A lot happened in the year 1987, including the debut of a family-friendly TV sitcom set in San Francisco. The name of the show was Full House, and we’ll be doing a deep dive into this popular comedy over the coming weeks.

But first, to get a sense of the times and trends that helped shape this series, here’s a notable obituary from 1987 — Liberace.

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Liberace was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world with established concert residencies in Las Vegas and an international touring schedule. He embraced a lifestyle of flamboyant excess both on and off stage. 

Liberace was conservative in his political and religious beliefs. He believed fervently in capitalism and was fascinated with royalty, ceremony, and luxury. He loved to socialize and was fascinated by the rich and famous. However, he still presented himself to his fans as one of them, a Midwesterner who had earned his success through hard work, and who invited them to enjoy it with him.

In the later years of his life, having earned sudden wealth, Liberace spent lavishly, displaying extravagant materialism in his life and his act. In 1953, he designed and built his first celebrity house in Sherman Oaks, California on Valley Vista Blvd., located in the San Fernando Valley region of Los Angeles. The house featured a piano theme throughout, including a piano-shaped swimming pool which remains today. His dream home, with its lavish furnishings, elaborate bath, and antiques, added to his image. He leveraged his fame through hundreds of promotional tie-ins with banks, insurance companies, automobile companies, food companies, and even morticians. Liberace was an experienced pitchman and relied on the support of his vast audience of housewives. Sponsors sent him complimentary products, including his white Cadillac limousine, and he reciprocated enthusiastically: “If I am selling tuna fish, I believe in tuna fish.”

Others criticized his flashy but proficient piano playing, his non-stop promotions, and his gaudy display of success. Outwardly, he remained undeterred, once sending a letter to a critic, “Thank you for your very amusing review. After reading it, in fact, my brother George and I laughed all the way to the bank.” He responded similarly to subsequent poor reviews, famously modifying it to “I cried all the way to the bank.” In an appearance on The Tonight Show some years later, Liberace retold the anecdote to Johnny Carson, and finished by saying, “I don’t cry all the way to the bank any more – I bought the bank!”

Liberace was recognized during his career with two Emmy Awards, six gold albums, and two stars on the Hollywood Walk of Fame. Liberace performed 56 sold-out shows at Radio City Music Hall, which set box-office records a few months before his death.

At the time of his death Liberace was said to be worth around $110 million and to have bequeathed $88 million to the Liberace Foundation. The story was perpetuated by the officers of the Liberace Foundation often and as late as 2013. Only in 2015 did Liberace Foundation Chairman Jonathan Warren reveal in a lecture at the Mob Museum in Las Vegas that these figures were all part of the showmanship of Liberace, and that the real figures were closer to one tenth of those amounts.

The Liberace Foundation saw the sunset of its in-house endowment fund in 2011. University endowment funds provided by it continue to offer scholarships annually. The original Liberace museum closed its doors in 2010, citing the recession and an outdated, outmoded facility.

In November 2013, a dozen of Liberace’s famous costumes, together with one of his stage cars and a piano went on display for a six-week period at the Cosmopolitan Las Vegas in an exhibition titled “Too Much of a Good Thing Is Wonderful”, Liberace’s unofficial motto, and an often-used one-liner from his act. The exhibition was extended by seven months.

Liberace’s fame in the United States was matched for a time in the United Kingdom. In 1956, an article in the Daily Mirror by columnist Cassandra (William Connor) described Liberace as “the summit of sex—the pinnacle of masculine, feminine and neuter. Everything that he, she and it can ever want… a deadly, winking, sniggering, snuggling, chromium-plated, scent-impregnated, luminous, quivering, giggling, fruit-flavored, mincing, ice-covered heap of mother love”, a description which strongly suggested that he was homosexual.

Liberace sent a telegram that read: “What you said hurt me very much. I cried all the way to the bank.” He sued the newspaper for libel, testifying in a London court that he was not homosexual and that he had never taken part in homosexual acts. He was represented in court by one of the great barristers of the period, 75-year-old Gilbert Beyfus, QC. They won the suit, partly on the basis of Connor’s use of the derogatory expression “fruit-flavored”. The case partly hinged on whether Connor knew that ‘fruit’ was American slang implying that an individual is a homosexual. After a three-week civil trial, a jury ruled in Liberace’s favor on June 16, 1959, and awarded him £8,000 (around $22,400) in damages (worth about £198,000 or $208,200 today) which led Liberace to repeat the catchphrase to reporters: “I cried all the way to the bank!” Liberace’s popularization of the phrase inspired the title Crying All the Way to the Bank, for a detailed report of the trial based on transcripts, court reports, and interviews, by the former Daily Mirror journalist Revel Barker.

Liberace sued and settled a similar case in the United States against Confidential. Rumors and gossip magazines frequently implied that Liberace was homosexual throughout his career, which he continued to vehemently deny. A typical issue of Confidential in 1957 shouted, “Why Liberace’s Theme Song Should Be ‘Mad About the Boy!'”

In 1982, Scott Thorson, Liberace’s 22-year-old former chauffeur and alleged live-in lover of five years, sued the pianist for $113 million in palimony after he was dismissed by Liberace. Liberace continued to deny that he was homosexual, and during court depositions in 1984, he insisted that Thorson was never his lover. The case was settled out of court in 1986, with Thorson receiving a $75,000 cash settlement, plus three cars and three pet dogs worth another $20,000. Thorson stated after Liberace’s death that he settled because he knew that Liberace was dying and that he had intended to sue based on conversion of property rather than palimony. He later attested that Liberace was a “boring guy” in his private life and mostly preferred to spend his free time cooking, decorating, and playing with his dogs, and that he never played the piano outside of his public performances. According to Thorson: “He (Liberace) had several decorated, ornamental pianos in the various rooms of his house, but he never played them.”

Because Liberace never publicly acknowledged that he was gay, knowledge of his true sexuality was muddled by stories of his friendships and romantic links with women. He further obscured his sexuality in articles like “Mature Women Are Best: TV’s Top Pianist Reveals What Kind of Woman He’d Marry”.

In a 2011 interview, actress and close friend Betty White confirmed that Liberace was indeed gay and that she was often used as a “beard” by his managers to counter public rumors of the musician’s homosexuality.

Liberace was secretly diagnosed HIV positive in August 1985 by his private physician in Las Vegas. Aside from his long-term manager, Seymour Heller, and a few family members and associates, Liberace kept his terminal illness a secret until the day he died and did not seek medical treatment. Scott Thorson remarked that he was not aware that Liberace had any health issues prior to acquired immunodeficiency syndrome (AIDS) and up until one year before his death that “he was in overall excellent shape for his age; barrel-chested and powerfully built.”

In August 1986, during one of his last interviews, with the TV news program Good Morning America, Liberace hinted of his failing health when he remarked, “How can you enjoy life if you don’t have your health?” He was hospitalized for pneumonia from January 23 to January 27, 1987, at the Palm Springs county hospital.

At the age of 67, Liberace died the morning of February 4, 1987, at his retreat home in Palm Springs, California. A devout Roman Catholic to the end, he had a priest administer the last rites to him the day before his death.

At the time of Liberace’s death, his press agent said he had died of pernicious anemia, emphysema, and heart disease. Liberace’s physician, Ronald Daniels, said he had died of heart failure caused by subacute encephalopathy, a degenerative brain disease. The Riverside County coroner performed an autopsy and determined that Liberace’s cause of death was cytomegalovirus pneumonia, a frequent cause of death in people with AIDS. The coroner also determined that, at the time of his death, Liberace was HIV-positive, had pulmonary heart disease, and calcification of a heart valve. The coroner said that Liberace’s doctor had deliberately claimed a false cause of death, as heart failure is never caused by encephalopathy. Author Darden Asbury Pyron wrote that Liberace had been HIV-positive and symptomatic from 1985 until his death.

Cary James Wyman, his alleged lover of seven years, had HIV and died in May 1997 at age 34. Another alleged lover, Chris Adler, came forward after Liberace’s death and claimed that Liberace had infected him with HIV. Adler died in 1990 at age 30.

Liberace’s body is entombed along with those of his mother and brother at Forest Lawn, Hollywood Hills Cemetery in Los Angeles. In 1994, the Palm Springs Walk of Stars dedicated a Golden Palm Star to him.

A lot happened in the year 1987, including the debut of a family-friendly TV sitcom set in San Francisco. The name of the show was Full House, and we’ll be doing a deep dive into this popular comedy over the coming weeks.

But first, to get a sense of the times and trends that helped shape this series, here’s a notable obituary from 1987 — Lee Marvin.

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Lee Marvin was an American film and television actor. Known for his bass voice and premature white hair, he is best remembered for playing hardboiled “tough guy” characters. Although initially typecast as the “heavy” he later gained prominence for portraying anti-heroes, such as Detective Lieutenant Frank Ballinger on the television series M Squad (1957–1960). Marvin’s notable roles in film included Charlie Strom in The Killers (1964), Rico Fardan in The Professionals (1966), Major John Reisman in The Dirty Dozen (1967), Ben Rumson in Paint Your Wagon (1969), Walker in Point Blank (1967), and the Sergeant in The Big Red One (1980).

Marvin achieved numerous accolades when he portrayed both gunfighter Kid Shelleen and criminal Tim Strawn in a dual role for the comedy Western film Cat Ballou (1965), alongside Jane Fonda, a surprise hit which won him the Academy Award for Best Actor, along with a BAFTA Award, a Golden Globe Award, an NBR Award, and the Silver Bear for Best Actor.

Marvin enlisted in the United States Marine Corps on August 12, 1942. Before finishing School of Infantry, he was a quartermaster. Lee served in the 4th Marine Division as a scout sniper in the Pacific Theater during World War II, including assaults on Eniwetok and Saipan-Tinian. While serving as a member of “I” Company, 3rd Battalion, 24th Marines, 4th Marine Division, Lee participated in 21 Japanese islands landings and was wounded in action on June 18, 1944, during the assault on Mount Tapochau in the Battle of Saipan, during which most of his company were casualties. He was hit by machine gun fire, which severed his sciatic nerve, and then was hit again in the foot by a sniper. After over a year of medical treatment in naval hospitals, Marvin was given a medical discharge with the rank of private first class. He previously held the rank of corporal, but had been demoted for troublemaking.

Marvin’s decorations include the Purple Heart Medal, the Presidential Unit Citation, the American Campaign Medal, the Asiatic-Pacific Campaign Medal, the World War II Victory Medal, and the Combat Action Ribbon.

After the war, while working as a plumber’s assistant at a local community theatre in upstate New York, Marvin was asked to replace an actor who had fallen ill during rehearsals. He caught the acting bug and got a job with the company at $7 a week. He moved to Greenwich Village and used the G.I. Bill to study at the American Theatre Wing.

He appeared on stage in a production of Uniform of Flesh, the original version of Billy Budd (1949). It was performed at the Experimental Theatre, where a few months later, Marvin also appeared in The Nineteenth Hole of Europe (1949).

Marvin began appearing on television shows like Escape, The Big Story, and Treasury Men in Action.

He made it to Broadway with a small role in a production of Uniform of Flesh, now titled Billy Budd, in February 1951.

Marvin’s film debut was in You’re in the Navy Now (1951), directed by Henry Hathaway, a movie that also marked the debuts of Charles Bronson and Jack Warden. This required some filming in Hollywood. Marvin decided to stay in California.

He had a similar small part in Teresa (1951), directed by Fred Zinnemann. As a decorated combat veteran, Marvin was a natural in war dramas, where he frequently assisted the director and other actors in realistically portraying infantry movement, arranging costumes, and the use of firearms.

He guest starred on episodes of Fireside Theatre, Suspense and Rebound. Hathaway used him again on Diplomatic Courier (1952) and he could be seen in Down Among the Sheltering Palms (1952), directed by Edmund Goulding, We’re Not Married! (1952), also for Goulding, The Duel at Silver Creek (1952) directed by Don Siegel, and Hangman’s Knot (1952), directed by Roy Huggins.

He  also  guest starred on Biff Baker, U.S.A. and Dragnet, and had a showcase role as the squad leader in a feature titled Eight Iron Men (1952), a war film directed by Edward Dmytryk and produced by Stanley Kramer. 

He was a sergeant in Seminole (1953), a Western directed by Budd Boetticher, and was a corporal in The Glory Brigade (1953), a Korean War film.

Marvin guest starred in The Doctor, The Revlon Mirror Theater, Suspense again and The Motorola Television Hour.

He was now in much demand for Westerns: The Stranger Wore a Gun (1953) with Randolph Scott, and Gun Fury (1953) with Rock Hudson.

Marvin received much acclaim for his portrayal as villains in two films: The Big Heat (1953) where he played Gloria Grahame’s vicious boyfriend, directed by Fritz Lang; and The Wild One (1953) opposite Marlon Brando produced by Kramer.

He continued in TV shows such as The Plymouth Playhouse and The Pepsi-Cola Playhouse. He had support roles in Gorilla at Large (1954) and had a notable small role as smart-aleck sailor Meatball in The Caine Mutiny (1954), produced by Kramer.

He had a part as Hector, the small-town hood in Bad Day at Black Rock (1955) with Spencer Tracy. Also in 1955, he played a conflicted, brutal bank-robber in Violent Saturday. A critic wrote of the character, “Marvin brings a multi-faceted complexity to the role and gives a great example of the early promise that launched his long and successful career.”

Marvin played Robert Mitchum’s and Frank Sinatra’s friend in Not as a Stranger (1955), a medical drama produced and directed by Stanley Kramer. He had good supporting roles in A Life in the Balance (1955) (he was third billed), and Pete Kelly’s Blues (1955) and appeared on TV in Jane Wyman Presents The Fireside Theatre and Studio One in Hollywood.

Marvin was in I Died a Thousand Times (1955) with Jack Palance, Shack Out on 101 (1955), Kraft Theatre, and Front Row Center.

Marvin was the villain in Seven Men from Now (1956) with Randolph Scott directed by Boetticher. He was second-billed to Palance in Attack (1956) directed by Robert Aldrich.

Marvin had roles in Pillars of the Sky (1956) with Jeff Chandler, The Rack (1956) with Paul Newman, Raintree County (1957) with Elizabeth Taylor and Montgomery Clift and a leading role in The Missouri Traveler (1958). He also guest starred on Climax! (several times), Studio 57, The United States Steel Hour and Schlitz Playhouse.

Marvin debuted as a leading man in M Squad as Chicago cop Frank Ballinger in 100 episodes of the successful 1957–1960 television series. One critic described the show as “a hyped-up, violent Dragnet … with a hard-as-nails Marvin” playing a tough police lieutenant. Marvin received the role after guest-starring in a Dragnet episode as a serial killer.

When the series ended Marvin appeared on Westinghouse Desilu Playhouse, Sunday Showcase, The Barbara Stanwyck Show, The Americans, Wagon Train, Checkmate, General Electric Theater, Alcoa Premiere, The Investigators, Route 66 (he was injured during a fight scene), Ben Casey, Bonanza, The Untouchables (several times), The Virginian, The Twilight Zone (“The Grave” and “Steel”), The Dick Powell Theatre, and The Investigators.

Marvin returned to feature films with a prominent role in The Comancheros (1961) starring John Wayne and Stuart Whitman. He played in two more films with Wayne, both directed by John Ford: The Man Who Shot Liberty Valance (1962), and Donovan’s Reef (1963). As the vicious Liberty Valance, Marvin played his first title role and held his own with two of the screen’s biggest stars (Wayne and James Stewart).

In 1962 Marvin appeared as Martin Kalig on the TV western The Virginian in the episode titled “It Tolls for Thee.” He continued to guest star on shows like Combat!, Dr. Kildare and The Great Adventure. He did The Case Against Paul Ryker for Kraft Suspense Theatre.

For director Don Siegel, Marvin appeared in The Killers (1964) playing an efficient professional assassin alongside Clu Gulager, grappling with villain Ronald Reagan and Angie Dickinson. The Killers was the first film in which Marvin received top billing. Originally made as a TV-movie, the film was deemed so entertaining that it was exhibited in theatres instead.

Marvin finally became a star for his comic role in the offbeat Western Cat Ballou (1965) starring Jane Fonda. This was a surprise hit and Marvin won the Academy Award for Best Actor. He also won the Silver Bear for Best Actor at the 15th Berlin International Film Festival in 1965.

Playing alongside Vivien Leigh and Simone Signoret, Marvin won the 1966 National Board of Review Award for male actors for his role in Ship of Fools (1965) directed by Kramer.

Marvin next performed in the highly regarded Western The Professionals (1966), in which he played the leader of a small band of skilled mercenaries (Burt Lancaster, Robert Ryan, and Woody Strode) rescuing a kidnap victim (Claudia Cardinale) shortly after the Mexican Revolution. He had second billing to Lancaster but his part was almost as large.

He followed that film with the hugely successful World War II epic The Dirty Dozen (1967) in which top-billed Marvin again portrayed an intrepid commander of a colorful group   performing an almost impossible mission. Robert Aldrich directed. In an interview, Marvin stated his time in the Marine Corps helped shape that role “for playing an officer how I felt it should have been seen, from the bias of an enlisted man’s viewpoint”.

In the wake of these films and after having received his Oscar, Marvin was a huge star, given enormous control over his next film Point Blank. In Point Blank, an influential film from director John Boorman, he portrayed a hard-nosed criminal bent on revenge. Marvin, who had selected Boorman for the director’s slot, had a central role in the film’s development, plot, and staging.

In 1968, Marvin also appeared in another Boorman film, the critically acclaimed but commercially unsuccessful World War II character study Hell in the Pacific, also starring famed Japanese actor Toshiro Mifune. Boorman recounted his work with Lee Marvin on these two films and Marvin’s influence on his career in the 1998 documentary Lee Marvin: A Personal Portrait by John Boorman. The Case Against Paul Ryker with Bradford Dillman, which Marvin shot for TV’s Kraft Suspense Theatre and had been telecast in 1963, was released theatrically as Sergeant Ryker in 1968 after the runaway success of The Dirty Dozen. 

Marvin was originally cast as Pike Bishop (later played by William Holden) in The Wild Bunch (1969), but fell out with director Sam Peckinpah and pulled out to star in the Western musical Paint Your Wagon (1969), in which he was top-billed over a singing Clint Eastwood. Despite his limited singing ability, he had a hit with the song “Wand’rin’ Star”. By this time, he was getting paid $1 million per film, $200,000 less than top star Paul Newman was making at the time, yet he was ambivalent about the movie business, even with its financial rewards:

You spend the first forty years of your life trying to get in this business, and the next forty years trying to get out. And then when you’re making the bread, who needs it?

Marvin had a much greater variety of roles in the 1970s, with fewer ‘bad-guy’ roles than in earlier years. His 1970s movies included Monte Walsh (1970), a Western with Palance and Jeanne Moreau; the violent Prime Cut (1972) with Gene Hackman; Pocket Money (1972) with Paul Newman, for Stuart Rosenberg; Emperor of the North (1973) opposite Ernest Borgnine for Aldrich; as Hickey in The Iceman Cometh (1973) with Fredric March and Robert Ryan, for John Frankenheimer; The Spikes Gang (1974) with Noah Beery Jr. for Richard Fleischer; The Klansman (1974) with Richard Burton; Shout at the Devil (1976), a World War I adventure with Roger Moore, directed by Peter Hunt; The Great Scout & Cathouse Thursday (1976), a comic Western with Oliver Reed; and Avalanche Express (1979), a Cold War thriller with Robert Shaw who died during production, as did the film’s director, both from heart attacks. None of these films were big box-office hits.

Marvin was offered the role of Quint in Jaws (1975) but declined, stating “What would I tell my fishing friends who’d see me come off a hero against a dummy shark?”

Marvin’s last big role was in Samuel Fuller’s The Big Red One (1980), a war film based on Fuller’s own war experiences.

His remaining films were Death Hunt (1981), a Canadian action movie with Charles Bronson, directed by Hunt; Gorky Park (1983) with William Hurt; and Dog Day (1984), shot in France.

For TV he did The Dirty Dozen: Next Mission (1985; a sequel with Marvin, Ernest Borgnine, and Richard Jaeckel picking up where they had left off despite being 18 years older).

His final appearance was in The Delta Force (1986) with Chuck Norris, playing a role turned down by Charles Bronson. 

Marvin was a Democrat. He publicly endorsed John F. Kennedy in the 1960 presidential election. Due to injuries that he sustained in the war, that led to PTSD, Lee became anti-war minded and opposed the Vietnam War. In a 1969 Playboy interview, Marvin said he supported gay rights.

Marvin married Betty Ebeling in April 1952 and together they had four children, son Christopher Lamont, and three daughters: Courtenay Lee, Cynthia Louise, and Claudia Leslie.   After a separation of two years, they divorced in January 1967.  In her 2010 book, Tales of a Hollywood Housewife: A Memoir by the First Mrs. Lee Marvin, Betty claimed that Lee had an affair with actress Anne Bancroft.

He married Pamela Feeley in 1970 following his famous relationship with Michelle Triola. Pamela had four children from three previous marriages; they had no children together and remained married until his death in 1987.

In 1971, Marvin was sued by Michelle Triola, his live-in girlfriend from 1965 to 1970, who legally changed her surname to “Marvin”. Although the couple never married, she sought financial compensation similar to that available to spouses under California’s alimony and community property laws. Triola claimed Marvin made her pregnant three times and paid for two abortions, while one pregnancy ended in miscarriage. She claimed the second abortion left her unable to bear children. The result was the landmark “palimony” case, Marvin v. Marvin. 

In 1979, Marvin was ordered to pay $104,000 to Triola for “rehabilitation purposes”, but the court denied her community property claim for one-half of the $3.6 million which Marvin had earned during their six years of cohabitation – distinguishing nonmarital relationship contracts from marriage, with community property rights only attaching to the latter by operation of law. Rights equivalent to community property only apply in nonmarital relationship contracts when the parties expressly, whether orally or in writing, contract for such rights to operate between them. In August 1981, the California Court of Appeal found that no such contract existed between them and nullified the award she had received. Michelle Triola died of lung cancer on October 30, 2009, having been with actor Dick Van Dyke since 1976.

Later there was controversy after Marvin characterized the trial as a “circus”, saying “everyone was lying, even I lied”. There were official comments about possibly charging Marvin with perjury, but no charges were filed.

This case was used as fodder for a mock debate skit on Saturday Night Live called “Point Counterpoint” and a skit on The Tonight Show Starring Johnny Carson with Carson as Adam, and Betty White as Eve.

A heavy smoker and drinker, Marvin had health problems by the end of his life. In December 1986, Marvin was hospitalized for more than two weeks because of a condition related to coccidioidomycosis. He went into respiratory distress and was administered steroids to help his breathing. He had major intestinal ruptures as a result, and underwent a colectomy. Marvin died of a heart attack on August 29, 1987, aged 63. He was buried with full military honors at Arlington National Cemetery.

A lot happened in the year 1987, including the debut of a family-friendly TV sitcom set in San Francisco. The name of the show was Full House, and we’ll be doing a deep dive into this popular comedy over the coming weeks.

But first, to get a sense of the times and trends that helped shape this series, here’s a notable obituary from 1987 —Joseph E. Levine.

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Joseph E. Levine was an American film distributor, financier, and producer. At the time of his death, it was said he was involved in one or another capacity with 497 films. Levine was responsible for the U.S. releases of Godzilla, King of the Monsters!, Attila and Hercules, which helped revolutionize U.S. film marketing, and was founder and president of Embassy Pictures (later Avco-Embassy). Other films he produced included Two Women, Contempt, The 10th Victim, Marriage Italian Style, The Lion in Winter, The Producers, The Graduate, The Night Porter, A Bridge Too Far, and Carnal Knowledge. 

