While not as mainstream, “Top Cat,” another Hanna-Barbera creation, was also aimed at a primetime audience. It premiered in 1961 and revolved around the antics of a group of alley cats led by the smooth-talking Top Cat. The show was a comedic take on city life and the relationships among the cats, their neighbors, and the local police.
“Rocky and Bullwinkle,” officially known as “The Rocky and Bullwinkle Show,” premiered in 1959 and initially ran during the late afternoon or early evening hours. It also appealed to a broad audience due to its smart writing and subversive humor. The show contained a mix of different segments, including the adventures of Rocky the flying squirrel and Bullwinkle the moose, along with segments like “Fractured Fairy Tales” and “Peabody’s Improbable History.” Its satire and wit were geared as much towards adults as they were towards children.
“Jonny Quest” debuted in 1964 as another attempt to create a primetime animated series. The show featured Jonny Quest, an intelligent and athletic young boy who went on extraordinary adventures. It was significant for its more serious tone and its attempt at creating a more realistic style of animation.
In summary, the late 1950s and 1960s saw the emergence of primetime animated TV shows, setting a precedent for future series like “The Simpsons” and “Family Guy.” These pioneering shows were a testament to the broad appeal and flexibility of animation as a medium for storytelling.
In September 1976, television was a central form of entertainment for many American households, and Tuesday nights offered a variety of popular TV shows that captured the imagination of the audience. Network television was the dominant force at the time, and the main players were ABC, CBS, and NBC.
One of the standout shows that aired on Tuesday nights was “Happy Days,” broadcasted on ABC. This series, set in the 1950s, followed the Cunningham family and their experiences with the lovable greaser, Fonzie. It was a major hit, and its nostalgic look at American life drew large audiences.
Another significant show that aired on Tuesdays was “Laverne & Shirley,” a spin-off of “Happy Days.” The show followed the misadventures of two best friends, Laverne DeFazio and Shirley Feeney, and it also aired on ABC. It became one of the most-watched TV shows during its run.
On CBS, shows like “MAS*H” and “One Day at a Time” were popular choices, although they did not specifically air on Tuesday nights during that period. NBC had a less dominant showing on Tuesday nights compared to ABC and CBS but offered programs like “Police Woman,” which had a strong following.
In conclusion, ABC’s schedule dominated Tuesday nights in September 1976, with “Happy Days” and “Laverne & Shirley” serving as the two main draws for viewers. These shows reflected the diverse interests and nostalgic yearnings of the American TV audience at the time.
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The wonderful work of archivists have preserved far more material than we usually see. Our goal here is to unearth and present some of the stuff we never saw in school.