Concentration

[normb]

Just rewatched the last episode, and more questions come to mind:

1. One of the prize in the final game was a "Birthday Present". Was that another way of saying $1,400 cash?

2. We hear what I assume were your dulcet tones declaring that the money would be split. Was that a backup plan in case the time ran out?

3. This is apropos of nothing, but to the best of your memory, do you recall anyone hitting the top prize on the cash wheel?

As so often was the case, I had to make decisions on the spot for unusual situations.  When the control room clock showed me we were running out of time, and this being the last show, I had to leave no loose ends. I decided to split the earnings between those last two players.  By announcing it myself, rather than have the host, Bob Clayton do it, would be far more dramatic.  Over the years, I use that gimmick to impress the audience.  Got a lot of favorable mail about it.  Sort reminded people of some heavenly authority announcing a blessing to the contestants.  Some people never believed it was me -- but someone far more holy or sacred.  
As I recall the top money on our wheel was hit a few times, not more than 3 0r 4.

[Myconcentrationimproved]

Hi Mr. Blumenthal,

I knew someone who was on Concentration back in 1970-71 during "Teen Week" (and of course I'd do anything to see this episode).

Tell us -- how did the episodes of Teen Week differ from normal episodes? Was it only done once, or was it an annual event for the show? Any particular highlights that you remember?

Would love to know!

M

[normb]

Hi Mr. Blumenthal,

I knew someone who was on Concentration back in 1970-71 during "Teen Week" (and of course I'd do anything to see this episode).

Tell us -- how did the episodes of Teen Week differ from normal episodes? Was it only done once, or was it an annual event for the show? Any particular highlights that you remember?

Would love to know!

M

We did a couple of children's weeks annually. Unlike shows like Jeopardy!, this was not an elimination contest to crown the ultimate champion.  Just like the adults, kids played and winners continued until defeated.  Consolation prizes were generous. The puzzles we used on these special weeks were selected on the basis of the yougsters' ages.  Same with the prizes.  Being too young to drive, car prizes were substituted by  Disneyland trips. Jewelry and fur coats were changed to school scholarships, computers, sporting goods and of course cold, hard cash. We also had a Boy Scout Show and a Girl Scout show on the anniversary of these organizations each year.  Scouts and their leaders played the games.

[tvrandywest]

Mr. B.

I remember the thrill of watching Concentration tape back in New York... I believe you were in studio 8G. Is that where you spent most of the years?

Secondly, I recall being fascinated by the control panel for the board. As I remember there were 30 rotary switches laid-out to match the 30 trilons, and several other switches and levers. While it was far from your focus of attention, I think some of the fans of the show would appreciate any recollections you have about how the board was operated.

Thanks!

Randy
tvrandywest.com

[normb]

Mr. B.

I remember the thrill of watching Concentration tape back in New York... I believe you were in studio 8G. Is that where you spent most of the years?

Secondly, I recall being fascinated by the control panel for the board. As I remember there were 30 rotary switches laid-out to match the 30 trilons, and several other switches and levers. While it was far from your focus of attention, I think some of the fans of the show would appreciate any recollections you have about how the board was operated.

Thanks!

Randy
tvrandywest.com

I think you are right -- we spent most of our years in 8G. Our neighbor in studio 8H was "SALE OF THE CENTURY."  Host, Joe Garagiola and I became great friends during that period.  Everyone liked this guy, he is a fantastically great story teller.  Mostly about baseball and his lifelong friend, Yogi Berra. Way back, when we premiered we were in 3A -- just down the corridor from "THE HOWDY DOODY SHOW," and across the corridor from 3B which was the home of the soap operas.  Interesting bit of trivia -- just outside our studio was a gathering place for unempoyed actors waiting for work on one of the soaps.  On the wall, NBC graciously hung a battery of free phones for these hoprfuls. Later, we moved upstairs to studio 6A and then across the corridor to 6B (Johnny Carson's studio).  We also moved into studio 8H, where Arturo Toscanini led his symphony orchestra and SATURDAY NIGHT LIVE now lives.  Our nighttime stint (for 2 successive summers) was in a huge studio on 67th St. and Columbus Ave. NYC.  NBC later sold it to ABC.
The game board control box contained 30 toggle switches -- each capable of right (box on game board turns clockwise to show a prize)and a left (counter-clockwise, to show a part of the rebus, if a match was made).  If no match, the right was switched back to upright.  Additionally, there was a swich to turn all 30 boxes at the same time, counter-clockwise, to reveal the entire puzzle after it was solved.  Another switch simultaneously spun all 30 boxes back to their original numbers position. Every old fan of Concentration will never forget the clunkety-clunk that accompanied each spin of those 30 boxes.  Or, the naughty squares that decided to spin around on their own. That's why we had to say those memorable words to the two players, "You both saw that, didn't you?"