Levine became famous in the industry for his massive advertising campaigns, starting with Hercules in 1959. Levine had hired Terry Turner, who had been a former RKO Pictures exploitation expert of the late 1920s and 1930s, where he had exploited King Kong amongst other films. Levine’s and Turner’s exploitation campaigns were designed to appeal both to the general public and to the film industry and exhibitors. The Adventurers (1970) had a special “airborne world premiere”, as the in-flight movie of a TWA Boeing 747 Superjet making its premiere voyage, flying from New York to Los Angeles, with the film’s stars and members of the press aboard. It marked the first time that a movie and a plane premiered in the same event.

In 1964, Levine received the Golden Globe Cecil B. DeMille Award in recognition of his lifetime achievement in motion pictures.

He entered film production in 1945, co-producing with Maxwell Finn a documentary Gaslight Follies, a compilation of silent film clips narrated by Ben Grauer, which was released through his own company, Embassy Pictures. He found success in 1956 bringing the Japanese film Godzilla to the American general public, acquiring the rights for $12,000 and spending $400,000 promoting it under the title Godzilla, King of the Monsters!, and earning $1 million in theatrical rentals. He then made a $100,000 deal to bring the 1954 French-Italian film Attila to the US in 1958 and spent $600,000 promoting it, which returned $2 million in rentals. His breakthrough came the following year with Hercules, starring Steve Reeves and released by Warner Bros. Levine invested $120,000 on dubbing, sound effects and new titles and spent $1.25 million on promoting the film. It was one of the highest-grossing films of the year, with rentals of $4.7 million.

Levine’s Embassy Pictures began dealing in art films, often European ones, in the 1960s. During that decade, he reached the peak of his career and his prestige, which he was able to sustain into the 1970s.

In 1961, Levine bought North American distribution rights for Two Women after seeing no more than three minutes of its “rushes.” He was not credited as the “executive producer” of Two Women, which was based on a novella written by Alberto Moravia, had been directed by Vittorio de Sica, and starred Sophia Loren and Eleanora Brown, who acted out the respective roles of a mother and her young daughter whom World War II had displaced from their home. One segment of it showed Moroccan soldiers raping the mother and the daughter.

Levine’s promotional campaign focused on one still photograph, which showed Loren, as the mother, wearing a torn dress, kneeling in the dirt, and weeping with rage and grief. Predicting that she would win the Academy Award for her performance, Levine brought Loren to the United States for interviews, bought space for, and placed, large advertisements in newspapers, and saw to it that Two Women appeared in the cities of residence of Academy Award jury members.

Levine’s efforts paid off when Loren became the first cast member of a foreign-language film to win the Academy Award for Best Actress. It came to be said of him that he “nursed” Two Women towards its ultimate popularity and success.

In 1963, Levine was offered a $30 million deal with Paramount Pictures (making him a major shareholder) to produce films in the vein of his previous successes. Paramount would finance the films and Embassy would receive part of its profits. Following the deal, Levine paid Harold Robbins $900,000 for the rights to three books which were filmed – The Carpetbaggers (1964), Where Love Has Gone (1964) and Nevada Smith (1966). Carroll Baker who had appeared in The Carpetbaggers then starred in the Embassy’s Harlow (1965).

Levine got to know Mike Nichols who was one of the most in-demand directors on Broadway and signed him to make The Graduate (1967) before he made his feature film debut with Who’s Afraid of Virginia Woolf? (1966). It was the highest-grossing film of the year. Levine also hired first-time director Mel Brooks to make The Producers (1967). Levine later said “I have a knack for betting on unknown directors and actors and getting my money’s worth”. The same year, Levine sold Embassy to Avco for $40 million but stayed on as chief executive officer. He later called the sale a “horrible mistake which made me rich”.

The Lion in Winter (1968), Levine’s favorite of his films, won an Academy Award for Katharine Hepburn. After the sale, his films did not perform well except for Mike Nichols’ Carnal Knowledge (1971) and A Touch of Class (1973), his last hit. He resigned from Avco Embassy in 1974 and formed Joseph E. Levine Presents and spent 2½ years making A Bridge Too Far (1977) with his son Richard. His last film was Tattoo (1981).

In April 1964, David Susskind, Daniel Melnick, and Levine took over as producers for the Broadway musical Kelly. Levine financed $250,000 of the $400,000 budget, with the balance coming from Columbia Records and six other investors. The producers also acquired the motion picture rights.

Directed and choreographed by Herbert Ross, the musical began previews at the Broadhurst Theatre on February 1, 1965, and opened (and closed) on February 6 after seven previews and one performance, becoming one of the biggest flops in Broadway history.

Industry representatives quoted in The New York Times stated they “could not recall any other Broadway musical representing such a comparable expenditure that became a casualty so quickly.” Costs had ballooned to $650,000, with the biggest loser being Levine, followed by Melnick and Susskind, who had invested a total of $150,000. There had been increasing arguments between the producers and writers, with Susskind complaining that the authors were unwilling to make changes per the recommendations of the investors. Charlap and Lawrence were so upset with changes that they filed suit in New York Supreme Court seeking an injunction to prevent the play from opening. While the judge urged that the parties pursue arbitration, lawyers representing Charlap and Lawrence were threatening to sue for damages that had been caused through “unauthorized changes, omissions and additions” made to the musical.

A lot happened in the year 1987, including the debut of a family-friendly TV sitcom set in San Francisco. The name of the show was Full House, and we’ll be doing a deep dive into this popular comedy over the coming weeks.

But first, to get a sense of the times and trends that helped shape this series, here’s a notable obituary from 1987 — Joseph Campbell.

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Joseph Campbell was an American writer. He was a professor of literature at Sarah Lawrence College who worked in comparative mythology and comparative religion. His work covers many aspects of the human experience. Campbell’s best-known work is his book The Hero with a Thousand Faces (1949), in which he discusses his theory of the journey of the archetypal hero shared by world mythologies, termed the monomyth.

Since the publication of The Hero with a Thousand Faces, Campbell’s theories have been applied by a wide variety of modern writers and artists. His philosophy has been summarized by his own often repeated phrase: “Follow your bliss.” He gained recognition in Hollywood when George Lucas credited Campbell’s work as influencing his Star Wars saga.

Campbell’s approach to folklore topics such as myth and his influence on popular culture has been the subject of criticism, especially from academic folklorists.

In 1924, Campbell traveled to Europe with his family. On the ship during his return trip he encountered the messiah elect of the Theosophical Society, Jiddu Krishnamurti; they discussed Indian philosophy, sparking in Campbell an interest in Hindu and Indian thought. In 1927, he received a fellowship from Columbia University to study in Europe. Campbell studied Old French, Provençal, and Sanskrit at the University of Paris and the University of Munich. He learned to read and speak French and German.

On his return to Columbia University in 1929, Campbell expressed a desire to pursue the study of Sanskrit and modern art in addition to medieval literature. Lacking faculty approval, Campbell withdrew from graduate studies. Later in life he joked that it is a sign of incompetence to have a PhD in the liberal arts, the discipline covering his work.

With the arrival of the Great Depression, Campbell spent the next five years (1929–1934) living in a rented shack in Woodstock, New York. There, he contemplated the next course of his life while engaged in intensive and rigorous independent study. He later said that he “would divide the day into four three-hour periods, of which I would be reading in three of the three-hour periods, and free one of them … I would get nine hours of sheer reading done a day. And this went on for five years straight.”

Campbell traveled to California for a year (1931–1932), continuing his independent studies and becoming a close friend of the budding writer John Steinbeck and his wife Carol. Campbell had met Carol’s sister, Idell, on a Honolulu cruise and she introduced him to the Steinbecks. Campbell had an affair with Carol. On the Monterey Peninsula, Campbell, like John Steinbeck, fell under the spell of the marine biologist Ed Ricketts. Campbell lived for a while next door to Ricketts, participated in professional and social activities at his neighbor’s, and accompanied him, along with Xenia and Sasha Kashevaroff, on a 1932 journey to Juneau, Alaska on the Grampus. Campbell began writing a novel centered on Ricketts as a hero but, unlike Steinbeck, did not complete his book.

Bruce Robison writes that Campbell would refer to those days as a time when everything in his life was taking shape. … Campbell, the great chronicler of the “hero’s journey” in mythology, recognized patterns that paralleled his own thinking in one of Ricketts’s unpublished philosophical essays. Echoes of Carl Jung, Robinson Jeffers and James Joyce can be found in the work of Steinbeck and Ricketts as well as Campbell.

Campbell continued his independent reading while teaching for a year in 1933 at the Canterbury School in Connecticut, during which time he also attempted to publish works of fiction. While teaching at the Canterbury School, Campbell sold his first short story Strictly Platonic to Liberty magazine.

In 1934, Campbell accepted a position as Professor of Literature at Sarah Lawrence College in Yonkers, New York. In 1938, he married one of his former students, the dancer-choreographer Jean Erdman. For most of their 49 years of marriage they shared a two-room apartment in Greenwich Village in New York City. In the 1980s they also purchased an apartment in Honolulu and divided their time between the two cities. They did not have any children.

Early in World War II, Campbell attended a lecture by the Indologist Heinrich Zimmer; the two men became good friends. After Zimmer’s death, Campbell was given the task of editing and posthumously publishing Zimmer’s papers, which he would do over the following decade.

In 1955–1956, as the last volume of Zimmer’s posthumous was finally about to be published, Campbell took a sabbatical from Sarah Lawrence College and traveled, for the first time, to Asia. He spent six months in southern Asia and another six in East Asia. This year had a profound influence on his thinking about Asian religion and myth, and also on the necessity for teaching comparative mythology to a larger, non-academic audience.

In 1972, Campbell retired from Sarah Lawrence College, after having taught there for 38 years.

Campbell attended a Grateful Dead concert in 1986, and marveled that “Everyone has just lost themselves in everybody else here!” With the Grateful Dead, Campbell put on a conference called “Ritual and Rapture from Dionysus to the Grateful Dead”.

Campbell died at his home in Honolulu, Hawaii, on October 30, 1987, from complications of esophageal cancer. Before his death he had completed filming the series of interviews with Bill Moyers that aired the following spring as The Power of Myth. He is buried in O’ahu Cemetery, Honolulu.

Campbell often referred to the work of modern writers James Joyce and Thomas Mann in his lectures and writings, as well as to the art of Pablo Picasso. He was introduced to their work during his stay as a graduate student in Paris. Campbell eventually corresponded with Mann.

The works of Arthur Schopenhauer and Friedrich Nietzsche had a profound effect on Campbell’s thinking; he quoted their writing frequently.

The “follow your bliss” philosophy attributed to Campbell following the original broadcast of The Power of Myth derives from the Hindu Upanishads; however, Campbell was possibly also influenced by the 1922 Sinclair Lewis novel Babbitt. In The Power of Myth, Campbell quotes from the novel:

Campbell: Have you ever read Sinclair Lewis’ Babbitt?

Moyers: Not in a long time.

Campbell: Remember the last line? “I’ve never done a thing I wanted to do in all my life.” That’s the man who never followed his bliss.

The anthropologist Leo Frobenius and his disciple Adolf Ellegard Jensen were important to Campbell’s view of cultural history. Campbell was also influenced by the psychological work of Abraham Maslow and Stanislav Grof.

Campbell’s ideas regarding myth and its relation to the human psyche are dependent in part on the pioneering work of Sigmund Freud, but in particular on the work of Jung, whose studies of human psychology greatly influenced Campbell. Campbell’s conception of myth is closely related to the Jungian method of dream interpretation, which is heavily reliant on symbolic interpretation. Jung’s insights into archetypes were heavily influenced by the Bardo Thodol (also known as The Tibetan Book of the Dead). In his book The Mythic Image, Campbell quotes Jung’s statement about the Bardo Thodol, that it belongs to that class of writings which not only are of interest to specialists in Mahayana Buddhism, but also, because of their deep humanity and still deeper insight into the secrets of the human psyche, make an especial appeal to the layman seeking to broaden his knowledge of life … For years, ever since it was first published, the Bardo Thodol has been my constant companion, and to it I owe not only many stimulating ideas and discoveries, but also many fundamental insights.

Campbell’s concept of monomyth refers to the theory that sees all mythic narratives as variations of a single great story. The theory is based on the observation that a common pattern exists beneath the narrative elements of most great myths, regardless of their origin or time of creation. Campbell often referred to the ideas of Adolf Bastian and his distinction between what he called “folk” and “elementary” ideas, the latter referring to the prime matter of monomyth while the former to the multitude of local forms the myth takes in order to remain an up-to-date carrier of sacred meanings. The central pattern most studied by Campbell is often referred to as “the hero’s journey” and was first described in The Hero with a Thousand Faces (1949). An enthusiast of novelist James Joyce, Campbell borrowed the term “monomyth” from Joyce’s Finnegans Wake. Campbell also made heavy use of Carl Jung’s theories on the structure of the human psyche, and he often used terms such as anima, animus and ego consciousness.

As a strong believer in the psychic unity of mankind and its poetic expression through mythology, Campbell made use of the concept to express the idea that the whole of the human race can be seen as engaged in the effort of making the world “transparent to transcendence” by showing that underneath the world of phenomena lies an eternal source which is constantly pouring its energies into this world of time, suffering, and ultimately death. To achieve this task one needs to speak about things that existed before and beyond words, a seemingly impossible task, the solution to which lies in the metaphors found in myths. These metaphors are statements that point beyond themselves into the transcendent. The Hero’s Journey was the story of the man or woman who, through great suffering, reached an experience of the eternal source and returned with gifts powerful enough to set their society free.

As this story spread through space and evolved through time, it was broken down into various local forms (masks), depending on the social structures and environmental pressures that existed for the culture that interpreted it. The basic structure, however, has remained relatively unchanged and can be classified using the various stages of a hero’s adventure through the story, stages such as the Call to Adventure, Receiving Supernatural Aid, Meeting with the Goddess/Atonement with the Father and Return. These stages, as well as the symbols one encounters throughout the story, provide the necessary metaphors to express the spiritual truths the story is trying to convey. Metaphors for Campbell, in contrast with similes which make use of the word like, pretend to a literal interpretation of what they are referring to, as in the sentence “Jesus is the Son of God” rather than “the relationship of man to God is like that of a son to a father”.

In the 1987 documentary Joseph Campbell: A Hero’s Journey, he explains God in terms of a metaphor:

“God is a metaphor for a mystery that absolutely transcends all human categories of thought, even the categories of being and non-being. Those are categories of thought. I mean it’s as simple as that. So it depends on how much you want to think about it. Whether it’s doing you any good. Whether it is putting you in touch with the mystery that’s the ground of your own being. If it isn’t, well, it’s a lie. So half the people in the world are religious people who think that their metaphors are facts. Those are what we call theists. The other half are people who know that the metaphors are not facts. And so, they’re lies. Those are the atheists.”

Campbell often described mythology as having a fourfold function within human society. These appear at the end of his work The Masks of God: Creative Mythology, as well as various lectures.

Awakening and maintaining in the individual a sense of awe and gratitude before the ‘mystery of being’ and his or her participation in it.

According to Campbell, the absolute mystery of life, what he called transcendent reality, cannot be captured directly in words or images. Symbols and mythic metaphors on the other hand point outside themselves and into that reality. They are what Campbell called “being statements” and their enactment through ritual can give to the participant a sense of that ultimate mystery as an experience. “Mythological symbols touch and exhilarate centers of life beyond the reach of reason and coercion…. The first function of mythology is to reconcile waking consciousness to the mysterium tremendum et fascinans of this universe as it is.”

For pre-modern societies, myth also functioned as a proto-science, offering explanations for the physical phenomena that surrounded and affected their lives, such as the change of seasons and the life cycles of animals and plants.

Ancient societies had to conform to an existing social order if they were to survive at all. This is because they evolved under “pressure” from necessities much more intense than the ones encountered in our modern world. Mythology confirmed that order and enforced it by reflecting it into the stories themselves, often describing how the order arrived from divine intervention. Campbell often referred to these “conformity” myths as the “Right Hand Path” to reflect the brain’s left hemisphere’s abilities for logic, order and linearity. Together with these myths however, he observed the existence of the “Left Hand Path”, mythic patterns like the “Hero’s Journey” which are revolutionary in character in that they demand from the individual a surpassing of social norms and sometimes even of morality.

As a person goes through life, many psychological challenges will be encountered. Myth may serve as a guide for successful passage through the stages of one’s life.

Campbell’s view of mythology was by no means static and his books describe in detail how mythologies evolved through time, reflecting the realities in which each society had to adjust. Various stages of cultural development have different yet identifiable mythological systems. In brief these are:

“At this stage of evolution religion was animistic, as all of nature was seen as being infused with a spirit or divine presence. At center stage was the main hunting animal of that culture, whether the buffalo for Native Americans or the land for South African tribes, and a large part of religion focused on dealing with the psychological tension that came from the reality of the necessity to kill versus the divinity of the animal. This was done by presenting the animals as springing from an eternal archetypal source and coming to this world as willing victims, with the understanding that their lives would be returned to the soil or to the Mother through a ritual of restoration. The act of slaughter then becomes a ritual where both parties, animal and mankind, are equal participants. In Mythos and The Power of Myth, Campbell recounts the story he calls “The Buffalo’s Wife” as told by the Blackfoot tribe of North America. The story tells of a time when the buffalos stopped coming to the hunting plains, leaving the tribe to starve. The chief’s daughter promises to marry the buffalo chief in return for their reappearance, but is eventually spared and taught the buffalo dance by the animals themselves, through which the spirits of their dead will return to their eternal life source. Indeed, Campbell taught that throughout history mankind has held a belief that all life comes from and returns to another dimension which transcends temporality, but which can be reached through ritual.”

Beginning in the fertile grasslands of the Levant and the Fertile Crescent of Mesopotamia in the Bronze Age and moving to Europe, the practice of agriculture spread along with a new way of understanding mankind’s relationship to the world. At this time the earth was seen as the Mother, and the myths focused around Her life-giving powers. The plant and cultivation cycle was mirrored in religious rituals which often included human sacrifice, symbolic or literal. The main figures of this system were a female Great Goddess, Mother Earth, and her ever-dying and ever-resurrected son/consort, a male God. At this time the focus was to participate in the repetitive rhythm the world moved in, expressed as the four seasons, the birth and death of crops and the phases of the moon. At the center of this motion was the Mother Goddess from whom all life springs and to whom all life returns. This often gave Her a dual aspect as both mother and destroyer.

As the first agricultural societies evolved into the high civilizations of Mesopotamia and Babylonia, the observation of the stars inspired them with the idea that life on earth must also follow a similar mathematically predetermined pattern in which individual beings are but mere participants in an eternal cosmic play. The king was symbolized by the Sun with the golden crown as its main metaphor, while his court were the orbiting planets. The Mother Goddess remained, but her powers were now fixed within the rigid framework of a clockwork universe.

However, two barbarian incursions changed that. As the Indo-European people descended from the north and the Semites swept up from the Arabian desert, they carried with them a male dominated mythology with a warrior god whose symbol was the thunder. As they conquered, mainly due to the superior technology of iron smithing, their mythology blended with and subjugated the previous system of the Earth Goddess. Many mythologies of the ancient world, such as those of Greece, India, and Persia, are a result of that fusion with gods retaining some of their original traits and character but now belonging to a single system. Figures such as Zeus and Indra are thunder gods who now interact with Demeter and Dionysus, whose ritual sacrifice and rebirth, bearing testament to his pre-Indo-European roots, were still enacted in classical Greece. But for the most part, the focus heavily shifted toward the masculine, with Zeus ascending the throne of the gods and Dionysus demoted to a mere demi-god.

This demotion was very profound in the case of the biblical imagery where the female elements were marginalized to an extreme. Campbell believed that Eve and the snake that tempted her were once fertility gods worshiped in their own right, with the tree of knowledge being the Tree of Life. He also found significance in the biblical story of Cain and Abel, with Cain being a farmer whose agrarian offering is not accepted by God, while herder Abel’s animal sacrifice is. In the lecture series of Mythos, Campbell speaks of the Mysteries of Eleusis in Ancient Greece, where Demeter’s journey in the underworld was enacted for young men and women of the time. There he observed that wheat was presented as the ultimate mystery with wine being a symbol of Dionysus, much like in the Christian mysteries where bread and wine are considered to incarnate the body and blood of Jesus. Both religions carry the same “seeded earth” cosmology in different forms while retaining an image of the ever-dying, ever-resurrected God.

Campbell recognized that the poetic form of courtly love, carried through medieval Europe by the traveling troubadours, contained a complete mythology in its own right. In The Power of Myth as well as the “Occidental Mythology” volume of The Masks of God, Campbell describes the emergence of a new kind of erotic experience as a “person to person” affair, in contrast with the purely physical definition given to Eros in the ancient world and the communal agape found in the Christian religion. An archetypal story of this kind is the legend of Tristan and Isolde which, apart from its mystical function, shows the transition from an arranged-marriage society as practiced in the Middle Ages and sanctified by the church, into the form of marriage by “falling in love” with another person that we recognize today. So what essentially started from a mythological theme has since become a social reality, mainly due to a change in perception brought about by a new mythology – and represents a central foundational manifestation of Campbell’s overriding interpretive message, “Follow your bliss.”

Campbell believed that in the modern world the function served by formal, traditional mythological systems has been taken on by individual creators such as artists and philosophers. In the works of some of his favorites, such as Thomas Mann, Pablo Picasso and James Joyce, he saw mythological themes that could serve the same life-giving purpose that mythology had once played. Accordingly, Campbell believed the religions of the world to be the various culturally influenced “masks” of the same fundamental, transcendent truths. All religions can bring one to an elevated awareness above and beyond a dualistic conception of reality, or idea of “pairs of opposites” such as being and non-being, or right and wrong. Indeed, he quotes from the Rigveda in the preface to The Hero with a Thousand Faces: “Truth is one, the sages speak of it by many names.”

In 1991, Campbell’s widow, choreographer Jean Erdman, worked with Campbell’s longtime friend and editor, Robert Walter, to create the Joseph Campbell Foundation.

Initiatives undertaken by the JCF include: The Collected Works of Joseph Campbell, a series of books and recordings that aims to pull together Campbell’s myriad-minded work; the Erdman Campbell Award; the Mythological Round Tables, a network of local groups around the globe that explore the subjects of comparative mythology, psychology, religion and culture; and the collection of Campbell’s library and papers housed at the OPUS Archives and Research Center.

George Lucas was the first Hollywood filmmaker to credit Campbell’s influence. Lucas stated, following the release of the first Star Wars film in 1977, that its story was shaped, in part, by ideas described in The Hero with a Thousand Faces and other works of Campbell’s. The linkage between Star Wars and Campbell was further reinforced when later reprints of Campbell’s book used the image of Luke Skywalker on the cover. Lucas discusses this influence at great length in the authorized biography of Joseph Campbell, A Fire in the Mind:

“I came to the conclusion after American Graffiti that what’s valuable for me is to set standards, not to show people the world the way it is… around the period of this realization… it came to me that there really was no modern use of mythology… The Western was possibly the last generically American fairy tale, telling us about our values. And once the Western disappeared, nothing has ever taken its place. In literature we were going off into science fiction… so that’s when I started doing more strenuous research on fairy tales, folklore, and mythology, and I started reading Joe’s books. Before that I hadn’t read any of Joe’s books… It was very eerie because in reading The Hero with a Thousand Faces I began to realize that my first draft of Star Wars was following classic motifs… So I modified my next draft according to what I’d been learning about classical motifs and made it a little bit more consistent… I went on to read The Masks of God and many other books.”

It was not until after the completion of the original Star Wars trilogy in 1983, however, that Lucas met Campbell or heard any of his lectures. In 1984, Campbell gave a lecture at the Palace of Fine Arts in San Francisco, with Lucas in the audience, who was introduced through their mutual friend Barbara McClintock. A few years later, Lucas invited Campbell to watch the entire Star Wars trilogy at Skywalker Ranch, which Campbell called “real art”. This meeting led to the filming of the 1988 documentary The Power of Myth at Skywalker Ranch. In his interviews with Bill Moyers, Campbell discusses the way in which Lucas used The Hero’s Journey in the Star Wars films to re-invent the mythology for the contemporary viewer. Moyers and Lucas filmed an interview 12 years later in 1999 called the Mythology of Star Wars with George Lucas & Bill Moyers to further discuss the impact of Campbell’s work on Lucas’ films. In addition, the National Air and Space Museum of the Smithsonian Institution sponsored an exhibit during the late 1990s called Star Wars: The Magic of Myth, which discussed the ways in which Campbell’s work shaped the Star Wars films.

Many filmmakers of the late twentieth and early twenty-first centuries have acknowledged the influence of Campbell’s work on their own craft. Christopher Vogler, a Hollywood screenwriter, created a seven-page company memo based on Campbell’s work, A Practical Guide to The Hero With a Thousand Faces, which led to the development of Disney’s 1994 film The Lion King. Among films that many viewers have recognized as closely following the pattern of the monomyth are The Matrix series, the Batman series and the Indiana Jones series. Dan Harmon, the creator of the TV show Community and co-creator of the TV show Rick and Morty, often references Campbell as a major influence. According to him, he uses a “story circle” to formulate every story he writes, in a formulation of Campbell’s work. A fictionalized version of Campbell himself appears in the seventh episode of the sixth season of Rick and Morty, “Full Meta Jackrick”.

After the explosion of popularity brought on by the Star Wars films and The Power of Myth, creative artists in many media recognized the potential to use Campbell’s theories to try to unlock human responses to narrative patterns. Novelists, songwriters, video game designers have studied Campbell’s work in order to better understand mythology – in particular, the monomyth – and its impact.

The novelist Richard Adams acknowledges a debt to Campbell’s work and specifically to the concept of the monomyth. In his best known work, Watership Down, Adams uses extracts from The Hero with a Thousand Faces as chapter epigrams.

Dan Brown mentioned in a New York Times interview that Joseph Campbell’s works, particularly The Power of Myth and The Hero with a Thousand Faces, inspired him to create the character of Robert Langdon.

“Follow your bliss” One of Campbell’s most identifiable, most quoted and arguably most misunderstood sayings was his admonition to “follow your bliss”. He derived this idea from the Upanishads:

“Now, I came to this idea of bliss because in Sanskrit, which is the great spiritual language of the world, there are three terms that represent the brink, the jumping-off place to the ocean of transcendence: Sat-Chit-Ananda. The word “Sat” means being. “Chit” means consciousness. “Ananda” means bliss or rapture. I thought, “I don’t know whether my consciousness is proper consciousness or not; I don’t know whether what I know of my being is my proper being or not; but I do know where my rapture is. So let me hang on to rapture, and that will bring me both my consciousness and my being.” I think it worked.”

He saw this not merely as a mantra, but as a helpful guide to the individual along the hero journey that each of us walks through life:

“If you follow your bliss, you put yourself on a kind of track that has been there all the while, waiting for you, and the life that you ought to be living is the one you are living. Wherever you are – if you are following your bliss, you are enjoying that refreshment, that life within you, all the time.”

Campbell began sharing this idea with students during his lectures in the 1970s. By the time that The Power of Myth was aired in 1988, six months following Campbell’s death, “Follow your bliss” was a philosophy that resonated deeply with the American public, both religious and secular.

During his later years, when some students took him to be encouraging hedonism, Campbell is reported to have grumbled, “I should have said, ‘Follow your blisters.'”

Campbell’s approach to myth, a genre of folklore, has been the subject of criticism from folklorists, academics who specialize in folklore studies. American folklorist Barre Toelken says that few psychologists have taken the time to become familiar with the complexities of folklore, and that, historically, Jung-influenced psychologists and authors have tended to build complex theories around single versions of a tale that support a theory or a proposal. To illustrate his point, Toelken employs Clarissa Pinkola Estés’s (1992) Women Who Run with the Wolves, citing its inaccurate representation of the folklore record, and Campbell’s “monomyth” approach as another. Regarding Campbell, Toelken writes, “Campbell could construct a monomyth of the hero only by citing those stories that fit his preconceived mold, and leaving out equally valid stories… which did not fit the pattern”. Toelken traces the influence of Campbell’s monomyth theory into other then-contemporary popular works, such as Robert Bly’s Iron John: A Book About Men (1990), which he says suffers from similar source selection bias.

Similarly, American folklorist Alan Dundes was highly critical of both Campbell’s approach to folklore, designating him as a “non-expert” and gives various examples of what he considers source bias in Campbell’s theories, as well as media representation of Campbell as an expert on the subject of myth in popular culture. Dundes writes, “Folklorists have had some success in publicizing the results of our efforts in the past two centuries such that members of other disciplines have, after a minimum of reading, believe they are qualified to speak authoritatively of folkloristic matters. It seems that the world is full of self-proclaimed experts in folklore, and a few, such as Campbell, have been accepted as such by the general public”. According to Dundes, “there is no single idea promulgated by amateurs that has done more harm to serious folklore study than the notion of archetype”.

According to anthropologist Raymond Scupin, “Joseph Campbell’s theories have not been well received in anthropology because of his overgeneralizations, as well as other problems.”

Campbell’s Sanskrit scholarship has been questioned. Jeffrey Moussaieff Masson, a former Sanskrit professor at the University of Toronto, said that he once met Campbell, and that the two “hated each other at sight”, commenting that, “When I met Campbell at a public gathering he was quoting Sanskrit verses. He had no clue as to what he was talking about; he had the most superficial knowledge of India but he could use it for his own aggrandizement. I remember thinking: this man is corrupt. I know that he was simply lying about his understanding”. According to Richard Buchen, librarian of the Joseph Campbell Collection at the Pacifica Graduate Institute, Campbell could not translate Sanskrit well, but worked closely with three scholars who did.

Ellwood observes that The Masks of God series “impressed literate laity more than specialists”; he quotes Stephen P. Dunn as remarking that in Occidental Mythology Campbell “writes in a curiously archaic style, full of rhetorical questions, exclamations of wonder and delight, and expostulations directed at the reader, or perhaps at the author’s other self – which is charming about a third of the time and rather annoying the rest.” Ellwood says that “Campbell was not really a social scientist, and those in the latter camp could tell” and records a concern about Campbell’s “oversimplification of historical matters and tendency to make myth mean whatever he wanted it to mean”. The critic Camille Paglia, writing in Sexual Personae (1990), expressed disagreement with Campbell’s “negative critique of fifth-century Athens” in Occidental Mythology, arguing that Campbell missed the “visionary and exalted” androgyny in Greek statues of nude boys. Paglia has written that while Campbell is “a seminal figure for many American feminists”, she loathes him for his “mawkishness and bad research.” Paglia has called Campbell “mushy” and a “false teacher”, and described his work as a “fanciful, showy mishmash”.

Campbell has also been accused of antisemitism by some authors. In a 1989 New York Review of Books article, Brendan Gill accused Campbell of both antisemitism and prejudice against blacks. Gill’s article resulted in a series of letters to the editor, some supporting the charge of antisemitism and others defending him. However, according to Robert S. Ellwood Gill relied on “scraps of evidence, largely anecdotal” to support his charges. In 1991, Masson also accused Campbell of “hidden anti-Semitism” and “fascination with conservative, semi fascist views”.

The religious studies scholar Russell T. McCutcheon characterized the “following [of] the bliss of self-realization” in Campbell’s work as “spiritual and psychological legitimation” for Reaganomics.

The first published work that bore Campbell’s name was Where The Two Came to Their Father (1943), an account of a Navajo ceremony that was performed by singer who was a medicine man named Jeff King and recorded by artist and ethnologist Maud Oakes, recounting the story of two young heroes who go to the hogan of their father, the Sun, and return with the power to destroy the monsters that are plaguing their people. Campbell provided a commentary. He would use this tale through the rest of his career to illustrate both the universal symbols and structures of human myths and the particulars   or folk ideas  of Native American stories.

As noted above, James Joyce was an important influence on Campbell. Campbell’s first important book with Henry Morton Robinson, A Skeleton Key to Finnegans Wake (1944), is a critical analysis of Joyce’s final text Finnegans Wake. In addition, Campbell’s seminal work, The Hero with a Thousand Faces (1949), discusses what Campbell called the monomyth – the cycle of the journey of the hero – a term that he borrowed directly from Joyce’s Finnegans Wake.

From his days in college through the 1940s, Joseph Campbell turned his hand to writing fiction.  In many of his later stories which were published in the posthumous collection Mythic Imagination he began to explore the mythological themes that he was discussing in his Sarah Lawrence classes. These ideas turned him eventually from fiction to non-fiction.

Originally titled How to Read a Myth, and based on the introductory class on mythology that he had been teaching at Sarah Lawrence College, The Hero with a Thousand Faces was published in 1949 as Campbell’s first foray as a solo author which established his name outside of scholarly circles and remains, arguably, his most influential work to this day. The book argues that hero stories such as Krishna, Buddha, Apollonius of Tyana, and Jesus all share a similar mythological basis. Not only did it introduce the concept of the hero’s journey to popular thinking, but it also began to popularize the very idea of comparative mythology itself the study of the human impulse to create stories and images that, though they are clothed in the motifs of a particular time and place, draw nonetheless on universal, eternal themes. Campbell asserted:

“Wherever the poetry of myth is interpreted as biography, history, or science, it is killed. The living images become only remote facts of a distant time or sky. Furthermore, it is never difficult to demonstrate that as science and history, mythology is absurd. When a civilization begins to reinterpret its mythology in this way, the life goes out of it, temples become museums, and the link between the two perspectives becomes dissolved.”

Published between 1959 and 1968, Campbell’s four-volume work The Masks of God covers mythology from around the world, from ancient to modern. Where The Hero with a Thousand Faces focused on the commonality of mythology  , the Masks of God books focus upon historical and cultural variations the monomyth takes on. In other words, where The Hero with a Thousand Faces draws perhaps more from psychology, the Masks of God books draw more from anthropology and history. The four volumes of Masks of God are as follows   Primitive Mythology, Oriental Mythology, Occidental Mythology, and Creative Mythology.

At the time of his death, Campbell was in the midst of working on a large-format, lavishly illustrated series titled Historical Atlas of World Mythology. This series was to build on Campbell’s idea, first presented in The Hero with a Thousand Faces, that myth evolves over time through four stages which include

The Way of the Animal Powers   which talks about the myths of Paleolithic hunter-gatherers and focus on shamanism and animal totems.

The Way of the Seeded Earth which talks about the myths of Neolithic, agrarian cultures which focus upon a mother goddess and associated fertility rites.

The Way of the Celestial Lights which talks about   the myths of Bronze Age city-states with pantheons of gods ruling from the heavens, led by a masculine god-king.

The Way of Man which talks about religion and philosophy as it developed after the Axial Age, in which the mythic imagery of previous eras was made consciously metaphorical, reinterpreted as referring to psycho-spiritual, not literal-historical, matters. This transition is evident in the East in Buddhism, Vedanta, and philosophical Taoism; and in the West in the Mystery cults, Platonism, Christianity and Gnosticism.

Only the first volume was completed at the time of Campbell’s death. Campbell’s editor Robert Walter completed the publication of the first three of five parts of the second volume after Campbell’s death. The works are now out of print. As of 2014, Joseph Campbell Foundation is currently undertaking to create a new, ebook edition.

Campbell’s widest popular recognition followed his collaboration with Bill Moyers on the PBS series The Power of Myth, which was first broadcast in 1988, the year following Campbell’s death. The series discusses mythological, religious, and psychological archetypes. A book, The Power of Myth, containing expanded transcripts of their conversations, was released shortly after the original broadcast.

The Collected Works of Joseph Campbell series is a project initiated by the Joseph Campbell Foundation to release new, authoritative editions of Campbell’s published and unpublished writing, as well as audio and video recordings of his lectures.  Working with New World Library and Acorn Media UK, as well as publishing audio recordings and ebooks under its own banner, as of 2014 the project has produced over seventy-five titles. The series’s executive editor is Robert Walter, and the managing editor is David Kudler.

A lot happened in the year 1987, including the debut of a family-friendly TV sitcom set in San Francisco. The name of the show was Full House, and we’ll be doing a deep dive into this popular comedy over the coming weeks.

But first, to get a sense of the times and trends that helped shape this series, here’s a notable obituary from 1987 — John Huston.

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John Huston was an American film director, screenwriter, actor and visual artist. He wrote the screenplays for most of the 37 feature films he directed, many of which are today considered classics, including The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), The Asphalt Jungle (1950), The African Queen (1951), The Misfits (1961), Fat City (1972), The Man Who Would Be King (1975) and Prizzi’s Honor (1985). During his 46-year career, Huston received 15 Academy Award nominations, winning twice. He also directed both his father, Walter Huston, and daughter, Anjelica Huston, to Oscar wins.

In his early years, Huston studied and worked as a fine art painter in Paris. He then moved to Mexico and began writing first plays and short stories, and later working in Los Angeles as a Hollywood screenwriter, and was nominated for several Academy Awards writing for films directed by William Dieterle and Howard Hawks, among others. His directorial debut came with The Maltese Falcon, which despite its small budget became a commercial and critical hit; he would continue to be a successful, if iconoclastic, Hollywood director for the next 45 years. He explored the visual aspects of his films throughout his career, sketching each scene on paper beforehand, then carefully framing his characters during the shooting. While most directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot, with little editing needed. Some of Huston’s films were adaptations of important novels, often depicting a “heroic quest,” as in Moby Dick, or The Red Badge of Courage. In many films, different groups of people, while struggling toward a common goal, would become doomed, forming “destructive alliances,” giving the films a dramatic and visual tension. Many of his films involved themes such as religion, meaning, truth, freedom, psychology, colonialism, and war.

While he had done some stage acting in his youth and had occasionally cast himself in bit parts in his own films, he primarily worked behind the camera until Otto Preminger cast him in 1963’s The Cardinal, for which he was nominated for a Best Supporting Actor Oscar. He continued to take prominent supporting roles for the next two decades, including 1974’s Chinatown (directed by Roman Polanski), and he lent his booming baritone voice as a voice actor and narrator to a number of prominent films. His last two films, 1985’s Prizzi’s Honor, and 1987’s The Dead, filmed while he was in failing health at the end of his life, were both nominated for multiple Academy Awards. He died shortly after completing his last film.

Huston has been referred to as “a titan”, “a rebel”, and a “renaissance man” in the Hollywood film industry. Author Ian Freer describes him as “cinema’s Ernest Hemingway”—a filmmaker who was “never afraid to tackle tough issues head on.” He traveled widely, settling at various times in France, Mexico, and Ireland. Huston was a citizen of the U.S. by birth but renounced this to become an Irish citizen and resident in 1964. He later returned to the U.S., where he lived the rest of his life. For his contributions to the American film industry, he received a star on the Hollywood Walk of Fame in February 1960.

Huston received 15 Oscar nominations in the course of his career and is the oldest person ever to be nominated for the Best Director Oscar when, at 79 years old, he was nominated for Prizzi’s Honor (1985). He won two Oscars, for directing and writing the screenplay for The Treasure of the Sierra Madre. Huston also won a Golden Globe for that film. He received the Life Achievement Award from the American Film Institute in 1983, and the Career Achievement Award from the U.S. National Board of Review of Motion Pictures in 1984.

He also has the unique distinction of directing both his father Walter and his daughter Anjelica in Oscar-winning performances (in The Treasure of the Sierra Madre and Prizzi’s Honor, respectively), making the Hustons the first family to have three generations of Academy Award winners. He also directed her in Sinful Davey in 1969.

In addition, he also directed 13 other actors in Oscar-nominated performances: Sydney Greenstreet, Claire Trevor, Sam Jaffe, Humphrey Bogart, Katharine Hepburn, José Ferrer, Colette Marchand, Deborah Kerr, Grayson Hall, Susan Tyrrell, Albert Finney, Jack Nicholson and William Hickey.

In 1960, Huston was honored with a star on the Hollywood Walk of Fame for his contribution to motion pictures. In 1965, Huston received the Laurel Award for Screenwriting Achievement from the Writers Guild of America. In 1981, his film Escape to Victory was nominated for the Golden Prize at the 12th Moscow International Film Festival. A statue of Huston, sitting in his director’s chair, stands in Plaza John Huston in Puerto Vallarta, Mexico.

A lot happened in the year 1987, including the debut of a family-friendly TV sitcom set in San Francisco. The name of the show was Full House, and we’ll be doing a deep dive into this popular comedy over the coming weeks.

But first, to get a sense of the times and trends that helped shape this series, here’s a notable obituary from 1987 — James Baldwin.

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James Baldwin was an African American writer. He garnered acclaim for his work across several mediums, including essays, novels, plays, and poems. His first novel, Go Tell It on the Mountain, was published in 1953; decades later, Time magazine included the novel on its list of the 100 best English-language novels released from 1923 to 2005. His first essay collection, Notes of a Native Son, was published in 1955.

Baldwin’s work fictionalizes fundamental personal questions and dilemmas amid complex social and psychological pressures. Themes of masculinity, sexuality, race, and class intertwine to create intricate narratives that run parallel with some of the major political movements toward social change in mid-twentieth century America, such as the civil rights movement and the gay liberation movement. Baldwin’s protagonists are often but not exclusively African American, and gay and bisexual men frequently feature prominently in his literature. These characters often face internal and external obstacles in their search for social and self-acceptance. Such dynamics are prominent in Baldwin’s second novel, Giovanni’s Room, which was written in 1956, well before the gay liberation movement.

His reputation has endured since his death and his work has been adapted for the screen to great acclaim. An unfinished manuscript, Remember This House, was expanded and adapted for cinema as the documentary film I Am Not Your Negro (2016), which was nominated for Best Documentary Feature at the 89th Academy Awards. One of his novels, If Beale Street Could Talk, was adapted into the Academy Award– winning film of the same name in 2018, directed and produced by Barry Jenkins.

In addition to writing, Baldwin was also a well-known, and controversial, public figure and orator, especially during the civil rights movement in the United States.

During his high school years, uncomfortable with the fact that, unlike many of his peers, he was attracted to men rather than women, Baldwin sought refuge in religion. He first joined the now-demolished Mount Calvary of the Pentecostal Faith Church on Lenox Avenue in 1937, but followed the preacher there, Bishop Rose Artemis Horn, who was affectionately called Mother Horn, when she left to preach at Fireside Pentecostal Assembly. At 14, “Brother Baldwin”, as Baldwin was called, first took to Fireside’s altar. It was at Fireside Pentecostal, during his mostly extemporaneous sermons, that Baldwin “learned that he had authority as a speaker and could do things with a crowd”, says biographer Campbell. Baldwin delivered his final sermon at Fireside Pentecostal in 1941. Baldwin later wrote in the essay “Down at the Cross” that the church “was a mask for self-hatred and despair … salvation stopped at the church door”. He related that he had a rare conversation with David Baldwin “in which they had really spoken to one another”, with his stepfather asking, “You’d rather write than preach, wouldn’t you?”

Baldwin left school in 1941 to earn money to help support his family. He secured a job helping to build a United States Army depot in New Jersey. In the middle of 1942 Emile Capouya helped Baldwin get a job laying tracks for the military in Belle Mead, New Jersey. The two lived in Rocky Hill and commuted to Belle Mead. In Belle Mead, Baldwin came to know the face of a prejudice that deeply frustrated and angered him and that he named the partial cause of his later emigration out of America. Baldwin’s fellow white workmen, who mostly came from the South, derided him for what they saw as his “uppity” ways and his lack of “respect”. Baldwin’s sharp, ironic wit particularly upset the white Southerners he met in Belle Mead.

In an incident that Baldwin described in “Notes of a Native Son”, Baldwin went to a restaurant in Princeton called the Balt where, after a long wait, Baldwin was told that “colored boys” weren’t served there. Then, on his last night in New Jersey, in another incident also memorialized in “Notes of a Native Son”, Baldwin and a friend went to a diner after a movie only to be told that Black people were not served there. Infuriated, he went to another restaurant, expecting to be denied service once again. When that denial of service came, humiliation and rage heaved up to the surface and Baldwin hurled the nearest object at hand—a water mug—at the waiter, missing her and shattering the mirror behind her. Baldwin and his friend narrowly escaped.

During these years, Baldwin was torn between his desire to write and his need to provide for his family. He took a succession of menial jobs, and feared becoming like his stepfather, who had been unable to properly provide for his family. Fired from the track-laying job, he returned to Harlem in June 1943 to live with his family after taking a meat-packing job. Baldwin would lose the meat-packing job too after falling asleep at the plant. He became listless and unstable, drifting from this odd job to that. Baldwin drank heavily, and endured the first of his nervous breakdowns.

Beauford Delaney helped Baldwin cast off his melancholy. In the year before he left De Witt Clinton and at Capuoya’s urging, Baldwin had met Delaney, a modernist painter, in Greenwich Village. Delaney would become Baldwin’s long-time friend and mentor, and helped demonstrate to Baldwin that a Black man could make his living in art. Moreover, when World War II bore down on the United States the winter after Baldwin left De Witt Clinton, the Harlem that Baldwin knew was atrophying, no longer the bastion of a Renaissance, the community grew more economically isolated and Baldwin considered his prospects there bleak. This led Baldwin to move to Greenwich Village, where Beauford Delaney lived and a place by which he had been fascinated since at least fifteen.

Baldwin lived in several locations in Greenwich Village, first with Delaney, then with a scattering of other friends in the area. He took a job at the Calypso Restaurant, an unsegregated eatery famous for the parade of prominent Black people who dined there. At Calypso, Baldwin worked under Trinidadian restaurateur, Connie Williams, whom Delaney had introduced him to. While working at Calypso, Baldwin continued to explore his sexuality, came out to Capouya and another friend, and frequent Calypso guest, Stan Weir. He also had numerous one-night stands with various men, and several relationships with women. Baldwin’s major love during these years in the Village was an ostensibly straight Black man named Eugene Worth. Worth introduced Baldwin to the Young People’s Socialist League and Baldwin became a Trotskyist for a brief period. Baldwin never expressed his desire for Worth, and Worth died by suicide after jumping from the George Washington Bridge in 1946. In 1944 Baldwin met Marlon Brando, whom he was also attracted to, at a theater class in The New School. The two became fast friends, maintaining a closeness that endured through the Civil Rights Movement and long after. Later, in 1945, Baldwin started a literary magazine called The Generation with Claire Burch, who was married to Brad Burch, Baldwin’s classmate from De Witt Clinton. Baldwin’s relationship with the Burches soured in the 1950s but was resurrected near the end of his life.

Near the end of 1944 Baldwin met Richard Wright, who had published Native Son several years earlier. Baldwin’s main designs for that initial meeting were trained on convincing Wright of the quality of an early manuscript for what would become Go Tell It On The Mountain, then called “Crying Holy”. Wright liked the manuscript and encouraged his editors to consider Baldwin’s work, but an initial $500 advance from Harper & Brothers dissipated with no book to show for the trouble. Harper eventually declined to publish the book at all. Nonetheless, Baldwin sent letters to Wright regularly in the subsequent years and would reunite with Wright in Paris in 1948, though their relationship turned for the worse soon after the Paris reunion.