[tvrandywest]

I think you are right -- we spent most of our years in 8G. Our neighbor in studio 8H was "SALE OF THE CENTURY."  Host, Joe Garagiola and I became great friends during that period.  Everyone liked this guy, he is a fantastically great story teller.  Mostly about baseball and his lifelong friend, Yogi Berra. Way back, when we premiered we were in 3A -- just down the corridor from "THE HOWDY DOODY SHOW," and across the corridor from 3B which was the home of the soap operas.  Interesting bit of trivia -- just outside our studio was a gathering place for unempoyed actors waiting for work on one of the soaps.  On the wall, NBC graciously hung a battery of free phones for these hoprfuls. Later, we moved upstairs to studio 6A and then across the corridor to 6B (Johnny Carson's studio).  We also moved into studio 8H, where Arturo Toscanini led his symphony orchestra and SATURDAY NIGHT LIVE now lives.  Our nighttime stint (for 2 successive summers) was in a huge studio on 67th St. and Columbus Ave. NYC.  NBC later sold it to ABC.
The game board control box contained 30 toggle switches -- each capable of right (box on game board turns clockwise to show a prize)and a left (counter-clockwise, to show a part of the rebus, if a match was made).  If no match, the right was switched back to upright.  Additionally, there was a swich to turn all 30 boxes at the same time, counter-clockwise, to reveal the entire puzzle after it was solved.  Another switch simultaneously spun all 30 boxes back to their original numbers position. Every old fan of Concentration will never forget the clunkety-clunk that accompanied each spin of those 30 boxes.  Or, the naughty squares that decided to spin around on their own. That's why we had to say those memorable words to the two players, "You both saw that, didn't you?"

Thanks for validating my memories of the control box. That's much as I remembered seeing it as a kid so many years ago, mesmerized by its magic. And yes, the clunkety-clunk was loud, but I think it added something. When Goodson went to the electronic board in subsequent productions, I actually missed the sound - but I'm sure nobody missed the stray, exhibitionist naughty square that insisted on revealing itself.

Thanks also for the recollections of Joe and 30 Rock. Over the years you worked in almost every studio. As you mentioned "Sale of the Century," I wonder if you became friendly with the wonderful Al Howard? I worked with Al on "Supermarket Sweep," and just saw him a few months ago at Ronnie Greenberg's 80th birthday. In addition to his career in advertising on Madison Avenue, Al was a Julliard-trained musician who had the unique distinction of both performing and producing at different times in studio 8H.

Perhaps you have a story or two about Gene Rayburn or the other hosts and producers who were active in those years. I appreciate any other recollections of Concentration and NBC. It was a wonderful time and place! Thanks again for sharing your experiences with this devoted fan base.

Randy
tvrandywest.com

[golden-road]

Actually sir, I was curious about Ed McMahon's brief tenure. Do you have any stories about that?

[normb]

I think you are right -- we spent most of our years in 8G. Our neighbor in studio 8H was "SALE OF THE CENTURY."  Host, Joe Garagiola and I became great friends during that period.  Everyone liked this guy, he is a fantastically great story teller.  Mostly about baseball and his lifelong friend, Yogi Berra. Way back, when we premiered we were in 3A -- just down the corridor from "THE HOWDY DOODY SHOW," and across the corridor from 3B which was the home of the soap operas.  Interesting bit of trivia -- just outside our studio was a gathering place for unempoyed actors waiting for work on one of the soaps.  On the wall, NBC graciously hung a battery of free phones for these hoprfuls. Later, we moved upstairs to studio 6A and then across the corridor to 6B (Johnny Carson's studio).  We also moved into studio 8H, where Arturo Toscanini led his symphony orchestra and SATURDAY NIGHT LIVE now lives.  Our nighttime stint (for 2 successive summers) was in a huge studio on 67th St. and Columbus Ave. NYC.  NBC later sold it to ABC.
The game board control box contained 30 toggle switches -- each capable of right (box on game board turns clockwise to show a prize)and a left (counter-clockwise, to show a part of the rebus, if a match was made).  If no match, the right was switched back to upright.  Additionally, there was a swich to turn all 30 boxes at the same time, counter-clockwise, to reveal the entire puzzle after it was solved.  Another switch simultaneously spun all 30 boxes back to their original numbers position. Every old fan of Concentration will never forget the clunkety-clunk that accompanied each spin of those 30 boxes.  Or, the naughty squares that decided to spin around on their own. That's why we had to say those memorable words to the two players, "You both saw that, didn't you?"