In these years in the Village, Baldwin made a number of connections in the liberal New York literary establishment, primarily through Worth: Sol Levitas at The New Leader, Randall Jarrell at The Nation, Elliot Cohen and Robert Warshow at Commentary, and Philip Rahv at Partisan Review. Baldwin wrote many reviews for The New Leader, but was published for the first time in The Nation in a 1947 review of Maxim Gorki’s Best Short Stories. Only one of Baldwin’s reviews from this era made it into his later essay collection The Price of the Ticket: a sharply ironical assay of Ross Lockridge’s Raintree Countree that Baldwin wrote for The New Leader. Baldwin’s first essay, “The Harlem Ghetto”, was published a year later in Commentary and explored anti-Semitism among Black Americans. His conclusion in “Harlem Ghetto” was that Harlem was a parody of white America, with white American anti-Semitism included. Jewish people were also the main group of white people that Black Harlem dwellers met, so Jews became a kind of synecdoche for all that the Black people in Harlem thought of white people. Baldwin published his second essay in The New Leader, riding a mild wave of excitement over “Harlem Ghetto”: in “Journey to Atlanta”, Baldwin uses the diary recollections of his younger brother David, who had gone to Atlanta as part of a singing group, to unleash a lashing of irony and scorn on the South, white radicals, and ideology itself. This essay, too, was well received.

Baldwin tried to write another novel, Ignorant Armies, plotted in the vein of Native Son with a focus on a scandalous murder, but no final product materialized and his strivings toward a novel remained unsated. Baldwin spent two months out of summer 1948 at Shanks Village, a writer’s colony in Woodstock, New York. He then published his first work of fiction, a short story called “Previous Condition”, in the October 1948 issue of Commentary, about a 20-something Black man who is evicted from his apartment, the apartment a metaphor for white society.

Disillusioned by American prejudice against Black people, as well as wanting to see himself and his writing outside of an African-American context, he left the United States at the age of 24 to settle in Paris. Baldwin wanted not to be read as “merely a Negro; or, even, merely a Negro writer.” He also hoped to come to terms with his sexual ambivalence and escape the hopelessness that many young African-American men like himself succumbed to in New York.

In 1948, with $1,500 ($16,918 today) in funding from a Rosenwald Fellowship, Baldwin attempted a photography and essay book titled Unto the Dying Lamb with a photographer friend named Theodore Pelatowski, whom Baldwin met through Richard Avedon. The book was intended as both a catalog of churches and an exploration of religiosity in Harlem, but it was never finished. The Rosenwald money did, however, grant Baldwin the prospect of consummating a desire he held for several years running: moving to France. This he did: after saying his goodbyes to his mother and younger siblings, with forty dollars to his name, Baldwin flew from New York to Paris on November 11, 1948, having given most of the scholarship funds to his mother. Baldwin would give various explanations for leaving America—sex, Calvinism, an intense sense of hostility he feared would turn inward—but most of all, his race: the feature of his existence that had to therefore expose him to a lengthy catalog of humiliations. He hoped for a more peaceable existence in Paris.

In Paris, Baldwin was soon involved in the cultural radicalism of the Left Bank. He started to publish his work in literary anthologies, notably Zero which was edited by his friend Themistocles Hoetis and which had already published essays by Richard Wright.

Baldwin spent nine years living in Paris, mostly in Saint-Germain-des-Prés, with various excursions to Switzerland, Spain, and back to the United States. Baldwin’s time in Paris was itinerant: he stayed with various friends around the city and in various hotels. Most notable of these lodgings was Hôtel Verneuil, a hotel in Saint-Germain that had collected a motley crew of struggling expatriates, mostly writers. This Verneuil circle spawned numerous friendships that Baldwin relied upon in rough periods. Baldwin was also continuously poor during his time in Paris, with only momentary respites from that condition. In his early years in Saint-Germain, Baldwin acquainted himself with Otto Friedrich, Mason Hoffenberg, Asa Benveniste, Themistocles Hoetis, Jean-Paul Sartre, Simone de Beauvoir, Max Ernst, Truman Capote, and Stephen Spender, among many others. Baldwin also met Lucien Happersberger, a Swiss boy, seventeen years old at the time of their first meeting, who came to France in search of excitement. Happersberger became Baldwin’s lover, especially in Baldwin’s first two years in France, and Baldwin’s near-obsession for some time after. Baldwin and Happersberger would remain friends for the next thirty-nine years. Though his time in Paris was not easy, Baldwin did escape the aspects of American life that most terrified him, especially the “daily indignities of racism”, per biographer James Campbell. According to Baldwin’s friend and biographer David Leeming: “Baldwin seemed at ease in his Paris life; Jimmy Baldwin the aesthete and lover reveled in the Saint-Germain ambiance.” 

In his early years in Paris prior to Go Tell It on the Mountain‘s publication, Baldwin wrote several notable works. “The Negro in Paris”, published first in The Reporter, explored Baldwin’s perception of an incompatibility between Black Americans and Black Africans in Paris, as Black Americans had faced a “depthless alienation from oneself and one’s people” that was mostly unknown to Parisian Africans. He also wrote “The Preservation of Innocence”, which traced the violence against homosexuals in American life to the protracted adolescence of America as a society. In the magazine Commentary, he published “Too Little, Too Late”, an essay on Black American literature, and “The Death of the Prophet”, a short story that grew out of Baldwin’s earlier writings for Go Tell It on The Mountain. In the latter work, Baldwin employs a character named Johnnie to trace his bouts of depression to his inability to resolve the questions of filial intimacy emanating from Baldwin’s relationship with his stepfather. In December 1949, Baldwin was arrested and jailed for receiving stolen goods after an American friend brought him bedsheets that the friend had taken from another Paris hotel. When the charges were dismissed several days later, to the laughter of the courtroom, Baldwin wrote of the experience in his essay “Equal in Paris”, also published in Commentary in 1950.  In the essay, he expressed his surprise and bewilderment at how he was no longer a “despised black man” but simply an American, no different than the white American friend who stole the sheet and with whom he had been arrested.

In these years in Paris, Baldwin also published two of his three scathing critiques of Richard Wright—”Everybody’s Protest Novel” in 1949 and “Many Thousands Gone” in 1951. Baldwin’s critique of Wright is an extension of his disapprobation toward protest literature. Per biographer David Leeming, Baldwin despised protest literature because it is “concerned with theories and with the categorization of human beings, and however brilliant the theories or accurate the categorizations, they fail because they deny life.” Protest writing cages humanity, but, according to Baldwin, “only within this web of ambiguity, paradox, this hunger, danger, darkness, can we find at once ourselves and the power that will free us from ourselves.” Baldwin took Wright’s Native Son and Stowe’s Uncle Tom’s Cabin, both erstwhile favorites of Baldwin’s, as paradigmatic examples of the protest novel’s problem. The treatment of Wright’s Bigger Thomas by socially earnest white people near the end of Native Son was, for Baldwin, emblematic of white Americans’ presumption that for Black people “to become truly human and acceptable, they must first become like us. This assumption once accepted, the Negro in America can only acquiesce in the obliteration of his own personality.”  In these two essays, Baldwin came to articulate what would become a theme in his work: that white racism toward Black Americans was refracted through self-hatred and self-denial—”One may say that the Negro in America does not really exist except in the darkness of white minds.  …  Our dehumanization of the Negro then is indivisible from our dehumanization of ourselves.” Baldwin’s relationship with Wright was tense but cordial after the essays, although Baldwin eventually ceased to regard Wright as a mentor. Meanwhile, “Everybody’s Protest Novel” had earned Baldwin the label “the most promising young Negro writer since Richard Wright.”

Beginning in the winter of 1951, Baldwin and Happersberger took several trips to Loèches-les-Bains in Switzerland, where Happersberger’s family owned a small chateau. By the time of the first trip, Happersberger had then entered a heterosexual relationship but grew worried for his friend Baldwin and offered to take Baldwin to the Swiss village. Baldwin’s time in the village gave form to his essay “Stranger in the Village”, published in Harper’s Magazine in October 1953. In that essay, Baldwin described some unintentional mistreatment and off-putting experiences at the hands of Swiss villagers who possessed a racial innocence few Americans could attest to. Baldwin explored how the bitter history shared between Black and white Americans had formed an indissoluble web of relations that changed both races: “No road whatever will lead Americans back to the simplicity of this European village where white men still have the luxury of looking on me as a stranger.”

Beauford Delaney’s arrival in France in 1953 marked “the most important personal event in Baldwin’s life” that year, according to biographer David Leeming. Around the same time, Baldwin’s circle of friends shifted away from primarily white bohemians toward a coterie of Black American expatriates: Baldwin grew close to dancer Bernard Hassell; spent significant amounts of time at Gordon Heath’s club in Paris; regularly listened to Bobby Short and Inez Cavanaugh’s performances at their respective haunts around the city; met Maya Angelou for the first time in these years as she partook in various European renditions of Porgy and Bess; and occasionally met with writers Richard Gibson and Chester Himes, composer Howard Swanson, and even Richard Wright. In 1954 Baldwin took a fellowship at the MacDowell writer’s colony in New Hampshire to help the process of writing a new novel and won a Guggenheim Fellowship. Also in 1954, Baldwin published the three-act play The Amen Corner which features the preacher Sister Margaret, a fictionalized Mother Horn from Baldwin’s time at Fireside Pentecostal, struggling with a difficult inheritance and alienation from herself and her loved ones on account of her religious fervor. Baldwin spent several weeks in Washington, D.C. and particularly around Howard University while he collaborated with Owen Dodson for the premiere of The Amen Corner, returning to Paris in October 1955.

Baldwin committed himself to a return to the United States in 1957, so he set about in early 1956 to enjoy what would be his last year in France. He became friends with Norman and Adele Mailer, was recognized by the National Institute of Arts and Letters with a grant, and was set to publish Giovanni’s Room. Nevertheless, Baldwin sank deeper into an emotional wreckage. In the summer of 1956, after a seemingly failed affair with a Black musician named Arnold, Baldwin’s first serious relationship since Happersberger, Baldwin overdosed on sleeping pills in a suicide attempt. He regretted the attempt almost instantly and called a friend who had him regurgitate the pills before the doctor arrived. Baldwin went on to attend the Congress of Black Writers and Artists in September 1956, a conference he found disappointing in its perverse reliance on European themes while nonetheless purporting to extol African originality.

Baldwin’s first published work, a review of the writer Maxim Gorky, appeared in The Nation in 1947. He continued to publish in that magazine at various times in his career and was serving on its editorial board at his death in 1987.

In 1953, Baldwin’s first novel, Go Tell It on the Mountain, a semi-autobiographical bildungsroman was published. He began writing it when he was only seventeen and first published it in Paris. His first collection of essays, Notes of a Native Son appeared two years later. He continued to experiment with literary forms throughout his career, publishing poetry and plays as well as the fiction and essays for which he was known.

Baldwin’s second novel, Giovanni’s Room, caused great controversy when it was first published in 1956 due to its explicit homoerotic content. Baldwin again resisted labels with the publication of this work. Despite the reading public’s expectations that he would publish works dealing with African American experiences, Giovanni’s Room is predominantly about white characters.

Baldwin sent the manuscript for Go Tell It on the Mountain from Paris to New York publishing house Alfred A. Knopf on February 26, 1952, and Knopf expressed interest in the novel several months later. To settle the terms of his association with Knopf, Baldwin sailed back to the United States on the SS Île de France in April, where Themistocles Hoetis and Dizzy Gillespie were coincidentally also voyaging—his conversations with both on the ship were extensive. After his arrival in New York, Baldwin spent much of the next three months with his family, whom he had not seen in almost three years. Baldwin grew particularly close to his younger brother, David Jr., and served as best man at David’s wedding on June 27. 121   Meanwhile, Baldwin agreed to rewrite parts of Go Tell It on the Mountain in exchange for a $250 advance ($2,551 today) and a further $750 ($7,653 today) paid when the final manuscript was completed. When Knopf accepted the revision in July, they sent the remainder of the advance, and Baldwin was soon to have his first published novel. In the interim, Baldwin published excerpts of the novel in two publications: one excerpt was published as “Exodus” in American Mercury and the other as “Roy’s Wound” in New World Writing. Baldwin set sail back to Europe on August 28 and Go Tell It on the Mountain was published in May 1953.

Go Tell It on the Mountain was the product of Baldwin’s years of work and exploration since his first attempt at a novel in 1938. In rejecting the ideological manacles of protest literature and the presupposition he thought inherent to such works that “in Negro life there exists no tradition, no field of manners, no possibility of ritual or intercourse”, Baldwin sought in Go Tell It on the Mountain to emphasize that the core of the problem was “not that the Negro has no tradition but that there has as yet arrived no sensibility sufficiently profound and tough to make this tradition articulate.” Baldwin biographer David Leeming draws parallels between Baldwin’s undertaking in Go Tell It on the Mountain and James Joyce’s endeavor in A Portrait of the Artist as a Young Man: to “encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.” Baldwin himself drew parallels between Joyce’s flight from his native Ireland and his own run from Harlem, and Baldwin read Joyce’s time in Paris in 1950, but in Baldwin’s Go Tell It on the Mountain, it would be the Black American “uncreated conscience” at the heart of the project.

The novel is a bildungsroman that peers into the inward struggles of protagonist John Grimes, the illegitimate son of Elizabeth Grimes, to claim his own soul as it lies on the “threshing floor”, a clear allusion to another John, the Baptist born of another Elizabeth. John’s struggle is a metaphor for Baldwin’s own struggle between escaping the history and heritage that made him, awful though it may be, and plunging deeper into that heritage, to the bottom of his people’s sorrows, before he can shuffle off his psychic chains, “climb the mountain”, and free himself. John’s family members and most of the characters in the novel are blown north in the winds of the Great Migration in search of the American Dream and all are stifled. Florence, Elizabeth, and Gabriel are denied love’s reach because racism assured them that they could not muster the kind of self-respect that love requires. Racism drives Elizabeth’s lover, Richard, to suicide, Richard will not be the last Baldwin character to die thus for that same reason. Florence’s lover Frank is destroyed by searing self-hatred of his own Blackness. Gabriel’s abuse of the women in his life is downstream from his society’s emasculation of him, with mealy-mouthed religiosity only a hypocritical cover.

The phrase “in my father’s house” and various similar formulations appear throughout Go Tell It on the Mountain, and was even an early title for the novel. The house is a metaphor at several levels of generality: for his own family’s apartment in Harlem, for Harlem taken as a whole, for America and its history, and for the “deep heart’s core”.  John’s departure from the agony that reigned in his father’s house, particularly the historical sources of the family’s privations, came through a conversion experience. “Who are these? Who are they” John cries out when he sees a mass of faces as he descends to the threshing floor: “They were the despised and rejected, the wretched and the spat upon, the earth’s offscouring; and he was in their company, and they would swallow up his soul.” John desperately wants to escape the threshing floor, but ” then John saw the Lord” and “a sweetness” filled him. The midwife of John’s conversion is Elisha, the voice of love that had followed him throughout the experience, and whose body filled John with “a wild delight”. Thus comes the wisdom that would define Baldwin’s philosophy: per biographer David Leeming: “salvation from the chains and fetters, the self-hatred and the other effects of historical racism could come only from love.”

It was Baldwin’s friend from high school, Sol Stein, who encouraged Baldwin to write an essay collection reflecting on his work thus far. Baldwin was reluctant, saying he was “too young to publish my memoirs.” Stein persisted in his exhortations to his friend Baldwin, and Notes of a Native Son was published in 1955. The book contained practically all the major themes that would continue to run through Baldwin’s work: searching for self when racial myths cloud reality; accepting an inheritance (“the conundrum of color is the inheritance of every American”); claiming a birthright (“my birthright was vast, connecting me to all that lives, and to everyone, forever”); the artist’s loneliness; love’s urgency. All the essays in Notes were published between 1948 and 1955 in Commentary, The New Leader, Partisan Review, The Reporter, and Harper’s Magazine.  The essays rely on autobiographical detail to convey Baldwin’s arguments, as all of Baldwin’s work does. Notes was Baldwin’s first introduction to many white Americans and became their reference point for his work: Baldwin often got asked, “Why don’t you write more essays like the ones in Notes of a Native Son?”. The collection’s title alludes to both Richard Wright’s Native Son and the work of one of Baldwin’s favorite writers, Henry James’s Notes of a Son and Brother.

Notes of a Native Son is divided into three parts: the first part deals with Black identity as artist and human; the second part negotiates with Black life in America, including what is sometimes considered Baldwin’s best essay, the titular “Notes of a Native Son”; the final part takes the expatriate’s perspective, looking at American society from beyond its shores. Part One of Notes features “Everybody’s Protest Novel” and “Many Thousands Gone”, along with “Carmen Jones: The Dark Is Light Enough”, a 1955 review of Carmen Jones written for Commentary where Baldwin at once extols the sight of an all-Black cast on the silver screen and laments the film’s myths about Black sexuality. Part Two reprints “The Harlem Ghetto” and “Journey to Atlanta” as prefaces for “Notes of a Native Son”. In “Notes of a Native Son”, Baldwin attempts to come to terms with his racial and filial inheritances. Part Three contains “Equal in Paris”, “Stranger in the Village”, “Encounter on the Seine”, and “A Question of Identity”. Writing from the expatriate’s perspective, Part Three is the sector of Baldwin’s corpus that most closely mirrors Henry James’s methods: hewing out of one’s distance and detachment from the homeland a coherent idea of what it means to be American.

Throughout Notes, when Baldwin is not speaking in first-person, Baldwin takes the view of white Americans. For example, in “The Harlem Ghetto”, Baldwin writes: “what it means to be a Negro in America can perhaps be suggested by the myths we perpetuate about him.” This earned some quantity of scorn from reviewers: in a review for The New York Times Book Review, Langston Hughes lamented that “Baldwin’s viewpoints are half American, half Afro-American, incompletely fused.” Some others were nonplussed by the handholding of white audiences, which Baldwin himself would criticize in later works. Nonetheless, most acutely in this stage in his career, Baldwin wanted to escape the rigid categories of protest literature and he viewed adopting a white point-of-view as a good method of doing so.

Shortly after returning to Paris, Baldwin got word from Dial Press that Giovanni’s Room had been accepted for publication. Baldwin sent the final manuscript for the book to his editor, James Silberman, on April 8, 1956, and the book was published that autumn.

In the novel, the protagonist David is in Paris while his fiancé Hella is in Spain. David meets the titular Giovanni at the bar that Guillaume owns; the two grow increasingly intimate and David eventually finds his way to Giovanni’s room.

David is confused by his intense feelings for Giovanni and has sex with a woman in the spur of the moment to reaffirm his sexuality. Meanwhile, Giovanni begins to prostitute himself and finally commits a murder for which he is guillotined.

David’s tale is one of love’s inhibitions: he cannot “face love when he finds it”, writes biographer James Campbell. His novel features a traditional theme: the clash between the restraints of puritanism and the impulse for adventure, emphasizing the loss of innocence that results. The inspiration for the murder part of the novel’s plot is an event dating from 1943 to 1944.

A Columbia University undergraduate named Lucien Carr murdered an older, homosexual man, David Kammerer, who made sexual advances on Carr. The two were walking near the banks of the Hudson River when Kammerrer made a pass at Carr, leading Carr to stab Kammerer and dump Kammerer’s body in the river.

To Baldwin’s relief, the reviews of Giovanni’s Room were positive, and his family did not criticize the subject matter.

Even from Paris, Baldwin heard the whispers of a rising Civil Rights Movement in his homeland: in May 1954, the United States Supreme Court ordered schools to desegregate “with all deliberate speed”; in August 1955 the racist murder of Emmett Till in Money, Mississippi, and the subsequent acquittal of his killers would burn in Baldwin’s mind until he wrote Blues for Mister Charlie; in December Rosa Parks was arrested for refusing to give up her seat on a Montgomery bus; and in February 1956 Autherine Lucy was admitted to the University of Alabama before being expelled when whites rioted. Meanwhile, Baldwin was increasingly burdened by the sense that he was wasting time in Paris. Baldwin began planning a return to the United States in hopes of writing a biography of Booker T. Washington, which he then called Talking at the Gates. Baldwin also received commissions to write a review of Daniel Guérin’s Negroes on the March and J. C. Furnas’s Goodbye to Uncle Tom for The Nation, as well as to write about William Faulkner and American racism for Partisan Review.

The first project became “The Crusade of Indignation”, published in July 1956. 146   Baldwin suggests that the portrait of Black life in Uncle Tom’s Cabin “has set the tone for the attitude of American whites towards Negroes for the last one hundred years”, and that, given the novel’s popularity, this portrait has led to a unidimensional characterization of Black Americans that does not capture the full scope of Black humanity. The second project turned into the essay “William Faulkner and Desegregation”. The essay was inspired by Faulkner’s March 1956 comment during an interview that he was sure to enlist himself with his fellow white Mississippians in a war over desegregation “even if it meant going out into the streets and shooting Negroes”. For Baldwin, Faulkner represented the “go slow” mentality on desegregation that tries to wrestle with the Southerner’s peculiar dilemma: the South “clings to two entirely antithetical doctrines, two legends, two histories”; the southerner is “the proud citizen of a free society and, on the other hand, committed to a society that has not yet dared to free itself of the necessity of naked and brutal oppression.” Faulkner asks for more time but “the time … does not exist.  …  There is never time in the future in which we will work out our salvation.”

Baldwin initially intended to complete Another Country before returning to New York in the fall of 1957 but progress on the novel was trudging along, so he ultimately decided to go back to the United States sooner. Beauford Delaney was particularly upset about Baldwin’s departure. Delaney had started to drink a lot and was in the incipient stages of mental deterioration, now complaining about hearing voices. Nonetheless, after a brief visit with Édith Piaf, Baldwin set sail for New York in July 1957.

Baldwin’s third and fourth novels, Another Country (1962) and Tell Me How Long the Train’s Been Gone (1968), are sprawling, experimental works dealing with Black and white characters, as well as with heterosexual, gay, and bisexual characters.

Baldwin’s lengthy essay “Down at the Cross” similarly showed the seething discontent of the 1960s in novel form. The essay was originally published in two oversized issues of The New Yorker and landed Baldwin on the cover of Time magazine in 1963 while he was touring the South speaking about the restive Civil Rights Movement. Around the time of publication of The Fire Next Time, Baldwin became a known spokesperson for civil rights and a celebrity noted for championing the cause of Black Americans.

He frequently appeared on television and delivered speeches on college campuses. The essay talked about the uneasy relationship between Christianity and the burgeoning Black Muslim movement. After publication, several Black nationalists criticized Baldwin for his conciliatory attitude. They questioned whether his message of love and understanding would do much to change race relations in America. The book was consumed by whites looking for answers to the question: What do Black Americans really want? Baldwin’s essays never stopped articulating the anger and frustration felt by real-life Black Americans with more clarity and style than any other writer of his generation.

Baldwin’s next book-length essay, No Name in the Street (1972), also discussed his own experience in the context of the later 1960s, specifically the assassinations of three of his personal friends: Medgar Evers, Malcolm X, and Martin Luther King, Jr.

Baldwin’s writings of the 1970s and 1980s were largely overlooked by critics, although they have received increasing attention in recent years. Several of his essays and interviews of the 1980s discuss homosexuality and homophobia with fervor and forthrightness. Eldridge Cleaver’s harsh criticism of Baldwin in Soul on Ice and elsewhere and Baldwin’s return to southern France contributed to the perception by critics that he was not in touch with his readership. As he had been the leading literary voice of the civil rights movement, he became an inspirational figure for the emerging gay rights movement. His two novels written in the 1970s, If Beale Street Could Talk (1974) and Just Above My Head (1979), placed a strong emphasis on the importance of Black American families. He concluded his career by publishing a volume of poetry, Jimmy’s Blues (1983), as well as another book-length essay, The Evidence of Things Not Seen (1985), an extended reflection on race inspired by the Atlanta murders of 1979–1981.

Baldwin lived in France for most of his later life. He also spent some time in Switzerland and Turkey. Baldwin settled in Saint-Paul-de-Vence in the south of France in 1970, in an old Provençal house beneath the ramparts of the famous village. His house was always open to his friends who frequently visited him while on trips to the French Riviera. American painter Beauford Delaney made Baldwin’s house in Saint-Paul-de-Vence his second home, often setting up his easel in the garden. Delaney painted several colorful portraits of Baldwin. Fred Nall Hollis also befriended Baldwin during this time. Actors Harry Belafonte and Sidney Poitier were also regular house guests.

Many of Baldwin’s musician friends dropped in during the Jazz à Juan and Nice Jazz Festivals. They included Nina Simone, Josephine Baker, Miles Davis, and Ray Charles. In his autobiography, Miles Davis wrote:

“I’d read his books and I liked and respected what he had to say. As I got to know Jimmy we opened up to each other and became real great friends. Every time I went to southern France to play Antibes, I would always spend a day or two out at Jimmy’s house in St. Paul de Vence. We’d just sit there in that great big beautiful house of his telling us all kinds of stories, lying our asses off…. He was a great man.”

Baldwin learned to speak French fluently and developed friendships with French actor Yves Montand and French writer Marguerite Yourcenar who translated Baldwin’s play The Amen Corner into French.

The years Baldwin spent in Saint-Paul-de-Vence were also years of work. Sitting in front of his sturdy typewriter, he devoted his days to writing and to answering the huge amount of mail he received from all over the world. He wrote several of his last works in his house in Saint-Paul-de-Vence, including Just Above My Head in 1979 and Evidence of Things Not Seen in 1985. It was also in his Saint-Paul-de-Vence house that Baldwin wrote his famous “Open Letter to My Sister, Angela Y. Davis” in November 1970.

On December 1, 1987, Baldwin died from stomach cancer in Saint-Paul-de-Vence, France. He was buried at the Ferncliff Cemetery in Hartsdale, near New York City.

Fred Nall Hollis took care of Baldwin on his deathbed. Nall had been friends with Baldwin from the early 1970s when Baldwin would buy him drinks at the Café de Flore. Nall recalled talking to Baldwin shortly before his death about racism in Alabama. In one conversation, Nall told Baldwin “Through your books you liberated me from my guilt about being so bigoted coming from Alabama and because of my homosexuality.” Baldwin insisted: “No, you liberated me in revealing this to me.”

At the time of Baldwin’s death, he was working on an unfinished manuscript called Remember This House, a memoir of his personal recollections of civil rights leaders Medgar Evers, Malcolm X and Martin Luther King Jr. Following his death, publishing company McGraw-Hill took the unprecedented step of suing his estate to recover the $200,000 advance they had paid him for the book, although the lawsuit was dropped by 1990. The manuscript forms the basis for Raoul Peck’s 2016 documentary film I Am Not Your Negro.

Following Baldwin’s death, a court battle began over the ownership of his home in France. Baldwin had been in the process of purchasing his house from his landlady, Mlle. Jeanne Faure. At the time of his death, Baldwin did not have full ownership of the home, although it was still Mlle. Faure’s intention that the home would stay in the family. His home, nicknamed “Chez Baldwin”, has been the center of scholarly work and artistic and political activism. The National Museum of African American History and Culture has an online exhibit titled “Chez Baldwin” which uses his historic French home as a lens to explore his life and legacy. Magdalena J. Zaborowska’s 2018 book, Me and My House: James Baldwin’s Last Decade in France, uses photographs of his home and his collections to discuss themes of politics, race, queerness, and domesticity.

Over the years, several efforts were initiated to save the house and convert it into an artist residency. None had the endorsement of the Baldwin estate. In February 2016, Le Monde published an opinion piece by Thomas Chatterton Williams, a contemporary Black American expatriate writer in France, which spurred a group of activists to come together in Paris. In June 2016, American writer and activist Shannon Cain squatted at the house for 10 days in an act of political and artistic protest.  Les Amis de la Maison Baldwin, a French organization whose initial goal was to purchase the house by launching a capital campaign funded by the U.S. philanthropic sector, grew out of this effort. This campaign was unsuccessful without the support of the Baldwin Estate. Attempts to engage the French government in conservation of the property were dismissed by the mayor of Saint-Paul-de-Vence, Joseph Le Chapelain whose statement to the local press claiming “nobody’s ever heard of James Baldwin” mirrored those of Henri Chambon, the owner of the corporation that razed his home. Construction was completed in 2019 on the apartment complex that now stands where Chez Baldwin once stood.

In all of Baldwin’s works, but particularly in his novels, the main characters are twined up in a “cage of reality” that sees them fighting for their soul against the limitations of the human condition or against their place at the margins of a society consumed by various prejudices. Baldwin connects many of his main characters, John in Go Tell It On The Mountain, Rufus in Another Country, Richard in Blues for Mister Charlie, and Giovanni in Giovanni’s Room, as sharing a reality of restriction: per biographer David Leeming, each is “a symbolic cadaver in the center of the world depicted in the given novel and the larger society symbolized by that world”. Each reaches for an identity within their own social environment, and sometimes, as in If Beale Street Could Talk‘s Fonny and Tell me How Long The Train’s Been Gone‘s Leo, they find such an identity, imperfect but sufficient to bear the world. The singular theme in the attempts of Baldwin’s characters to resolve their struggle for themselves is that such resolution only comes through love. Here is Leeming at some length:

“Love is at the heart of the Baldwin philosophy. Love for Baldwin cannot be safe; it involves the risk of commitment, the risk of removing the masks and taboos placed on us by society. The philosophy applies to individual relationships as well as to more general ones. It encompasses sexuality as well as politics, economics, and race relations. And it emphasizes the dire consequences, for individuals and racial groups, of the refusal to love.”

Baldwin returned to the United States in the summer of 1957 while the civil rights legislation of that year was being debated in Congress. He had been powerfully moved by the image of a young girl, Dorothy Counts, braving a mob in an attempt to desegregate schools in Charlotte, North Carolina, and Partisan Review editor Philip Rahv had suggested he report on what was happening in the American South. Baldwin was nervous about the trip but he made it, interviewing people in Charlotte, and Montgomery, Alabama. The result was two essays, one published in Harper’s magazine and in Partisan Review. Subsequent Baldwin articles on the movement appeared in Mademoiselle, Harper’s, The New York Times Magazine, and The New Yorker, where in 1962 he published the essay that he called “Down at the Cross”, and the New Yorker called “Letter from a Region of My Mind”. Along with a shorter essay from The Progressive, the essay became The Fire Next Time.

While he wrote about the movement, Baldwin aligned himself with the ideals of the Congress of Racial Equality (CORE) and the Student Nonviolent Coordinating Committee (SNCC). Joining CORE gave him the opportunity to travel across the American South lecturing on his views of racial inequality. His insights into both the North and South gave him a unique perspective on the racial problems the United States was facing.

In 1963 he conducted a lecture tour of the South for CORE, traveling to Durham and Greensboro in North Carolina, and New Orleans. During the tour, he lectured to students, white liberals, and anyone else listening about his racial ideology, an ideological position between the “muscular approach” of Malcolm X and the nonviolent program of Martin Luther King, Jr. Baldwin expressed the hope that socialism would take root in the United States.

By the spring of 1963, the mainstream press began to recognize Baldwin’s incisive analysis of white racism and his eloquent descriptions of the Negro’s pain and frustration. In fact, Time featured Baldwin on the cover of its May 17, 1963, issue. “There is not another writer”, said Time, “who expresses with such poignancy and abrasiveness the dark realities of the racial ferment in North and South.”

In a cable Baldwin sent to Attorney General Robert F. Kennedy during the Birmingham, Alabama crisis, Baldwin blamed the violence in Birmingham on the FBI, J. Edgar Hoover, Mississippi Senator James Eastland, and President Kennedy for failing to use “the great prestige of his office as the moral forum which it can be.” Attorney General Kennedy invited Baldwin to meet with him over breakfast, and that meeting was followed up with a second, when Kennedy met with Baldwin and others Baldwin had invited to Kennedy’s Manhattan apartment. This meeting is discussed in Howard Simon’s 1999 play, James Baldwin: A Soul on Fire. The delegation included Kenneth B. Clark, a psychologist who had played a key role in the Brown v. Board of Education decision; actor Harry Belafonte, singer Lena Horne, writer Lorraine Hansberry, and activists from civil rights organizations. Although most of the attendees of this meeting left feeling “devastated”, the meeting was an important one in voicing the concerns of the civil rights movement, and it provided exposure of the civil rights issue not just as a political issue but also as a moral issue.

James Baldwin’s FBI file contains 1,884 pages of documents, collected from 1960 until the early 1970s. During that era of surveillance of American writers, the FBI accumulated 276 pages on Richard Wright, 110 pages on Truman Capote, and just nine pages on Henry Miller.

Baldwin also made a prominent appearance at the March on Washington for Jobs and Freedom on August 28, 1963, with Belafonte and long-time friends Sidney Poitier and Marlon Brando.

Baldwin’s sexuality clashed with his activism. The civil rights movement was hostile to homosexuals. The only out gay men in the movement were Baldwin and Bayard Rustin. Rustin and King were very close, as Rustin received credit for the success of the March on Washington. Many were bothered by Rustin’s sexual orientation. King himself spoke on the topic of sexual orientation in a school editorial column during his college years, and in reply to a letter during the 1950s, where he treated it as a mental illness which an individual could overcome. King’s key advisor, Stanley Levison, also stated that Baldwin and Rustin were “better qualified to lead a homo-sexual movement than a civil rights movement”. The pressure later resulted in King distancing himself from both men. Despite his enormous efforts within the movement, due to his sexuality, Baldwin was excluded from the inner circles of the civil rights movement and was conspicuously uninvited to speak at the end of the March on Washington.

At the time, Baldwin was neither in the closet nor open to the public about his sexual orientation. Although his novels, specifically Giovanni’s Room and Just Above My Head, had openly gay characters and relationships, Baldwin himself never openly stated his sexuality. In his book, Kevin Mumford points out how Baldwin went his life “passing as straight rather than confronting homophobes with whom he mobilized against racism”.

After a bomb exploded in a Birmingham church three weeks after the March on Washington, Baldwin called for a nationwide campaign of civil disobedience in response to this “terrifying crisis”. He traveled to Selma, Alabama, where SNCC had organized a voter registration drive; he watched mothers with babies and elderly men and women standing in long lines for hours, as armed deputies and state troopers stood by, or intervened to smash a reporter’s camera or use cattle prods on SNCC workers. After his day of watching, he spoke in a crowded church, blaming Washington, “the good white people on the hill”. Returning to Washington, he told a New York Post reporter the federal government could protect Negroes, it could send federal troops into the South. He blamed the Kennedys for not acting. In March 1965, Baldwin joined marchers who walked 50 miles from Selma, Alabama, to the capitol in Montgomery under the protection of federal troops.

Nonetheless, he rejected the label “civil rights activist”, or that he had participated in a civil rights movement, instead agreeing with Malcolm X’s assertion that if one is a citizen, one should not have to fight for one’s civil rights. In a 1964 interview with Robert Penn Warren for the book Who Speaks for the Negro?, Baldwin rejected the idea that the civil rights movement was an outright revolution, instead calling it “a very peculiar revolution because it has to… have its aims the establishment of a union, and a… radical shift in the American mores, the American way of life… not only as it applies to the Negro obviously, but as it applies to every citizen of the country.” In a 1979 speech at UC Berkeley, Baldwin called it, instead, “the latest slave rebellion”.

In 1968, Baldwin signed the “Writers and Editors War Tax Protest” pledge, vowing to refuse to make income tax payments in protest against the Vietnam War.

A great influence on Baldwin was the painter Beauford Delaney. In The Price of the Ticket (1985), Baldwin describes Delaney as

“… the first living proof, for me, that a black man could be an artist. In a warmer time, a less blasphemous place, he would have been recognized as my teacher and I as his pupil. He became, for me, an example of courage and integrity, humility and passion. An absolute integrity: I saw him shaken many times and I lived to see him broken but I never saw him bow.”

Later support came from Richard Wright, whom Baldwin called “the greatest black writer in the world”. Wright and Baldwin became friends, and Wright helped Baldwin secure the Eugene F. Saxon Memorial Award. Baldwin’s essay “Notes of a Native Son” and his collection Notes of a Native Son allude to Wright’s novel Native Son. In Baldwin’s 1949 essay “Everybody’s Protest Novel”, however, he indicated that Native Son, like Harriet Beecher Stowe’s Uncle Tom’s Cabin, lacked credible characters and psychological complexity, and the friendship between the two authors ended. Interviewed by Julius Lester, however, Baldwin explained “I knew Richard and I loved him. I was not attacking him; I was trying to clarify something for myself.” In 1965, Baldwin participated in a debate with William F. Buckley, on the topic of whether the American dream had been achieved at the expense of African Americans. The debate took place at Cambridge Union in the UK. The spectating student body voted overwhelmingly in Baldwin’s favor.

In 1949 Baldwin met and fell in love with Lucien Happersberger, a boy aged 17, though Happersberger’s marriage three years later left Baldwin distraught. When the marriage ended they later reconciled, with Happersberger staying by Baldwin’s deathbed at his house in Saint-Paul-de-Vence. Happersberger died on August 21, 2010, in Switzerland.

Baldwin was a close friend of the singer, pianist, and civil rights activist Nina Simone. Langston Hughes, Lorraine Hansberry, and Baldwin helped Simone learn about the Civil Rights Movement. Baldwin also provided her with literary references influential on her later work. Baldwin and Hansberry met with Robert F. Kennedy, along with Kenneth Clark and Lena Horne and others in an attempt to persuade Kennedy of the importance of civil rights legislation.

Baldwin influenced the work of French painter Philippe Derome, whom he met in Paris in the early 1960s. Baldwin also knew Marlon Brando, Charlton Heston, Billy Dee Williams, Huey P. Newton, Nikki Giovanni, Jean-Paul Sartre, Jean Genet, Lee Strasberg, Elia Kazan, Rip Torn, Alex Haley, Miles Davis, Amiri Baraka, Martin Luther King, Jr., Dorothea Tanning, Leonor Fini, Margaret Mead, Josephine Baker, Allen Ginsberg, Chinua Achebe, and Maya Angelou. He wrote at length about his “political relationship” with Malcolm X. He collaborated with childhood friend Richard Avedon on the 1964 book Nothing Personal.

Maya Angelou called Baldwin her “friend and brother” and credited him for “setting the stage” for her 1969 autobiography I Know Why the Caged Bird Sings. Baldwin was made a Commandeur de la Légion d’Honneur by the French government in 1986.

Baldwin was also a close friend of Nobel Prize–winning novelist Toni Morrison. Upon his death, Morrison wrote a eulogy for Baldwin that appeared in The New York Times. In the eulogy, entitled “Life in His Language”, Morrison credits Baldwin as being her literary inspiration and the person who showed her the true potential of writing. She writes:

“You knew, didn’t you, how I needed your language and the mind that formed it? How I relied on your fierce courage to tame wildernesses for me? How strengthened I was by the certainty that came from knowing you would never hurt me? You knew, didn’t you, how I loved your love? You knew. This then is no calamity. No. This is jubilee. “Our crown,” you said, “has already been bought and paid for. All we have to do,” you said, “is wear it.”

Baldwin’s influence on other writers has been profound: Toni Morrison edited the Library of America’s first two volumes of Baldwin’s fiction and essays: Early Novels & Stories (1998) and Collected Essays (1998). A third volume, Later Novels (2015), was edited by Darryl Pinckney, who had delivered a talk on Baldwin in February 2013 to celebrate the fiftieth anniversary of The New York Review of Books, during which he stated: “No other black writer I’d read was as literary as Baldwin in his early essays, not even Ralph Ellison. There is something wild in the beauty of Baldwin’s sentences and the cool of his tone, something improbable, too, this meeting of Henry James, the Bible, and Harlem.”

One of Baldwin’s richest short stories, “Sonny’s Blues”, appears in many anthologies of short fiction used in introductory college literature classes.

In 1987, Kevin Brown, a photo-journalist from Baltimore founded the National James Baldwin Literary Society. The group organizes free public events celebrating Baldwin’s life and legacy.

In 1992, Hampshire College in Amherst, Massachusetts, established the James Baldwin Scholars program, an urban outreach initiative, in honor of Baldwin, who taught at Hampshire in the early 1980s. The JBS Program provides talented students of color from under-served communities an opportunity to develop and improve the skills necessary for college success through coursework and tutorial support for one transitional year, after which Baldwin scholars may apply for full matriculation to Hampshire or any other four-year college program.

Spike Lee’s 1996 film Get on the Bus includes a Black gay character, played by Isaiah Washington, who punches a homophobic character, saying: “This is for James Baldwin and Langston Hughes.”

His name appears in the lyrics of the Le Tigre song “Hot Topic”, released in 1999.

In 2002, scholar Molefi Kete Asante included James Baldwin on his list of 100 Greatest African Americans.

In 2005, the United States Postal Service created a first-class postage stamp dedicated to Baldwin, which featured him on the front with a short biography on the back of the peeling paper.

In 2012, Baldwin was inducted into the Legacy Walk, an outdoor public display that celebrates LGBT history and people. 218 

In 2014, East 128th Street, between Fifth and Madison Avenues was named “James Baldwin Place” to celebrate the 90th anniversary of Baldwin’s birth. He lived in the neighborhood and attended P.S. 24. Readings of Baldwin’s writing were held at The National Black Theatre and a month-long art exhibition featuring works by New York Live Arts and artist Maureen Kelleher. The events were attended by Council Member Inez Dickens, who led the campaign to honor the Harlem native’s son; also taking part were Baldwin’s family, theater and film notables, and members of the community.

Also in 2014, Baldwin was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco’s Castro neighborhood celebrating LGBTQ people who have “made significant contributions in their fields.”

Also in 2014, The Social Justice Hub at The New School’s newly opened University Center was named the Baldwin Rivera Boggs Center after activists Baldwin, Sylvia Rivera, and Grace Lee Boggs.

In 2016, Raoul Peck released his documentary film I Am Not Your Negro. It is based on James Baldwin’s unfinished manuscript, Remember This House. It is a 93-minute journey into Black history that connects the past of the Civil Rights Movement to the present of Black Lives Matter. It is a film that questions Black representation in Hollywood and beyond.

In 2017, Scott Timberg wrote an essay for the Los Angeles Times in which he noted existing cultural references to Baldwin, 30 years after his death, and concluded: “So Baldwin is not just a writer for the ages, but a scribe whose work, as squarely as George Orwell’s, speaks directly to ours.”

In June 2019 Baldwin’s residence on the Upper West Side was given landmark designation by New York City’s Landmarks Preservation Commission.

In June 2019, Baldwin was one of the inaugural fifty American “pioneers, trailblazers, and heroes” inducted on the National LGBTQ Wall of Honor within the Stonewall National Monument (SNM) in New York City’s Stonewall Inn. The SNM is the first U.S. national monument dedicated to LGBTQ rights and history, and the wall’s unveiling was timed to take place during the 50th anniversary of the Stonewall riots.

At the Paris Council of June 2019, the city of Paris voted unanimously by all political groups to name a place in the capital in the name of James Baldwin. The project was confirmed on June 19, 2019, and announced for the year 2020. In 2021, Paris City Hall announced that the writer would give his name to the very first media library in the 19th arrondissement, which is scheduled to open in 2023.

A lot happened in the year 1987, including the debut of a family-friendly TV sitcom set in San Francisco. The name of the show was Full House, and we’ll be doing a deep dive into this popular comedy over the coming weeks.

But first, to get a sense of the times and trends that helped shape this series, here’s a notable obituary from 1987 — Jackie Gleason.

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Jackie Gleason was an American actor, comedian, writer, and composer known affectionately as “The Great One”. Developing a style and characters from growing up in Brooklyn, New York, he was known for his brash visual and verbal comedy, exemplified by his city-bus-driver character Ralph Kramden in the television series The Honeymooners. He also developed The Jackie Gleason Show, which maintained high ratings from the mid-1950s through 1970. After originating in New York City, videotaping moved to Miami Beach, Florida, in 1964 after Gleason took up permanent residence there.

Among his notable film roles were Minnesota Fats in 1961’s The Hustler (co-starring with Paul Newman) and Buford T. Justice in the Smokey and the Bandit series from 1977 to 1983 (co-starring Burt Reynolds).

Gleason enjoyed a prominent secondary music career during the 1950s and 1960s, producing a series of best-selling “mood music” albums. His first album, Music for Lovers Only, still holds the record for the longest stay on the Billboard Top Ten Charts (153 weeks), and his first 10 albums sold over a million copies each. His output spans some 20-plus singles, nearly 60 long-playing record albums, and over 40 CDs.

Gleason worked his way up to a job at New York’s Club 18, where insulting its patrons was the order of the day. Gleason greeted noted skater Sonja Henie by handing her an ice cube and saying, “Okay, now do something.” It was here that Jack L. Warner first saw Gleason, signing him to a film contract for $250 a week.

By age 24, Gleason was appearing in films: first for Warner Brothers (as Jackie C. Gleason) in such films as Navy Blues (1941) with Ann Sheridan and Martha Raye and All Through the Night (1941) with Humphrey Bogart; then for Columbia Pictures for the B military comedy Tramp, Tramp, Tramp; and finally for Twentieth Century-Fox, where Gleason played Glenn Miller Orchestra bassist Ben Beck in Orchestra Wives (1942). He also had a small part as a soda shop clerk in Larceny, Inc. (1942), with Edward G. Robinson and a modest part as an actor’s agent in the 1942 Betty Grable–Harry James musical Springtime in the Rockies.

During World War II, Gleason was initially exempt from military service, since he was a father of two. However, in 1943 the US started drafting men with children. When Gleason reported to his induction, doctors discovered that his broken left arm had healed crooked (the area between his thumb and forefinger was nerveless and numb), that a pilonidal cyst existed at the end of his coccyx, and that he was 100 pounds overweight. Gleason was therefore classified 4-F and rejected for military service.

Gleason did not make a strong impression on Hollywood at first; at the time, he developed a nightclub act that included comedy and music. At the end of 1942, Gleason and Lew Parker led a large cast of entertainers in the road show production of Olsen and Johnson’s New 1943 Hellzapoppin. He also became known for hosting all-night parties in his hotel suite; the hotel soundproofed his suite out of consideration for its other guests. “Anyone who knew Jackie Gleason in the 1940s”, wrote CBS historian Robert Metz, “would tell you The Fat Man would never make it. His pals at Lindy’s watched him spend money as fast as he soaked up the booze.” Rodney Dangerfield wrote that he witnessed Gleason purchasing marijuana in the 1940s.

Gleason’s first significant recognition as an entertainer came on Broadway when he appeared in the hit musical Follow the Girls (1944). While working in films in California, Gleason also worked at former boxer Maxie Rosenbloom’s nightclub (Slapsy Maxie’s, on Wilshire Boulevard).

Gleason’s big break occurred in 1949, when he landed the role of blunt but softhearted aircraft worker Chester A. Riley for the first television version of the radio comedy The Life of Riley. (William Bendix had originated the role on radio but was initially unable to accept the television role because of film commitments.) Despite positive reviews, the show received modest ratings and was canceled after one year. Bendix reprised the role in 1953 for a five-year series. The Life of Riley became a television hit for Bendix during the mid-to-late 1950s. But long before this, Gleason’s nightclub act had received attention from New York City’s inner circle and the fledgling DuMont Television Network. He was working at Slapsy Maxie’s when he was hired to host DuMont’s Cavalcade of Stars variety hour in 1950, having been recommended by comedy writer Harry Crane, whom he knew from his days as a stand-up comedian in New York. The program initially had rotating hosts; Gleason was first offered two weeks at $750 per week. When he responded it was not worth the train trip to New York, the offer was extended to four weeks. Gleason returned to New York for the show. He framed the acts with splashy dance numbers, developed sketch characters he would refine over the next decade, and became enough of a presence that CBS wooed him to its network in 1952.