Thanks for validating my memories of the control box. That's much as I remembered seeing it as a kid so many years ago, mesmerized by its magic. And yes, the clunkety-clunk was loud, but I think it added something. When Goodson went to the electronic board in subsequent productions, I actually missed the sound - but I'm sure nobody missed the stray, exhibitionist naughty square that insisted on revealing itself.

Thanks also for the recollections of Joe and 30 Rock. Over the years you worked in almost every studio. As you mentioned "Sale of the Century," I wonder if you became friendly with the wonderful Al Howard? I worked with Al on "Supermarket Sweep," and just saw him a few months ago at Ronnie Greenberg's 80th birthday. In addition to his career in advertising on Madison Avenue, Al was a Julliard-trained musician who had the unique distinction of both performing and producing at different times in studio 8H.

Perhaps you have a story or two about Gene Rayburn or the other hosts and producers who were active in those years. I appreciate any other recollections of Concentration and NBC. It was a wonderful time and place! Thanks again for sharing your experiences with this devoted fan base.

Randy
tvrandywest.com

I don't recall crossing paths with Al Howard.  With regard to Ronnie Greenberg's party -- I had to turn down his invitation -- it's a long way across the country.  Ronnie asked me to send a beforeand after picture of myself and a rebus puzzle for showing at the party.  I sent the stuff to him, and never heard how and if they were used.  If you were there, perhaps you can give a mini description of the shindig,  
Gene and I worked on DOUGH RE MI together -- it was one of my first shows.  By the way, that's when I met Ronnie, he graduated from NBC page to PA on that show.  I had enjoyed Gene on radio (RAYBURN & FINCH) and was too young to establish anything other than a working relationship.  When I produced AMERICAN MOVIE CLASSICS, the owner, Rainbow Productions asked me to use my game show experience to act as consultant.  Gene was the host in the pilot and it featured the old panel of Kitty Carlisle, etc.  As rough as it was for me, I had to be honest, too many years had gone by, and newer blood was needed. Wasn't that good a game show anyway, just a tired update (and not a good one) of the old movie ID panel shows.

[normb]

Actually sir, I was curious about Ed McMahon's brief tenure. Do you have any stories about that?

Please forgive me, I've answered that one several times for this forum.  Please look it up, or better still, you'll find it in my book, WHEN GAME SHOWS RULED DAYTIME TV. Any other questions I'd be happy to try to answer.

[WarioBarker]

When I produced AMERICAN MOVIE CLASSICS, the owner, Rainbow Productions asked me to use my game show experience to act as consultant. Gene [Rayburn] was the host in the pilot and it featured the old panel of Kitty Carlisle, etc. As rough as it was for me, I had to be honest, too many years had gone by, and newer blood was needed. Wasn't that good a game show anyway, just a tired update (and not a good one) of the old movie ID panel shows.

Ah, yes, The Movie Masters. I don't know if you've seen it, Mr. Blumenthal, but here's an opening which was posted to YouTube:

[normb]

When I produced AMERICAN MOVIE CLASSICS, the owner, Rainbow Productions asked me to use my game show experience to act as consultant. Gene [Rayburn] was the host in the pilot and it featured the old panel of Kitty Carlisle, etc. As rough as it was for me, I had to be honest, too many years had gone by, and newer blood was needed. Wasn't that good a game show anyway, just a tired update (and not a good one) of the old movie ID panel shows.

Ah, yes, The Movie Masters. I don't know if you've seen it, Mr. Blumenthal, but here's an opening which was posted to YouTube:

Thank you for sending the clip.  Indeed. as consultant, I had to view it several times, as well as watch it being taped. Unfortunately, it wasn't air-worthy.

[chris319]

That clip was hard to watch.

[Matt Ottinger]

That clip was hard to watch.

Well, you can't say Norm didn't warn you!

[byrd62]

My thanks to Norm for being available to answer questions from this forum, particularly about the original Concentration, which I grew up watching--at least when I had time off from school.  I thought I'd ask a few questions of my own regarding that show:

1.  Prior to Lynwood King, one of Concentration's directors was Ted Nathanson, who, if I'm right, went on to an award-winning career directing AFL/NFL games, and a number of Super Bowls, for NBC Sports.  Joe Garagiola once wrote that game shows are sort of like sporting events.  Norm, what did you think of Ted's work on Concentration and how it prepared him for his football work?