Renamed The Jackie Gleason Show, the program became the country’s second-highest-rated television show during the 1954–55 season. Gleason amplified the show with even splashier opening dance numbers inspired by Busby Berkeley’s screen dance routines and featuring the precision-choreographed June Taylor Dancers. Following the dance performance, he would do an opening monologue. Then, accompanied by “a little travelin’ music” (“That’s a Plenty”, a Dixieland classic from 1914), he would shuffle toward the wings, clapping his hands and shouting, “And awaaay we go!” The phrase became one of his trademarks, along with “How sweet it is!” (which he used in reaction to almost anything). Theona Bryant, a former Powers Girl, became Gleason’s “And awaaay we go” girl. Ray Bloch was Gleason’s first music director, followed by Sammy Spear, who stayed with Gleason through the 1960s; Gleason often kidded both men during his opening monologues. He continued developing comic characters, including:

Reginald Van Gleason III, a top-hatted millionaire with a taste for both the good life and fantasy;

Rudy the Repairman, boisterous and boorish; Joe the Bartender, gregarious and with friendly words for the never-seen Mr. Dennehy (always first at the bar); The Poor Soul, a silent character who could (and often did) come to grief in the least-expected places (or demonstrated gratitude at such gifts as being allowed to share a newspaper on a subway); Rum Dum, a character with a brush-like mustache who often stumbled around as though drunk and confused; Fenwick Babbitt, a friendly, addle-headed young man usually depicted working at various jobs and invariably failing; Charlie Bratton, a loudmouth who frequently picked on the mild-mannered Clem Finch (portrayed by Art Carney, a future Honeymooners co-star); Stanley R. Sogg, a pitchman who usually appeared on commercials during late night movies and sold items that came with extras or bonuses (the ultimate inducement was a 10-pound wedge of Facciamara’s Macciaroni cheese); and The Bachelor, a silent character (accompanied by the song “Somebody Loves Me”) doing everyday things in an unusually lazy (or makeshift) way.

In a 1985 interview, Gleason related some of his characters to his youth in Brooklyn. The Mr. Dennehy whom Joe the Bartender greets is a tribute to Gleason’s first love, Julie Dennehy. The character of The Poor Soul was drawn from an assistant manager of an outdoor theater he frequented.

Gleason disliked rehearsing. With a photographic memory he read the script once, watched a rehearsal with his co-stars and stand-in, and shot the show later that day. When he made mistakes, he often blamed the cue cards.

Gleason’s most popular character by far was blustery bus driver Ralph Kramden. Largely drawn from Gleason’s harsh Brooklyn childhood, these sketches became known as The Honeymooners. The show was based on Ralph’s many get-rich-quick schemes; his ambition; his antics with his best friend and neighbor, scatterbrained sewer worker Ed Norton; and clashes with his sensible wife, Alice, who typically pulled Ralph’s head down from the clouds.

Gleason developed catchphrases he used on The Honeymooners, such as threats to Alice: “One of these days, Alice, pow! right in the kisser” and “Bang! Zoom! To the moon Alice, to the moon!”

The Honeymooners originated from a sketch Gleason was developing with his show’s writers. He said he had an idea he wanted to enlarge: a skit with a smart, quiet wife and her very vocal husband. He went on to describe that, while the couple had their fights, underneath it all they loved each other. Titles for the sketch were tossed around until someone came up with The Honeymooners.

The Honeymooners first was featured on Cavalcade of Stars on October 5, 1951, with Carney in a guest appearance as a cop (Norton did not appear until a few episodes later) and character actress Pert Kelton as Alice. Darker and fiercer than the milder later version with Audrey Meadows as Alice, the sketches proved popular with critics and viewers. As Kramden, Gleason played a frustrated bus driver with a battleax of a wife in harrowingly realistic arguments; when Meadows (who was 15 years younger than Kelton) took over the role after Kelton was blacklisted, the tone softened considerably.

When Gleason moved to CBS, Kelton was left behind; her name had been published in Red Channels, a book that listed and described reputed communists (and communist sympathizers) in television and radio, and the network did not want to hire her. Gleason reluctantly let her leave the cast, with a cover story for the media that she had “heart trouble”. At first, he turned down Meadows as Kelton’s replacement. Meadows wrote in her memoir that she slipped back to audition again and frumped herself up to convince Gleason that she could handle the role of a frustrated (but loving) working-class wife. Rounding out the cast, Joyce Randolph played Trixie, Ed Norton’s wife. Elaine Stritch had played the role as a tall and attractive blonde in the first sketch but was quickly replaced by Randolph. Comedy writer Leonard Stern always felt The Honeymooners was more than sketch material and persuaded Gleason to make it into a full-hour-long episode.

In 1955, Gleason gambled on making it a separate series entirely. These are the “Classic 39” episodes, which finished 19th in the ratings for their only season. They were filmed with a new DuMont process, Electronicam. Like kinescopes, it preserved a live performance on film; unlike kinescopes (which were screenshots), the film was of higher quality and comparable to a motion picture. That turned out to be Gleason’s most prescient move. A decade later, he aired the half-hour Honeymooners in syndicated reruns that began to build a loyal and growing audience, making the show a television icon. Its popularity was such that in 2000 a life-sized statue of Jackie Gleason, in uniform as bus driver Ralph Kramden, was installed outside the Port Authority Bus Terminal in New York City.

Gleason went back to the live format for 1956–57 with short and long versions, including hour-long musicals. These musical presentations were reprised ten years later, in color, with Sheila MacRae and Jane Keane as Alice and Trixie.

Audrey Meadows reappeared for one black-and-white remake of the ’50s sketch “The Adoption”, telecast January 8, 1966. Ten years later she rejoined Gleason and Carney (with Jane Kean replacing Joyce Randolph) for several TV specials (one special from 1973 was shelved).

The Jackie Gleason Show ended in June 1957. In 1959, Jackie discussed the possibility of bringing back The Honeymooners in new episodes. His dream was partially realized with a Kramden-Norton sketch on a CBS variety show in late 1960 and two more sketches on his new hour-long CBS show The American Scene Magazine in 1962.

Throughout the 1950s and 1960s, Gleason enjoyed a prominent secondary music career producing a series of best-selling “mood music” albums with jazz overtones for Capitol Records. Gleason believed there was a ready market for romantic instrumentals. His goal was to make “musical wallpaper that should never be intrusive, but conducive”. He recalled seeing Clark Gable play love scenes in movies; the romance was, in his words, “magnified a thousand percent” by background music. Gleason reasoned, “If Gable needs music, a guy in Brooklyn must be desperate!”

Gleason could not read or write music; he was said to have conceived melodies in his head and described them vocally to assistants who transcribed them into musical notes. These included the well-remembered themes of both The Jackie Gleason Show (“Melancholy Serenade”) and The Honeymooners (“You’re My Greatest Love”). In spite of period accounts establishing his direct involvement in musical production, varying opinions have appeared over the years as to how much credit Gleason should have received for the finished products. Biographer William A. Henry wrote in his 1992 book, The Great One: The Life and Legend of Jackie Gleason, that beyond the possible conceptualizing of many of the song melodies, Gleason had no direct involvement (such as conducting) in making the recordings. Red Nichols, a jazz great who had fallen on hard times and led one of the group’s recordings, was not paid as session-leader. Cornetist and trumpeter Bobby Hackett soloed on several of Gleason’s albums and was leader for seven of them. Asked late in life by musician–journalist Harry Currie in Toronto what Gleason really did at the recording sessions, Hackett replied, “He brought the checks”.

But years earlier Hackett had glowingly told writer James Bacon:

Jackie knows a lot more about music than people give him credit for. I have seen him conduct a 60-piece orchestra and detect one discordant note in the brass section. He would immediately stop the music and locate the wrong note. It always amazed the professional musicians how a guy who technically did not know one note from another could do that. And he was never wrong.

The composer and arranger George Williams has been cited in various biographies as having served as ghostwriter for the majority of arrangements heard on many of Gleason’s albums of the 1950s and 1960s. Williams was not given credit for his work until the early 1960s, albeit only in small print on the backs of album covers.

Nearly all of Gleason’s albums have been reissued on compact disc.

Gleason’s lead role in the musical Take Me Along (1959–60) won him a Tony Award for Best Performance by a Leading Actor in a Musical.

In 1956 Gleason revived his original variety hour including The Honeymooners, winning a Peabody Award. He abandoned the show in 1957 when his ratings for the season came in at No. 29 and the network “suggested” he needed a break. He returned in 1958 with a half-hour show featuring Buddy Hackett, which did not catch on.

In addition to his salary and royalties, CBS paid for Gleason’s Peekskill, New York, mansion “Round Rock Hill”. Set on six acres, the architecturally noteworthy complex included a round main home, guest house, and storage building. It took Gleason two years to design the house, which was completed in 1959. Gleason sold the home when he relocated to Miami.

In October 1960, Gleason and Carney briefly returned for a Honeymooners sketch on a TV special. His next foray into television was the game show You’re in the Picture, which was cancelled after a disastrously received premiere episode but was followed the next week by a broadcast of Gleason’s humorous half-hour apology, which was much better appreciated. For the rest of its scheduled run, the game show was replaced by a talk show named The Jackie Gleason Show.

In 1962, Gleason resurrected his variety show with more splashiness and a new hook: a fictitious general-interest magazine called The American Scene Magazine, through which Gleason trotted out his old characters in new scenarios, including two new Honeymooners sketches. He also added another catchphrase to the American vernacular, first uttered in the 1963 film Papa’s Delicate Condition: “How sweet it is!” The Jackie Gleason Show: The American Scene Magazine was a hit that continued for four seasons. Each show began with Gleason delivering a monologue and commenting on the attention-getting outfits of band leader Sammy Spear. Then the “magazine” features would be trotted out, from Hollywood gossip (reported by comedian Barbara Heller) to news flashes (played for laughs with a stock company of second bananas, chorus girls and dwarfs). Comedienne Alice Ghostley occasionally appeared as a downtrodden tenement resident sitting on her front step and listening to boorish boyfriend Gleason for several minutes. After the boyfriend took his leave, the smitten Ghostley would exclaim, “I’m the luckiest girl in the world!” Veteran comics Johnny Morgan, Sid Fields, and Hank Ladd were occasionally seen opposite Gleason in comedy sketches. Helen Curtis played alongside him as a singer and actress, delighting audiences with her ‘Madame Plumpadore’ sketches with ‘Reginald Van Gleason.’

The final sketch was always set in Joe the Bartender’s saloon with Joe singing “My Gal Sal” and greeting his regular customer, the unseen Mr. Dunahy. During the sketch, Joe would tell Dennehy about an article he had read in the fictitious American Scene magazine, holding a copy across the bar. It had two covers: one featured the New York skyline and the other palm trees. Joe would bring out Frank Fontaine as Crazy Guggenheim, who would regale Joe with the latest adventures of his neighborhood pals and sometimes show Joe his current Top Cat comic book. Joe usually asked Crazy to sing, almost always a sentimental ballad in his fine, lilting baritone.

Gleason revived The Honeymooners; First with Sue Ane Langdon as Alice and Patricia Wilson as Trixie for two episodes of The American Scene Magazine, then with Sheila MacRae as Alice and Jane Kean as Trixie for the 1966 series. By 1964 Gleason had moved the production from New York to Miami Beach, Florida, reportedly because he liked year-round access to the golf course at the nearby Inverrary Country Club in Lauderhill. His closing line became, almost invariably, “As always, the Miami Beach audience is the greatest audience in the world!” In 1966, he abandoned the American Scene Magazine format and converted the show into a standard variety hour with guest performers.

Gleason kicked off the 1966–1967 season with new, color episodes of The Honeymooners. Carney returned as Ed Norton, with MacRae as Alice and Kean as Trixie. The sketches were remakes of the 1957 world-tour episodes, in which Kramden and Norton win a slogan contest and take their wives to international destinations. Each of the nine episodes was a full-scale musical comedy, with Gleason and company performing original songs by Lyn Duddy and Jerry Bresler. Occasionally Gleason would devote the show to musicals with a single theme, such as college comedy or political satire, with the stars abandoning their Honeymooners roles for different character roles. This was the show’s format until its cancellation in 1970. The musicals pushed Gleason back into the top five in ratings, but audiences soon began to decline. By its final season, Gleason’s show was no longer in the top 25. In the last original Honeymooners episode aired on CBS, Ralph encounters the youth-protest movement of the late 1960s, a sign of changing times in both television and society.

Gleason wanted The Honeymooners to be just a portion of his format, but CBS wanted another season of only The Honeymooners. The network had cancelled a mainstay variety show hosted by Red Skelton and would cancel The Ed Sullivan Show in 1971 because they had become too expensive to produce and attracted, in the executives’ opinion, too old an audience. Gleason simply stopped doing the show in 1970 and left CBS when his contract expired.

Gleason did two Jackie Gleason Show specials for CBS after giving up his regular show in the 1970s, including Honeymooners segments and a Reginald Van Gleason III sketch in which the gregarious millionaire was portrayed as a comic drunk. When the CBS deal expired, Gleason signed with NBC. He later did a series of Honeymooners specials for ABC. Gleason hosted four ABC specials during the mid-1970s. Gleason and Carney also made a television movie, Izzy and Moe (1985), about an unusual pair of historic Federal prohibition agents in New York City who achieved an unbeatable arrest record with highly successful techniques including impersonations and humor, which aired on CBS in 1985.

In April 1974, Gleason revived several of his classic characters, including Ralph Kramden, Joe the Bartender and Reginald Van Gleason III in a television special with Julie Andrews. In a song-and-dance routine, the two performed “Take Me Along” from Gleason’s Broadway musical.

In 1985, three decades after the “Classic 39” began filming, Gleason revealed he had carefully preserved kinescopes of his live 1950s programs in a vault for future use. These “lost episodes” were initially previewed at the Museum of Television and Radio in New York City, aired on the Showtime cable network in 1985, and later were added to the Honeymooners syndication package. Some of them include earlier versions of plot lines later used in the ‘classic 39′ episodes. One had all Gleason’s best-known characters, Ralph Kramden, the Poor Soul, Rudy the Repairman, Reginald Van Gleason, Fenwick Babbitt and Joe the Bartender featured in and outside of the Kramden apartment. The storyline involved a wild Christmas party hosted by Reginald Van Gleason up the block from the Kramdens’ building at Joe the Bartender’s place.

Gleason did not restrict his acting to comedic roles. He had also earned acclaim for live television drama performances in “The Laugh Maker” (1953) on CBS’s Studio One and William Saroyan’s “The Time of Your Life” (1958), which was produced as an episode of the anthology series Playhouse 90.

He was nominated for a Best Supporting Actor Academy Award for his portrayal of pool shark Minnesota Fats in The Hustler (1961), starring Paul Newman. Gleason made all his own trick pool shots. In his 1985 appearance on The Tonight Show, Gleason told Johnny Carson that he had played pool frequently since childhood, and drew from those experiences in The Hustler. He was extremely well-received as a beleaguered boxing manager in the film version of Rod Serling’s Requiem for a Heavyweight (1962). Gleason played a world-weary army sergeant in Soldier in the Rain (1963), in which he received top billing over Steve McQueen.

Gleason wrote, produced and starred in Gigot (1962), in which he played a poor, mute janitor who befriended and rescued a prostitute and her small daughter. It was a box office flop. But the film’s script was adapted and produced as the television film The Wool Cap (2004), starring William H. Macy in the role of the mute janitor; the television film received modestly good reviews.

Gleason played the lead in the Otto Preminger-directed Skidoo (1968), considered an all-star failure. In 1969 William Friedkin wanted to cast Gleason as “Popeye” Doyle in The French Connection (1971), but because of the poor reception of Gigot and Skidoo, the studio refused to offer Gleason the lead; he wanted it. Instead, Gleason wound up in How to Commit Marriage (1969) with Bob Hope, as well as the movie version of Woody Allen’s play Don’t Drink the Water (1969). Both were unsuccessful.

Eight years passed before Gleason had another hit film. This role was the cantankerous and cursing Texas sheriff Buford T. Justice in the films Smokey and the Bandit (1977), Smokey and the Bandit II (1980) and Smokey and the Bandit Part 3 (1983). He co-starred with Burt Reynolds as the Bandit, Sally Field as Carrie and Jerry Reed as Cledus “Snowman” Snow, the Bandit’s truck-driving partner. Former NFL linebacker Mike Henry played his dimwitted son, Junior Justice. Gleason’s gruff and frustrated demeanor and lines such as “I’m gonna barbecue yo’ ass in molasses!” made the first Bandit movie a hit.

Years later, when interviewed by Larry King, Reynolds said he agreed to do the film only if the studio hired Jackie Gleason to play the part of Sheriff Buford T. Justice Reynolds said that director Hal Needham gave Gleason free rein to ad-lib a great deal of his dialog and make suggestions for the film; the scene at the “Choke and Puke” was Gleason’s idea. Reynolds and Needham knew Gleason’s comic talent would help make the film a success, and Gleason’s characterization of Sheriff Justice strengthened the film’s appeal to blue-collar audiences.

During the 1980s, Gleason earned positive reviews playing opposite Laurence Olivier in the HBO dramatic two-man special, Mr. Halpern and Mr. Johnson (1983). He also gave a memorable performance as wealthy businessman U.S. Bates in the comedy The Toy (1982) opposite Richard Pryor. Although the film was critically panned, Gleason and Pryor’s performances were praised. His last film performance was opposite Tom Hanks in the Garry Marshall-directed Nothing in Common (1986), a success both critically and financially.

For many years, Gleason would travel only by train; his fear of flying arose from an incident in his early film career. Gleason would fly back and forth to Los Angeles for relatively minor film work. After finishing one film, the comedian boarded a plane for New York. When two of the plane’s engines cut out in the middle of the flight, the pilot had to make an emergency landing in Tulsa, Oklahoma.

Although another plane was prepared for the passengers, Gleason had enough of flying. He went into downtown Tulsa, walked into a hardware store, and asked its owner to lend him $200 for the train trip to New York. The owner asked Gleason why he thought anyone would lend a stranger so much money. Gleason identified himself and explained his situation. The store owner said he would lend the money if the local theater had a photo of Gleason in his latest film. However, the publicity shots showed only the principal stars. Gleason proposed to buy two tickets to the film and take the store owner; he would be able to see the actor in action. The two men watched the film for an hour before Gleason appeared on screen. The owner gave Gleason the loan, and he took the next train to New York. There, he borrowed $200 to repay his benefactor.

Gleason met dancer Genevieve Halford when they were working in vaudeville, and they started to date. Halford wanted to marry, but Gleason was not ready to settle down. She said she would see other men if they did not marry. One evening when Gleason went onstage at the Club Miami in Newark, New Jersey, he saw Halford in the front row with a date. At the end of his show, Gleason went to the table and proposed to Halford in front of her date. They were married on September 20, 1936.

Halford wanted a quiet home life but Gleason fell back into spending his nights out. Separated for the first time in 1941 and reconciled in 1948, the couple had two daughters, Geraldine, born in 1940 and Linda, born in 1942. Gleason and his wife informally separated again in 1951. It was during this period that Gleason had a romantic relationship with his secretary Honey Merrill, who was Miss Hollywood of 1956 and a showgirl at The Tropicana. Their relationship ended years later after Merrill met and eventually married Dick Roman.

In early 1954, Gleason suffered a broken leg and ankle on-air during his television show. His injuries sidelined him for several weeks. Halford visited Gleason while he was hospitalized, finding dancer Marilyn Taylor from his television show there. Halford filed for a legal separation in April 1954. A devout Catholic, Halford did not grant Gleason a divorce until 1970.

Gleason met his second wife, Beverly McKittrick, at a country club in 1968, where she worked as a secretary. Ten days after his divorce from Halford was final, Gleason and McKittrick were married in a registry ceremony in Ashford, England on July 4, 1970.

In 1974, Marilyn Taylor encountered Gleason again when she moved to the Miami area to be near her sister June, whose dancers had starred on Gleason’s shows for many years. She had been out of show business for nearly 20 years. In September 1974, Gleason filed for divorce from McKittrick. The divorce was granted on November 19, 1975. As a widow with a young son, Marilyn Taylor married Gleason on December 16, 1975; the marriage lasted until his death in 1987.

Gleason’s daughter Linda became an actress and married actor-playwright Jason Miller. Their son, Gleason’s grandson, is actor Jason Patric.

As early as 1952, when The Jackie Gleason Show captured Saturday night for CBS, Gleason regularly smoked six packs of cigarettes a day, but he never smoked on The Honeymooners.

In 1978, he suffered chest pains while touring in the lead role of Larry Gelbart’s play Sly Fox; this forced him to leave the show in Chicago and go to the hospital. He was treated and released, but after suffering another bout the following week, he returned and underwent triple-bypass surgery.

Gleason delivered a critically acclaimed performance as an infirm, acerbic, and somewhat Archie Bunker-like character in the Tom Hanks comedy-drama Nothing in Common (1986). This was Gleason’s final film role. During production, it was determined that he was suffering from terminal colon cancer, which had metastasized to his liver. Gleason was also suffering from phlebitis and diabetes. “I won’t be around much longer”, he told his daughter at dinner one evening after a day of filming. Gleason kept his medical problems private, although there were rumors that he was seriously ill. A year later, on June 24, 1987, Gleason died at age 71 in his Florida home.

After a funeral Mass at the Cathedral of Saint Mary, Gleason was entombed in a sarcophagus in a private outdoor mausoleum at Our Lady of Mercy Catholic Cemetery in Miami. Gleason’s sister-in-law, June Taylor of the June Taylor Dancers, is buried to the left of the mausoleum, next to her husband.

Miami Beach in 1987 renamed the Miami Beach Auditorium as the Jackie Gleason Theater of the Performing Arts. As of May 2010, the theater was scheduled to be razed as part of a convention-center remodeling project and replaced by a hotel. The demolition did not take place and The Fillmore Miami Beach is still in operation as of October 2017.

Gleason was inducted into the Academy of Television Arts & Sciences Television Hall of Fame in 1986. In 2000 a statue of him as Ralph Kramden in “And away we go!” pose was installed at the Miami Beach Bus Terminal.

Gleason was nominated three times for an Emmy Award, but never won.

In 1976 at the Sixth Annual American Guild of Variety Artists (AGVA) “Entertainer of the Year Awards”, Paul Lynde received an award for being voted the funniest man of the year. Lynde immediately turned his award over to host Jackie Gleason, citing him as “the funniest man ever.” The unexpected gesture shocked Gleason.

On June 30, 1988, the Sunset Park MTA, NYCT’s 5th Avenue Bus Depot in Brooklyn was renamed the Jackie Gleason Depot in honor of the native Brooklynite.

A statue of Gleason as Ralph Kramden in his bus driver’s uniform was dedicated in August 2000 in New York City in Manhattan at the 40th Street entrance of the Port Authority Bus Terminal (PABT). The statue was briefly shown in the film World Trade Center (2006).

A city park in Lauderhill, Florida, was named the “Jackie Gleason Park” in his honor; it is located near his former home and features racquetball and basketball courts and a children’s playground.

Signs on the Brooklyn Bridge which advise drivers that they are entering Brooklyn have the Gleason phrase “How Sweet It Is!”