2.  Though the 1961 primetime Concentration came prior to my birth, I thought I'd ask if it had a full orchestra instead of an organist and percussionist; and whether Art James, Jim Lucas, Bill McCord, or someone else, was the announcer?

3.  When Bob Clayton would plug the Chevrolet that was available for a "double wild card" in the show's later years, organist Milton Kaye would play that classic jingle "See the USA in Your Chevrolet", which has been sung by everyone from Dinah Shore in the '50s to the cast of the TV show "Glee" earlier this year.  But did the Chevy people consult with you regarding whether that jingle got played, or did Milton spontaneously come up with it?

4.  On a side-note regarding Bob Clayton, a couple of times on TV, I saw that 1960 Jerry Lewis movie The Bellboy, which also featured Bob, well before he joined Concentration, playing the exasperated bell captain.  I was wondering if you ever saw that movie.

Great job, Norm, and I look forward to your answers.

[normb]

My thanks to Norm for being available to answer questions from this forum, particularly about the original Concentration, which I grew up watching--at least when I had time off from school.  I thought I'd ask a few questions of my own regarding that show:

1.  Prior to Lynwood King, one of Concentration's directors was Ted Nathanson, who, if I'm right, went on to an award-winning career directing AFL/NFL games, and a number of Super Bowls, for NBC Sports.  Joe Garagiola once wrote that game shows are sort of like sporting events.  Norm, what did you think of Ted's work on Concentration and how it prepared him for his football work?

2.  Though the 1961 primetime Concentration came prior to my birth, I thought I'd ask if it had a full orchestra instead of an organist and percussionist; and whether Art James, Jim Lucas, Bill McCord, or someone else, was the announcer?

3.  When Bob Clayton would plug the Chevrolet that was available for a "double wild card" in the show's later years, organist Milton Kaye would play that classic jingle "See the USA in Your Chevrolet", which has been sung by everyone from Dinah Shore in the '50s to the cast of the TV show "Glee" earlier this year.  But did the Chevy people consult with you regarding whether that jingle got played, or did Milton spontaneously come up with it?

4.  On a side-note regarding Bob Clayton, a couple of times on TV, I saw that 1960 Jerry Lewis movie The Bellboy, which also featured Bob, well before he joined Concentration, playing the exasperated bell captain.  I was wondering if you ever saw that movie.

Great job, Norm, and I look forward to your answers.

Answers: 1.  Ted Nathanson's departure from Concentration was a great one for him, and a sad one for me.  We discussed the move, and Ted was sincerely sorry about leaving the show.  I couldn't stand in his way, and knew it was quite a step forward.  Ted was a great director, and a wonderful man to work with (even though his kookie practical jokes drove us nuts).
2.  When we went nighttime, we had to add ritzy elements to the daytime format -- after all the sponsors had to pay much more for the prime time version.  So, we spruced up the set, gave more expensive prizes, hired more models (but our mainstay, Paola Diva was still number one), and hired a full orchestra -- but the show was basically the same -- except for Hugh Downs' tuxedo (and Jack Barry's in the first summer series). Art James was first night series announcer, Jim Lucas was the second series announcer.
3.  As you probably know, all shows, games especially, have segments of the show "sponsored" by a product.  Best of today's examples, is WHEEL OF FORTUNE.  Just about every part of the show mentions the generous sponsor, like Masxwell House Coffee for the jackpot wheel spin, etc., etc. etc.  With regard to your query about Chevrolet's theme song -- they asked if we could play it every time we plugged their car and they paid accordingly.
4.  Yes, I saw the Jerry Lewis/Bob Clayton film. Interesting trivia -- when Jerry once substituted for Johnny Carson
in studio 6B, across from where we were taping, I went in to see him.  Because of Bob's one film career, I wanted to play a joke on Bob.  I asked Jerry (with back to audience) to pretend he was an autograph seeker trying to get Bob's signature.  When he would turn around, I would cue the Applause button. Jerry refused.  I thought it was such a cute idea. I had to admit the gag to Bob and asked him to try to get Jerry to do it.  Jerry finally agreed, and said, "For him, I'll do it, but not for you." (ME!). That hurt, even though I told him that his ex-wife was a big fan of our show -- I had several letters from her telling us she never missed the show. He couldn't have cared less.