Late in his life actor-playwright Jason Miller, Gleason’s former son-in-law, was writing a screenplay based on Gleason’s life. He died before it was completed.

Gleason was portrayed by Brad Garrett in a 2002 television biopic about his life.

A lot happened in the year 1987, including the debut of a family-friendly TV sitcom set in San Francisco. The name of the show was Full House, and we’ll be doing a deep dive into this popular comedy over the coming weeks.

But first, to get a sense of the times and trends that helped shape this series, here’s a notable obituary from 1987 — Hermione Gingold.

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Hermione Gingold was an English actress known for her sharp-tongued, eccentric character. Her signature drawling, deep voice was a result of nodules on her vocal cords she developed in the 1920s and early 1930s.

After a successful career as a child actress, she established herself on the stage as an adult, playing in comedy, drama and experimental theater, and radio broadcasting. She found her milieu in revue, which she played from the 1930s to the 1950s, co-starring several times with the English actress Hermione Baddeley. Later she played formidable elderly characters in films and stage musicals such as Gigi (1958), Bell, Book and Candle (1958), The Music Man (1962) and A Little Night Music (1977).

From the early 1950s, Gingold lived and made her career mostly in the U.S. Her American stage work ranged from John Murray Anderson’s Almanac (1953) to Oh Dad, Poor Dad, Mamma’s Hung You in the Closet and I’m Feelin’ So Sad (1963), the latter of which she played in London. She became a well-known guest on television talk shows. She made appearances in revues and toured in plays and musicals until an accident ended her performing career in 1977.

Gingold’s professional début was in 1908 when she had just turned 11. She played the herald in Herbert Beerbohm Tree’s production of Pinkie and the Fairies by W. Graham Robertson, in a cast including Ellen Terry, Frederick Volpe, Marie Löhr and Viola Tree. She was promoted to the leading role of Pinkie for a provincial tour. Tree cast her as Falstaff’s page, Robin, in The Merry Wives of Windsor. She attended Rosina Filippi’s stage school in London. In 1911, she was cast in the original production of Where the Rainbow Ends which opened to very good reviews on December 21, 1911.

On December 10, 1912, the day after her 15th birthday, Gingold played Cassandra in William Poel’s production of Troilus and Cressida at the King’s Hall, Covent Garden, with Esmé Percy as Troilus and Edith Evans as Cressida. The following year she appeared in a musical production, The Marriage Market, in a small role in a cast that included Tom Walls, W H Berry, and Gertie Millar. In 1914, she played Jessica in The Merchant of Venice at the Old Vic. In 1918, Gingold married the publisher Michael Joseph, with whom she had two sons, the younger of whom, Stephen, became a pioneer of theater in the round in Britain.

Gingold’s adult stage career was slow to take off. She played Liza in If at the Ambassador’s in May, 1921, and the Old Woman in Ben Travers’s farcical comedy The Dippers produced by Sir Charles Hawtrey at the Criterion in August, 1922.

In 1926 Gingold was divorced from Joseph. Later in the same year she married the writer and lyricist Eric Maschwitz, whom she divorced in 1945. She underwent a vocal crisis in the late 1920s and early 1930s: she had hitherto described herself as “Shakespearian and soprano” but nodules on her vocal cords brought a drastic drop in pitch, about which she commented, “One morning it was Mozart and the next ‘Old Man River'”. The critic J. C. Trewin described her voice as “powdered glass in deep syrup”. During this period she broadcast frequently for the BBC and established herself at the experimental theater-club the Gate Theatre Studio in London, first as a serious actress and later in the genre for which she became famous, revue. According to The Times it was in Spread It Abroad (1936) a revue at another theater, the Saville, with material by Herbert Farjeon that she found her milieu.

In the 10 years from 1938, Gingold concentrated on revues, appearing in nine productions in the West End. The first four were The Gate Revue (transferred from the Gate to the Ambassadors, 1939), Swinging the Gate (1940), Rise Above It (1941) and Sky High (1942). During this period, she and Hermione Baddeley established a stage partnership that The Times called “briskly sustained mock-rivalry”. Their names were often linked for this reason, although they only ever appeared in three shows together. In June, 1943, she opened in a Sweet and Low, which was revised and refreshed over a run of almost six years, first as Sweeter and Lower and then Sweetest and Lowest. In her sketches, she tended, as Alan Melville recalled, to portray “grotesque and usually unfortunate ladies of dubious age and occasionally, morals; the unhappy female painted by Picasso who found herself lumbered with an extra limb or two … the even less fortunate female who, after years of playing the cello in Palm Court orchestras, ended up bow-legged beyond belief”. In a biographical sketch, Ned Sherrin wrote “Gingold became a special attraction for American soldiers and ‘Thanks, Yanks’ was one of her most appropriate numbers. During the astringent, name-dropping ‘Sweet’ series, she played 1,676 performances, before 800,000 people, negotiating 17,010 costume changes”.

Gingold’s first new revue after the war was Slings and Arrows at the Comedy in 1948. She was praised, but the material was judged inferior to that of her earlier shows. She appeared in cameo roles in British films, of which Sherrin singles out The Pickwick Papers (1952), in which she played the formidable schoolmistress, Miss Tompkins. Gingold became well known to BBC radio audiences in “Mrs Doom’s Diary” in the weekly show Home at Eight; this was a parody of the radio soap opera Mrs Dale’s Diary in the manner of the Addams Family with Gingold as Drusilla Doom and Alfred Marks as her sepulchral husband.

Between 1951 and 1969 Gingold worked mostly in the US. Her first engagement there was at the Brattle Theatre in Cambridge, Massachusetts in It’s About Time, a revue that incorporated some of her London material. In December 1953, she opened in John Murray Anderson’s Almanac which made her an instant Broadway success and for which she won the Donaldson Award in 1954. She also became a regular guest on talk shows. In 1951, she cited working in interior decoration and collecting china as her hobbies.

Gingold continued to make films. In 1956, she played a London “sporting lady” in Around the World in 80 Days, and won a Golden Globe Award for Best Supporting Actress for her performance in the 1958 film Gigi. In the film, she sang “I Remember It Well” with Maurice Chevalier. She said “It was my first American film, and I was very nervous.” Chevalier put her at ease. “I had to sing, and I hadn’t got a great voice, but with him, I felt the greatest prima donna in the world.” Gingold followed this with another hit film Bell, Book and Candle, also 1958. She played the haughty Eulalie Mackecknie Shinn in The Music Man (1962), starring Robert Preston and Shirley Jones.

In October 1963, Gingold opened in Arthur Kopit’s Oh Dad, Poor Dad, Mamma’s Hung You in the Closet and I’m Feelin’ So Sad, playing a monstrously possessive mother driving her son crazy. She played the role in the London production in 1965. Reviewing the latter, and noting that the first night had been greeted with cheering at the end, the critic Philip Hope-Wallace wrote:

“It marks, of course, the return of Hermione Gingold, which would be cause enough for cheering. Blatant as ever, deafeningly loud, strutting like a parody of every tragedy queen, male or female, since time began, she was in splendid relishing form, her lips drawn back over fangs and her voice swooping campingly through a whole two octaves of sneer.”

Gingold was a member of the original 1973 Broadway cast of Stephen Sondheim’s A Little Night Music in the role of the elderly Mme. Armfeldt. Clive Barnes wrote “Hermione Gingold is immeasurably grande dame as the almost Proustian hostess (I haven’t loved her so much since she sang about the Borgia orgies 30 years ago).” When the production transferred to London in 1975, Gingold reprised the role, and later played it in the film version of the musical (1977).

At the age of 77, Gingold made her operatic début, joining the San Francisco Opera to play the spoken role of the Duchess of Crackenthorp in Donizetti’s La fille du régiment in 1975. In 1977, she took over the narrator’s role in Side by Side by Sondheim on Broadway. After the New York run, the show toured the U.S. In Kansas City, Gingold suffered an accident that broke her knee and dislocated her arm; these injuries brought her performing career to an end. Still, she appeared in a 1980s Goya commercial for its drink Coca Goya Colada, shaking the two cans like maracas.

Gingold died from heart problems and pneumonia at Lenox Hill Hospital in Manhattan on May 24, 1987 at age 89. She is interred at the Forest Lawn Memorial Park in Glendale, California.

Gingold’s autobiography How to Grow Old Disgracefully was published posthumously in 1988. It was published in installments: The World Is Square (1946), My Own Unaided Work (1952) and Sirens Should Be Seen and Not Heard (1963). She also wrote a play titled Abracadabra and contributed original material to the many revues in which she performed.

The Gingold Theatrical Group in New York is a company devoted to producing plays about human rights. It was founded by David Staller, a great friend of Gingold for many years, as a tribute to her. They specialize in presenting the works of Bernard Shaw.

A lot happened in the year 1987, including the debut of a family-friendly TV sitcom set in San Francisco. The name of the show was Full House, and we’ll be doing a deep dive into this popular comedy over the coming weeks.

But first, to get a sense of the times and trends that helped shape this series, here’s a notable obituary from 1987 — Henry Ford II.

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Henry Ford II was an American businessman in the automotive industry. He was the oldest son of Edsel Ford I and oldest grandson of Henry Ford I. He was president of the Ford Motor Company from 1945 to 1960, chief executive officer (CEO) from 1947 to 1979, and chairman of the board of directors from 1960 to 1980. Under the leadership of Henry Ford II, Ford Motor Company became a publicly traded corporation in 1956. From 1943 to 1950, he also served as president of the Ford Foundation.

When his father Edsel, president of Ford, died of cancer in May 1943 (during World War II), Henry Ford II was serving in the Navy and unable to inherit the presidency of the family-owned business. The elderly and ailing Henry Ford I, company founder, re-assumed the presidency, though mentally inconsistent, suspicious, and considered no longer fit for the presidency position by most of the company’s directors. For the previous 20 years, although he had long been without any official executive title, the elder Ford always had de facto control over the company; the board and the management had never seriously defied him, and this moment was not different. The directors elected him, and he served until the end of the war. During this period, the company began to decline, losing over $10 million a month. The administration of President Franklin D. Roosevelt considered a government acquisition of the company to ensure continued war production, but the idea never progressed to execution.

Henry Ford II left the Navy in July 1943 and joined the company’s management a few weeks later. After two years, he assumed presidency of the business on September 21, 1945. Since it had been assumed that Edsel Ford would continue in his capacity as president of the company for much longer than turned out to be the case, Henry Ford II had received little preparation for the position, and he inherited the company during a chaotic period; its European factories had suffered a great deal of damage during the war, and domestic sales were also in decline.

Henry Ford II immediately adopted an aggressive management style. One of his first acts as company president was to place John Bugas in charge of company management, dismissing much of his grandfather’s inner circle, especially Harry Bennett, chief of the Ford Service Department, whom the elder Ford had hired to block unionization of the Ford labor force by violent means. Next, acknowledging his inexperience, Henry II hired several seasoned executives to support him. He hired former General Motors executives Ernest Breech and Lewis Crusoe away from the Bendix Corporation. Breech was to serve in the coming years as the young Ford’s business mentor, and the Breech, Crusoe team would form the core of Ford’s business expertise, offering much-needed experience.

Additionally, Ford hired ten young up-and-comers, known as the “Whiz Kids”. These ten, gleaned from an Army Air Forces statistical team, Ford envisioned as giving the company the ability to innovate and stay current. Two of them, Arjay Miller and Robert McNamara, went on to serve as presidents of Ford themselves. A third member, J. Edward Lundy, served in key financial roles for several decades and helped to establish Ford Finance’s position as a major worldwide financial operation. As a team, the “Whiz Kids” are probably best remembered as the design team for the 1949 Ford, which they took from concept to production in nineteen months, and which re-established Ford as a formidable automotive company. It was reported that 100,000 orders for this car were taken the day it was introduced to the market.

Ford became president and CEO of Ford Motor Company in 1945. In 1956, under his leadership, the company became a publicly traded corporation and dedicated its new world headquarters building. During his term as CEO of Ford, he resided in Grosse Pointe, Michigan. On July 13, 1960, he was additionally elected chairman before resigning as president on November 9, 1960. He would ultimately resign as CEO on October 1, 1979, and as chairman on March 13, 1980. His nephew, William Clay Ford, Jr. would later assume these positions after 20 years of non-Ford family management of the company. During this interim, the family’s interests were represented on the board by Henry’s younger brother William Clay Ford, Sr., as well as Henry’s son Edsel Ford II and his nephew William Clay Ford, Jr.

During the early 1960s Ford engaged in lengthy negotiations with Enzo Ferrari to buy Ferrari, with a view to expanding Ford’s presence in motorsport in general and at the Le Mans 24 Hours in particular. However negotiations collapsed due to disputes regarding control over Ferrari’s Scuderia Ferrari racing division. The collapse of the deal led him to inaugurate the Ford GT40 project, intended to end Ferrari’s dominance at Le Mans. In 1966, after two difficult years in 1964 and 1965, the GT40 Mark II’s locked out the podium at both the Daytona 24 Hours and the Sebring 12 Hours before taking the first of four consecutive wins at Le Mans.

In the late 1960s, Ford became personally involved in the development of the Lincoln Continental Mark III. He made design decisions that overrode Focus groups and Ford engineers alike. Ford ultimately selected both the final exterior and interior designs. The result was a Ford Motor Company flagship that single-handedly made Lincoln profitable and spawned a three-decade market rivalry between the Lincoln Mark series and Cadillac’s Eldorado series. The success of the Mark III has been considered to be the high point of Ford’s career. During this time, Ford also reformed the company’s European operations, merging the previously separate British and German subsidiaries into a single Ford of Europe with a common product line and merged manufacturing operations. During the 1970s, Ford of Europe expanded substantially, with new factories in Saarlouis and Valencia, the latter becoming one of Ford’s biggest plants outside the US.

In 1973–74, as it became clear that the U.S. automobile market would begin to favor smaller, more fuel-efficient cars, Ford’s then-President Lee Iacocca was highly interested in buying powertrains from Honda Motor Company as a way to minimize the cost of developing a small Ford car for the North American market, such as a modified version of Ford of Europe’s Ford Fiesta. The plan was rejected by Henry Ford II, who stated: “No car with my name on the hood is going to have a Jap engine inside.” Although, strictly speaking, it was too late for that, as the Ford Motor Company had been selling a Mazda compact pickup truck as the Ford Courier since late 1971, Ford did not like the idea of flagship North American passenger car models moving in that direction. Ford Motor Company did go on to adapt to the era in which Japanese, German, and American participation in a globalized automobile industry became tightly integrated. For example, Ford’s relationship with Mazda was well developed even before the end of Henry Ford II’s period of influence. However, in Iacocca’s view, it lagged several years behind GM and Chrysler, due to Henry Ford II’s unappealable influence, before others led it forward despite his resistance.

Henry Ford II’s management style caused the company’s fortunes to fluctuate in more ways than one. For example, he allowed the offering of public stock in 1956, which raised $650 million for the company, but the “experimental car” program instituted during his tenure, the Edsel, cost the company almost half that. Likewise, Henry Ford II hired the creative Lee Iacocca, who was fundamental to the success of the Ford Mustang, in 1964, but fired Iacocca due to personal disputes in 1978 Iacocca later retorted, “If a guy is over 25 percent a jerk, he’s in trouble. And Henry was 95 percent.” He formally retired from all positions at Ford Motor Company on October 1, 1982, upon reaching the company’s mandatory retirement age of 65, but remained the ultimate source of authority at Ford until his death in 1987.

Ford had numerous awards and achievements throughout his years. In 1969, he was awarded the Presidential Medal of Freedom from President Lyndon B. Johnson; In 1983, he was inducted into the Automotive Hall of Fame; The Henry Ford II World Center, the official title of the Ford World Headquarters in Dearborn, Michigan; The Henry Ford II Honors Program, the official honors program of Henry Ford College; Henry Ford II High School, in Sterling Heights, Michigan, is named for him; Henry Ford II is portrayed by Tracy Letts in the 2019 film Ford v Ferrari.

A lot happened in the year 1987, including the debut of a family-friendly TV sitcom set in San Francisco. The name of the show was Full House, and we’ll be doing a deep dive into this popular comedy over the coming weeks.

But first, to get a sense of the times and trends that helped shape this series, here’s a notable obituary from 1987 — Henri Cochet.

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Henri Cochet was a French tennis player. He was a world No. 1 ranked player, and a member of the famous “Four Musketeers” from France who dominated tennis in the late 1920s and early 1930s.

Born in Villeurbanne, Rhône, Cochet won a total 22 Majors including seven Grand Slam singles, five doubles and three mixed doubles. In addition he won three singles, two doubles and one mixed doubles ILTF majors. He also won one professional Major in singles. During his major career he won singles and doubles titles on three different surfaces: clay, grass and wood. He was ranked as world No. 1 player for four consecutive years, 1928 through 1931 by A. Wallis Myers. Cochet turned professional in 1933, but after a less than stellar pro career he was reinstated as an amateur after the end of World War II in 1945.

The Four Musketeers were inducted simultaneously into the International Tennis Hall of Fame in Newport, Rhode Island in 1976. Cochet died in 1987 in Paris at age 85.

In February 1922 Cochet traveled to the World Covered Court Championships in Saint Moritz in Switzerland where he defeated Borotra in a five-set final and formed a team with him to gain the doubles trophy against Jacques Brugnon and Marcel Dupont. He clinched the 1922 World Hard Court Championships in Brussels defeating Count Manuel de Gomar in the singles final and triumphing in the doubles events, partnering Jean Borotra and Suzanne Lenglen respectively. After his success abroad Cochet claimed the French Closed Championships by defeating defending champion Jean Samazeuilh in the final. Afterwards Cochet topped the French rankings. In June 1922 he debuted in the French Davis Cup team against Denmark and won both his singles and the doubles match. In the next round the team only consisted of him and André Gobert and fell to the Australasian team. Cochet also found moderate success in the minor tournaments; at the South of France Championships he lost to Russian Count Mikhail Sumarokov-Elston. At the Côte d’Azur Championships Cochet warded off the Englishman Morgan for his first Riviera title. After winning the Hard and Clay Court World Championships in 1922 Cochet was ranked 6th by A. Wallis Myers’s world’s best ten list.

In February 1923 Cochet retained his World Covered Court Championships title, defeating John B. Gilbert in the final in straight sets. On 1 April 1924 he met René Lacoste in the championship match for the Beausite trophy of Cannes and beat his compatriot in straight sets. At the 1924 Summer Olympics Cochet won the silver medal in both the singles and doubles with his teammate Borotra, while Vincent Richards took the gold for the United States in both events, pairing with Frank Hunter for the latter. He was ranked the number one player of France alongside Lacoste and Borotra at the end of the year and was ranked 9th in A. Wallis Myers’ world ranking list for 1924. Due to his business affairs and injuries Cochet missed most of the 1925 season, while he kept his French first place shared with Borotra. The French International Championships of that year marked the first instance of an all-Four Musketeers final in the doubles of the Championships where Brugnon and Lacoste were victorious against Cochet and Borotra.

In January 1926, Cochet defeated Henry Mayes for the New Courts of Cannes Championships and repeated this feat on the first day of February in the final of the Gallia L.T.C. of Cannes tournament. In March for his first Menton crown he engaged in a five-set battle against Hungarian champion Béla von Kehrling and prevailed. Cochet again came short to win a triple crown the following week at the Parc Impérial where despite winning both doubles with Julie Vlasto and Italian champion Umberto de Morpurgo he dropped the singles to his latter doubles partner. A week later at the Côte d’Azur Championships he overcame Swiss champion Charles Aeschlimann in straights finishing the match with a love set. Cochet also won the mixed title with Helen Wills. At the 1926 French Championships in June he dethroned René Lacoste as the titleholder and reached the top spot again in the French rankings. A month later he clinched his first non-francophone title in the 1926 Wimbledon Championships doubles playing with Jacques Brugnon. In September the 1926 U.S. National Championships were invaded by the French top players and they each reached the quarter final stage. Their opponents were Americans Bill Tilden, Vincent Richards, Bill Johnston and Norris Williams. At the so-called “Black Thursday”, three Americans yielded to the French, Cochet defeated Tilden, ending his six-year winning streak at Forest Hills and only lost to compatriot Lacoste who became the first foreign US champion since Laurence Doherty in 1903. Cochet was ranked in the top three in A. Wallis Myers 1926 World rankings and world second in doubles with Jean Borotra.

He began his 1927 training in Cannes in January by collecting back-to-back series of French Riviera cups, including a triple crown victory at the Métropole Club and Carlton Club, and a doubles at the New Courts L.T.C. He continued with a triple crown at Gallia L.T.C. also in Cannes and a second triple feat at the Nice Lawn Tennis Club. Cochet triumphed at the doubles events at the Hotel Bristol of Beaulieu in mid-February. In Marseilles he was upset by Christian Boussus in the semi-finals. In April at the Championnats de la Côte Basque of Pau he overcame Eduardo Flaquer in singles, and with Jacques Brugnon finished second behind the Spanish duo of Flaquer and Raimundo Morales-Marquez, while the mixed went also to Cochet and Germaine le Conte. In June the Four Musketeers held their second all-French doubles final of the 1927 French Championships where Cochet and Brugnon beat Borotra and Lacoste.

All these achievements were a prelude to the 1927 Wimbledon Championships where in successive rounds fourth-seeded Cochet defeated two leading Americans Frank Hunter and Bill Tilden and finally Jean Borotra in remarkable five set matches, all of whom had a two-sets advantage against him. Tilden served for the match, leading 5–1 in the third set and had a match ball. In the final Borotra left six match points unconverted to open the route for Cochet’s revival. With the latter one Cochet set a Wimbledon final comeback record that stands up to this day. He then again met Hunter and Tilden in the final of the doubles, this time he joining forces with Jacques Brugnon and lost the championship despite having a match point. This was the first of three consecutive encounters between the French and American teams as in early September the 1927 Davis Cup final took place in the United States where the US Davis Cup team led by Tilden and Hunter faced the challenging team of the Musketeers. France won 3–2 with Cochet victorious in the decider against Bill Johnston and reclaiming the Davis Cup for France the first time since 1920. A couple of days later the French troupe went to compete in the U.S. National Championships at the West Side Tennis Club in New York. Cochet and Eileen Bennett became the mixed doubles champions. When he returned home in the first week of October Cochet took revenge on Christian Boussus in their second meeting in the final of the Coupe Porée of Paris. The same week he was ranked third in the world for the second consecutive year although this time he finished ahead of compatriot Borotra. In November he won the Swiss Covered Courts Internationals in a short twenty-five-minute final against Donald Greig.

1928 was the first year of Cochet’s hegemony of the world rankings. This was the result of his overall season, which as usual commenced on the French Riviera. Prior to that he was drafted into a Queen’s Club – Sporting Club de Paris warm-up team challenge. He contributed to the Parisian victory with two mixed and a singles win. The following month he swept almost all available Riviera titles from February to March. He kicked off the tour by winning his first mixed New Courts L.T.C title with his U.S. Championships partner Eileen Bennett. In February he successfully defended his Métropole Club and Gallia L.T.C. singles titles by defeating Henry Mayes twice in a row. In the Monaco Cup at the La Festa Country Club Cochet turned the tide from two sets down against two-times reigning champion Béla von Kehrling, the first meeting of a rivalry that continued onward into the year. They both reached the mixed doubles final, which remained unplayed and the prize was divided. The Cochet – Brugnon pair also won the Butler Cup there (reserved for doubles of the same nationality). At the Nice Lawn Tennis Club tournament they met again for the singles contest and Cochet won in straight sets. Cochet completed his second triple crown there. In Menton at the official Riviera Championships eventual singles victor Von Kehrling and former Danish Champion Erik Worm warded off Cochet and Count Salm in the doubles final. In the mixed, Von Kehrling and Cilly Aussem beat the seasoned duo Cochet–Bennett. His third Côte d’Azur Championships trophy was granted to him after Otto Froitzheim traveled home before the final and gave him a walkover. One week later at the 50th Cannes Championships he reached the final to face Henry Mayes again, but due to misunderstandings he was 10 minutes late and had been defaulted from the tournament. Subsequently, he lost the mixed doubles match alongside Phyllis Satterthwaite and only found his form in the doubles with Jack Hillyard at the expense of their opponents Count Salm and Worm. In April at the Biarritz tournament Cochet routed compatriot Roger George in four sets. He was victorious in Marseilles versus Emmanuel du Plaix and in the mixed with Cilly Aussem. The Miramar L.T.C. tournament in Juan-les-Pins resulted in a three-set final between René Gallèpe of Monaco and Cochet and ended in favor of the Frenchman.

Cochet then set out to compete across Europe. As the reigning champions the French Davis Cup team had only one scheduled challenge match during the season and could skip the preliminary rounds. Lacoste and Cochet entered the British Hard Court Championships. Pat Spence eliminated Cochet in the semi-final stage but lost to Lacoste in the final. Cochet and Bennett gained the mixed doubles title. In May he accepted a one-on-one and a doubles challenge with Béla von Kehrling and the Hungarian Davis Cup team in Budapest. In front of a local crowd of 3000, Cochet won in four sets against the home favorite. The doubles match between Von Kehrling – Jenő Péteri and Cochet – Roger Danet was indefinitely suspended due to bad light conditions at one set each. The next stop was in Vienna where he won the Austrian International Championships. Returning home he secured his French International Championships title by overcoming Lacoste in the final in four sets. The doubles were won by Jean Borotra and Jacques Brugnon despite the efforts of Cochet and René de Buzelet. Cochet and recurring partner Bennett added the French hard courts mixed title to their set of accolades after defeating Helen Wills, women’s world champion, and Frank Hunter, the No. 2 USLTA player in a three-set championship match. On 6 July at the 1928 Wimbledon Championships Lacoste equalized with a victory over Cochet and deprived him of the title. Cochet and Bennett lost in the mixed quarterfinals. Cochet and Brugnon won the doubles again over Gerald Patterson and John Hawkes after their 1926 triumph. At the end of July in the Challenge round of the Davis Cup at Roland Garros the Musketeers, with the absence of Brugnon, defeated the United States to keep the trophy in French possession. Cochet won all three of his rubbers.

The overseas campaign of Cochet started in the U.S. National Championships, which he kept for France for the third straight time. His opponent in the final was Frank Hunter who was defeated in a five-set match. In October the French supremacy continued with him and Christian Boussus sharing the final Pacific Southwest Championships of Los Angeles, Cochet claimed that title as well. In early December Racing Club de Paris, Cochet’s club, visited Hamburg for an inter-club match. The French team left with a landslide victory over the German top ranked players; the score was eleven to one. He finished the year with the Coupe de Noël in Paris during the last days of December. The final saw Jean Borotra forfeit to Cochet.

Cochet was ranked World No. 1 amateur in 1928 by A. Wallis Myers, Pierre Gillou (L’Auto), Bill Tilden,F. Gordon Lowe (The Scotsman), W. J. Daish and Vincent Richards.

The 1929 season did not begin as flawless as the previous one; on January 20 Jean Borotra beat Cochet in their first ever Belgian Covered Courts tournament final, which took five sets to decide. Cochet won the Gallia tournament for the fourth time and the Monte Carlo Cup for the second time, eliminating Italian aces Giorgio de Stefani in the semi-final and Umberto de Morpurgo for the former championships and de Morpurgo again for the latter. He also defended his Monaco mixed title for the first time and the Butler Cup for the third. But he lost in Roubaix and in Biarritz to Christian Boussus (5th in French rankings ) and Pierre Henri Landry (7th in French rankings ) respectively, which raised concerns and let to newspaper speculation about a loss of form. In Berlin at the Rot-Weiss Club Tournament he defeated Roderich Menzel in the singles event and clinched the doubles with Jacques Brugnon. His only loss came in the mixed doubles with Cilly Aussem against teammate Brugnon and Bobby Heine, which went to three sets. He successfully defended the Austrian championships against Franz Wilhelm Matejka and claimed the doubles with Roger Danet. He claimed the Czechoslovakian Championships from fellow countryman Christian Boussus. They joined forces and together won the doubles.

In May at the 34th French Championships the men’s doubles tournament took place first. With Lacoste – Borotra’s victory over Tilden – Hunter and Cochet – Brugnon’s easy win over Gregory – Collins in the semi-finals secured the Four Musketeers their third doubles face-to-face final. Unfortunately for Cochet in the fifth set they were serving for the match and had thirty-love in the game, when Brugnon missed an easy ball when three match points were at stake. Lacoste and Borotra revived from that moment on and closed out the final set 8–6. In singles he was put out of the contest by Borotra in the semi-finals and thus was unable to retain his title. However, Cochet did not leave without a trophy as the mixed championship was earned by him and Eileen Bennett Whittingstall.

Cochet was seeded first at the 1929 Wimbledon Championships. He marched through the earlier rounds, having only one five-set match against Irish champion George Lyttleton-Rogers. In the quarterfinals he beat Hendrik Timmer in straights, then Bill Tilden in the semi-finals also in straights and second seeded compatriot Jean Borotra for the championship in his third straight sets victory in a row. Despite this he lost 63 games throughout the tournament, which was the most among the seeded players (third-seeded semi-finalist Tilden only lost 27). In doubles he reached the quarterfinals with Jacques Brugnon but was beaten by Wilmer Allison and John Van Ryn, who later became champions. In the mixed doubles draw the titleholders Cochet and Eileen Bennett Whittingstall lost to eventual runners-up Joan Fry and Ian Collins in three sets. The singles victory marked the sixth straight time that a French player won Wimbledon and the fifth time that the final was contested between two Frenchmen, counting from the first French victory in 1924. A couple of days later in Regent’s Park the top Wimbledon players participated in an exhibition event to raise funds for children of the British war cripples.

In July the French team was challenged by the United States team in the 1929 Davis Cup three-day final. On July 26, 12,000 people watched the first day of the encounter at the Roland Garros stadium. The French squad took the lead when Borotra beat George Lott. The second match was scheduled between Cochet and Tilden. The American started off poorly; he was not able to win one single point in the first game, hit many unforced errors, especially in the longer rallies, and Cochet pulled away and took the set. In the second Tilden forced a backhand game, but it did not pay off, and he lost that set as well, six games to one. Tilden relied on his serves but was only capable of winning six games in the whole match when he lost the third set six to two. According to contemporary statistics Cochet did not hit any unforced errors or faults during the match. The next day French captain Pierre Gillou sent Cochet and Borotra for the doubles rubber. Cochet was exhausted and showed the opposite form compared to the previous day. Despite all efforts by his partner Borotra, Cochet hit most of the balls out or into the net. The American duo of Wilmer Allison and John Van Ryn took a three-set win. The third day Tilden saved the hopes for his team when he beat Borotra in front of a capacity crowd of 15,000. The deciding rubber was between Cochet and George Lott. Cochet won in four sets and claimed the Cup for France for the third time.

After the Davis Cup tie Cochet only played in minor tournaments and doubles matches. He won the singles in La Baule against Raymond Rodel and the mixed doubles in Vals-les-Bains. Rodel, Cochet, Jacques Brugnon and Pierre Henri Landry, representing the Racing Club de Paris, sailed to Japan for a series of friendly matches against the Japanese Davis Cup team where Cochet suffered a surprise defeat against Takeichi Harada. They then visited India to face the Indian Davis Cup team in a series of exhibitions. Cochet won all of his matches. In 1929 Cochet was ranked World number one amateur by A Wallis Myers, Hungarian tennis magazine Tennis és Golf, edited by Béla von Kehrling, by rival Bill Tilden, F. Gordon Lowe, L’Auto and Vincent Richards Evidently he led the French rankings as well. In December he was inducted as Honorary Member to the U.S.L.T.A. in New York.

In early 1930 Cochet decided to rest and only compete in doubles contests. He won at Gallia L.T.C., Carlton L.T.C. (also in mixed doubles with Elizabeth Ryan), Biarritz, La Baule mixed doubles with Ryan. His only singles loss came at the Belgian International Championships to Jean Borotra. His most successful French Championships came in this year when he was close to winning a triple crown after being victorious in singles over Bill Tilden, in doubles with Jacques Brugnon over Harry Hopman and James Willard and was a finalist in the mixed tournament as well. At the 1930 Wimbledon Championships he was seeded first but made an early exit after his straight-set loss to Wilmer Allison in the quarterfinals. In the doubles Cochet—Brugnon lost in the semi-finals as well as in mixed doubles with Eileen Bennett Whittingstall.

While playing tennis he took up volunteer coaching, training French children in Paris every Sunday. In the sixth straight United States–France Davis Cup final the American team had a great start thanks to Bill Tilden, who handed Borotra the first loss of the tie. Cochet equalized against George Lott, winning in straight sets. In the doubles Cochet—Brugnon were selected to compete against Wimbledon champions John van Ryn and Wilmer Allison. Contrary to expectations it was Borotra who was the engine of the French pair. He won every service game, except for the third set where Cochet made a lot of errors at the net, and the French pair took the victory. Borotra thrilled the French spectators by beating Lott and keeping the Cup in France for another year. The dead rubber between Cochet and Tilden was won by the former. At the end of the year Cochet was ranked World number one amateur by A. Wallis Myers, Pierre Gillou, and Didier Poulain (L’Auto) but came second in the list of Bill Tilden behind Borotra.

In 1931 Cochet retained the Carlton L.T.C. doubles with Brugnon. In March he defeated George Lyttleton-Rogers for his third Monaco Cup crown. With Eileen Bennett Whittingstall they were crowned the mixed victors. Cochet became the Danish Covered Courts champion for the first time after defeating Danish national champion Einer Ulrich in Copenhagen. He won the mixed contest as well with Simone Barbier. He was invited by his hometown club F.C. Lyon to an interclub match with German Uhlenhorster Klipper. Cochet won all three of his matches. In the Moncean Club of Paris he partnered Paul Féret and Colette Rosambert and swept the doubles and mixed doubles respectively.

At mid-season, Zürich newspaper Sport ranked the top 15 European players, and listed Cochet first (Borotra second, Brugnon ninth). At that time Cochet was struggling with a shoulder injury. For the 50th anniversary of the Wiener Park Club of Vienna a tournament was organized with an international line-up. The two biggest contenders Cochet and Roderich Menzel met in the final, Cochet made a comeback from one set down to lift the trophy. He then toured Europe to give exhibitions in Cluj-Napoca, Budapest and Prague. Because of fever and a sore throat Cochet missed the French Championships. He did not recover from his illness before the second Italian International Championships but this did not prevent Cochet from signing up for the competition. With titleholder Tilden having turned professional and Cochet’s condition, the championships went easily to George Patrick Hughes. Cochet entered the finals of the doubles too, but his partner André Merlin could not make up for Cochet’s bad shape and they lost to Alberto Del Bono and singles victor Hughes.

After these losses Cochet took two weeks off to recover. Despite the rest in the 1931 Wimbledon Championships he shocked the tennis world by losing in the very first round to Nigel Sharpe. In the mixed doubles Cochet and Eileen Bennett Whittingstall were not more successful, falling in the fourth round. The doubles final remained unconquered for Brugnon and Cochet as the team of George Lott and John Van Ryn came back from 3–2 down in the fifth set to win the match. In July the Four Musketeers were ready to be challenged for the fifth time in the Davis Cup final. This time the opponent was the British Davis Cup team. In the first rubber Cochet was facing two set points for a two sets-love lead by Bunny Austin but fought back to claim the second set and won the next two for the match. Fred Perry battled through Borotra while the doubles were won by Cochet and Brugnon. Austin brought back the British hopes after a four-set victory over the exhausted Borotra. The match was suspended multiple times due to rain, which made the court almost unsuitable for playing, which left its mark on the deciding rubber between Cochet and Perry. The recurring slight rain in the first set led Perry to drop the set from a 4–1 advantage. The second set went to Perry after he utilized passing shots as a counter for Cochet’s net play. The third and fourth set however were taken by Cochet which gave the French team its fifth successive Davis Cup.

Despite his turbulent year Cochet was ranked number one by A. Wallis Myers, Pierre Gillou, Didier Poulain, Stanley Doust, Bill Tilden, Noel Dickson (Melbourne Herald), “Service” (Western Mail) and Sport magazine (Zurich).

During 1932 Cochet restricted his schedule to appearances at Monaco Cups, the French Championships, Wimbledon, U.S. National Championships and the Davis Cup and a minor tournament in Paris. In Monaco the Butler Trophy was won by Cochet and Jacques Brugnon over the Czechoslovakian duo of Roderich Menzel and Ferenc Marsalek. The mixed doubles was granted to Cochet and Colette Rosambert following the retirement of Béla von Kehrling and Elizabeth Ryan prior to the match due to the leg pain of Ryan. After that good start Cochet was ranked number one by Pierre Gillou right ahead of Ellsworth Vines and Bunny Austin.

In early June he won his fifth and last French Championships, beating Giorgio de Stefani in the final in four sets. Cochet also won his third doubles French Championships, this time with Jacques Brugnon. In the mixed event he reached the last four partnering Eileen Whittingstall and came up short against Fred Perry and Betty Nuthall. His combined record-breaking ten French titles of the 17 title matches are the most possessed by a male player.

A couple of weeks later in late June in the Wimbledon singles he again suffered a surprise loss to Ian Collins in the second round. In the mixed event Cochet and Whittingstall lost in the semi-final stage, this time to Enrique Maier and Elizabeth Ryan. The singles competition was won by Ellsworth Vines, his first non-American title. The American Davis Cup team traveled back to France to challenge the reigning holder at the Stade Roland Garros. The French Musketeers secured the cup for the sixth and final time after four rubbers, losing only the doubles match. Cochet and Vines met in the dead fifth rubber. The face-off between the two was one of the few encounters that later had a decisive effect on the rankings. Vines ameliorated his team’s result by defeating Cochet in five sets. The two European major champions then met in the final of the U.S. National Championships final in September. Vines kept the national title home with his second win, a straight-sets 6–4 victory over Cochet. Vines and Keith Gledhill subsequently beat Cochet and Marcel Bernard in the doubles final. Cochet and Virginia Rice were dropped out in the mixed semi-final while Vines reached the finals. These losses sealed the fate of the year-end rankings.

In November Cochet only competed in the Toussaint tournament, held at the Tennis Club de Paris, alongside Colette Rosambert with whom he lost to Jean Borotra and his more skilled female partner Helen Wills Moody. The year 1932 marked the first time Cochet slipped off the top of the charts after switching places with Vines. In June 1933 Cochet, seeded first, relinquished his French Championships title to Australian Jack Crawford, who overwhelmed him in the final in three straight sets, becoming the first non-French player to possess it. In July the French team lost the Davis Cup for the first time since 1927. In front of their home crowd on the clay courts of Roland Garros, but without Lacoste and Borotra, the French team lost 3–2 to Great Britain. Cochet was defeated by Fred Perry and won against Bunny Austin, both in five sets. At the 1933 Wimbledon Championships first-seeded Vines conquered Cochet, who was seeded third, in straight sets in the semi-final. It was the third time in a row that Vines beat Cochet. These events marked the end of the Four Musketeers era.

On September 9, 1933 Cochet turned professional, signing a contract with the Tilden Tennis Tour for a guaranteed annual payment of £25,000 and he joined the team of Bill Tilden and Martin Plaza. Although he was still featured on the amateur world rankings published on the 20th of the month, where he was listed one spot behind Ellsworth Vines at number six, Cochet was also on Pierre Gillou’s list in fourth place, also right after Vines. Cochet made his professional debut in a Franco-American match on September 22 and defeated Bruce Barnes. Three days later he lost to Tilden in straight sets. He also made appearances at the French Riviera with Plaa with back and forth matches across France. On October 10 Tilden signed Vines to the pro tour and from then Cochet’s archrival and him competed within the same league again.

In early 1934 Cochet went on to showcase in Santiago and Vina del Mar, where he was challenged by the Pilo Facondi and Perico Facondi brothers, Chile’s leading professionals, who both lost two matches each against Cochet. Plaa and Cochet returned in February to Madison Square Garden where Vines and Tilden were already practicing and waiting for them. In New York, Vines and Tilden outclassed Cochet in a four and five-set match respectively and the Americans were victorious in the doubles over the French pair as well. During the ten-city tour across the United States and Canada, the Tilden-Cochet match was always the main fixture. Tilden finished the tour as winner by an eight to two head-to-head margin against Cochet. In April in Providence Cochet was drawn to play Vincent Richards in singles and with Plaa played Barnes and Richards, both matches resulted in a French two straight sets victory. Cochet and Richards toured North America in April and May.

The first official tournament of a new tournament circuit was held in May at the Park Avenue Tennis Club, New York and was called the Eastern Pro Championships. Cochet finished in fourth place in the concluding round-robin. In late May Philadelphia hosted the Middle States tournament at its Germantown Cricket Club; Cochet advanced to the semi-final where Tilden’s superiority proved to be his undoing. Cochet then sailed home to France and consequently missed the US Pro Tennis Championships. He chose instead to gather money in exhibition matches in Havana, Haiti, and Martinique on his way home. In France the official tour continued in Bayonne in August, where Cochet dropped his two singles matches to Tilden and Keith Gledhill in front of a home crowd. A Marseilles team event was scheduled in September where Cochet lost to Tilden, equalized against Gledhill and lost again in the doubles with Plaa to the Americans, who took the final victory as well. Two weeks later in a single-elimination tournament at Cochet’s native Lyon Football Club he almost delighted the crowd with home victory but Tilden stole the second and third set to spoil the feat. Cochet subsequently suffered from an illness and missed the following events. Throughout the season Cochet earned a total of $17.381.

Cochet spent most of 1935 with a promotional tour across the globe, sponsored by the French government, which included Egypt, India, East Indies, Singapore, the Philippines, Vietnam, China and its final destination Australasia. At the Milton Courts in Brisbane his invited opponent was the recently turned professional Jack Cummings whom he battled twice, finishing one-all. The next opponent was James Willard and the match set up in Rushcutters Bay of Sydney, which served as a less-hard victory than that over Cummings. In a combined amateur and professional world ranking published by Pierre Gillou, president of the Fédération Française de Tennis (FFT), Cochet was ranked 10th.

In 1936 Cochet had a second chance to regain his spotlight when he was first seeded French Pro Championship after Bill Tilden and Bruce Barnes failed to show up due to travel issues. Cochet had a clean march to the final beating Martin Plaa on the way and faced Robert Ramillon for the title. In the end he celebrated his first Pro Major triumph since leaving the amateur class. He and his Irish partner Albert Burke were also the doubles champions with a win over the said French professionals. Next came the International Pro Championship of Britain where the round robin format resulted in a decider between Cochet and Hans Nüsslein. The German proved to be unstoppable as he scored a 6–3, 6–2, 6–2 upset over Cochet. Cochet found consolation in the doubles, where he completed a round robin flawless streak with his teammate Ramillon especially the last match over the American pair Lester Stoefen and Bill Tilden. He then held tennis shows across the Soviet Union including Moscow, Leningrad, and Kyiv.

In June 1937 he did not succeed in defending his French Pro title as Hans Nüsslein took it from him in three sets. The doubles final was played between Stoefen–Tilden and Cochet-Ramillon with the former team crowned champions in the end. Cochet then repeated the Soviet tour and missed the German Pro and the Bonnardel Cup. He returned to the tour at the end of September at the Wembley Pro where he won one match and was then knocked out at the semifinal stage by Tilden. Cochet then was a part of a rather fruitless Italian tour, his only notable victory came in the Foro Italico against Tilden. In late November and early December 1937, Tilden and Cochet toured Egypt.

1938 was spent mostly with Cochet-Tilden headlined trips to Asia and Ireland. Cochet also returned to the Soviet Union for the third straight time to accept a coaching venture, which turned out to be a short-term assignment as the Soviet government accused him of espionage and expelled him.

In the last pre-World War II year Cochet’s pro status allowed him to accept the request of the Hungarian Davis Cup team to become its trainer. He was then invited to the World Pro Championships, which was held at the Roland Garros in June–July. Cochet and Tilden were on the same half of the draw and it set up a quarter-final clash which Cochet was forced out of the tournament in five sets. He and Ramillon had a shot at the doubles title but they came short against pro newcomer Don Budge and veteran Ellsworth Vines.

In 1940 France was overrun by Nazi Germany and for a brief period of time Cochet fell into war captivity. After his release he was not allowed to leave the country. He launched his own sporting goods store in Paris and lived on a farm in the outskirts. He gave tennis broadcasts, and accepted the Vichy government’s offer to head its youth tennis program and after that to become a sports commissioner, who organized sport programmes for the deported French armament workers. In December 1940 the first open tennis tournament, combining amateur and professional players, was organized in Paris where Cochet lost to Paul Féret. In December 1941 he regained his amateur status granted by the French Tennis Association. This was in line with the sports policy of the Vichy regime which opposed professionalism. The policy was administered by Borotra who had been appointed General Commissioner for Education and Sports in August 1940.

In 1942 a Closed French Championships was announced and the doubles was won by Cochet and Bernard Destremau. In 1943 he reached the singles finals in the same nationals losing it to Yvon Petra. He also participated in charity matches to raise funds for the prisoners of the Axis powers. The next year Cochet met Petra for the title and lost for the second consecutive time. In the last wartime championships of France he won the doubles title alongside Pierre Pellizza. Despite being a reinstated amateur he was still ranked 9th in the first official pro rankings published by the World’s Professional Tennis Association in 1945. After the End of World War II in Europe he played his first international match in Paris against Bill Sidwell, which he easily won.

Post-war tennis life resumed at the 1945–46 International Christmas Tournament of Barcelona where Yvon Petra dismissed Cochet in four sets. They reunited for the doubles event, which went to the home favorite duo of Jaime Bartrolí and Pedro Masip. At the time Cochet was the coach of Petra. In January the following year he reached the doubles final of the Estoril International Tournament partnering Robert Abdesselam. They met in singles competition in March at the Egypt International Championships where Cochet outplayed Abdesselam in straight sets. In July he celebrated his first Dutch championship title at Noordwijk with an overwhelming victory over Eustace Fannin. In 1948 a rivalry emerged between him and Spaniard Masip. They met in the French Covered Court Championship final where it took five sets to decide the outcome in favor of Masip. Also in Paris in April Cochet failed to capture the International Championships title, dropping it to Marcel Bernard. In the 1948–49 International Christmas Tournament of Barcelona Cochet met Masip in the doubles final, where the Spanish team of Masip-Carles granted a walkover to Cochet and Australian Jack Harper. In April 1949 Cochet knocked out Masip from the Paris International Tournament in the quarterfinals. They joined forces for the doubles contest, which they subsequently won. In May he faced Masip again in the championship match of the British Hard Court Championships, and lost to him in four sets. In August he was a singles and doubles finalist in the International Championships of Istanbul. In singles he was overcome by Gottfried von Cramm and in doubles by von Cramm and Harper. In December he finally acquired the Barcelona title by beating Harper in five sets.

Cochet played one of his last matches at the Swiss covered courts championships in St. Moritz, returning to the scene of his very first tennis triumph after a 36-year hiatus. At the age of 56 with his partner Bernard Destremau he managed to pass the first round of the doubles contest with a 6–2, 6–1 win over locals D. Wegs and H. Flury. Cochet retired from tennis later that year.