Thursday, June 25, 2009

Ed McMahon

Edward Leo Peter "Ed" McMahon, Jr. (March 6, 1923 – June 23, 2009) was an American comedian, game show host, announcer, and television personality. Most famous for his work on television as Johnny Carson's announcer on The Tonight Show from 1962 to 1992, also as the host of the talent show Star Search from 1983 to 1995, also co-hosting with Dick Clark on TV's Bloopers and Practical Jokes from 1982 to 1986, he also became well-known as the presenter of the now-defunct American Family Publishers sweepstakes (not, as is commonly believed, its main rival Publishers Clearing House).[1][2]
McMahon annually co-hosted the Jerry Lewis Labor Day Telethon. He performed in numerous television commercials, most notably for Budweiser. In the 1970s and 1980s, he anchored the team of NBC personalities conducting the network's coverage of the Macy's Thanksgiving Day Parade.
McMahon appeared in several films, including The Incident (1967), Fun With Dick and Jane (1977), Full Moon High (1981), and Butterfly (1982), as well as briefly in the film version of Bewitched (2005). According to Entertainment Weekly he is considered one of the "greatest sidekicks".

Contents

1 Early years
1.1 Military service
2 Entertainment career
2.1 The Tonight Show
2.2 Star Search
2.3 Other roles
3 Personal life
3.1 Children
3.2 Financial problems
3.3 Health problems
3.4 Death
4 References in popular culture
5 Books
6 References
7 External links

Early years

McMahon was born in Detroit to Eleanor (née Russell) and Edward Leon McMahon, a fund-raiser and entertainer.[4] He was raised in Lowell, Massachusetts. He attended Catholic University of America, majoring in speech and drama. He graduated with a Bachelor of Arts degree in 1949. He was a member of Phi Kappa Theta fraternity. McMahon began his career as a bingo caller in Maine when he was fifteen.
Prior to this, he worked as a carnival barker for three years in Mexico, Maine. He put himself through college as a pitchman for vegetable slicers on the Atlantic City boardwalk. His first broadcasting job was at WLLH-AM in his native Lowell and he began his television career in Philadelphia at WCAU-TV.

Military service

During World War II, McMahon was a fighter pilot in the United States Marine Corps serving as a flight instructor and test pilot. He was a decorated pilot (six Air Medals) and was discharged in 1946, remaining in the reserves.[5]
After college, McMahon returned to active duty. He was sent to Korea in February 1952. He flew unarmed OE-1 Bird Dogs on 85 tactical air control and artillery spotting missions. He remained in the Marine Corps Reserve, retiring with the rank of Colonel in 1966 and was then commissioned as a Brigadier General in the California Air National Guard.
Several of his ancestors, including the Marquis d'Equilly, also had long and distinguished military careers. Patrice MacMahon, duc de Magenta was a Marshal of armies in France, serving under Napoleon III, and later President. McMahon once asserted to Johnny Carson that mayonnaise was originally named MacMahonnaise in honor of this ancestor, referring to him as the Comte de MacMahon.[6] In his autobiography, McMahon said that it was his father who told him of this relationship and he went on to suggest that he was not certain of the truth of the story.

Entertainment career

The Tonight Show

McMahon and Johnny Carson first worked together as announcer and host on the daytime game show Who Do You Trust? (1957-1962). McMahon and Carson left the show to join The Tonight Show in 1962. He describes what happened when the pair first met, the whole meeting being "... about as exciting as watching a traffic light change".[8]
For more than 30 years, McMahon introduced the Tonight Show with a drawn-out "Heeeeeeeeeeeeeeere's Johnny!" His booming voice and constant laughter alongside the "King of Late Night" earned McMahon the nickname the "Human Laugh Track" and "Toymaker to the King".
As part of the introductory patter to The Tonight Show, McMahon would state his name out loud, pronouncing it as Ed "Mc MAH yon", but neither long-time cohort Johnny Carson nor anyone else who interviewed him ever seemed to pick up on that subtlety, usually referring to him as Ed "Mc MAN".
The extroverted McMahon served as a counter to the notoriously shy Carson. Nonetheless, McMahon once told an interviewer that after his many decades as an emcee, he would still get "butterflies" in his stomach every time he would walk onto a stage, and would use that nervousness as a source of energy.

Star Search

He was also host of the successful weekly syndicated series Star Search, which began in 1983 and helped launch the careers of numerous actors, singers, choreographers, and comedians. He stayed with the show until it ended in 1995, and in 2003, he made a cameo appearance on the revival of the CBS show, hosted by his successor, Arsenio Hall.

Other roles


McMahon at the premiere of Air America, 1990
McMahon was the long-running co-host of the annual Labor Day weekend Jerry Lewis MDA Telethon. His 41st and last appearance was in 2008, making him second only to Lewis himself in number of appearances.[9]
McMahon and Dick Clark hosted the television series (later special broadcast) TV Bloopers And Practical Jokes on NBC from 1982 until 1998, when Clark decided to move the production of the series to ABC.
In 2004, he became the announcer and co-host of Alf's Hit Talk Show on TV Land. He has authored two memoirs, Here's Johnny!: My Memories of Johnny Carson, The Tonight Show, and 46 Years of Friendship as well as For Laughing Out Loud.
Over the years, he emceed the game shows Missing Links, Snap Judgment, Concentration, and Whodunnit!.
McMahon hosted Lifestyles Live, a weekend talk program aired on the USA Radio Network. He also appeared in the feature documentary film, Pitch People, the first motion picture to take an in-depth look at the history and evolution of pitching products to the public.
In the early 2000s McMahon made a series of Neighborhood Watch public service announcements parodying the surprise appearances to contest winners that he was supposedly known for. (In fact, it is not clear whether the company McMahon fronted, American Family Publishers, regularly performed such unannounced visits, as opposed to Publishers Clearing House and its oft-promoted "prize patrol".)

Towards the end of the decade, McMahon took on other endorsement roles, playing a rapper for a FreeCreditReport.com commercial[10] and in a Cash for Gold commercial alongside MC Hammer. McMahon was also the spokesman for Pride Mobility, a leading power wheelchair and scooter manufacturer.

MICHAEL JACKSON by Bob Lefsetz

He missed his childhood and now he's gonna miss his old age.

Michael Jackson never had a chance. He had to succeed for his family, his parents' dreams were dependent upon him.

And a boy with that much pressure delivers. He works truly hard, so he will be loved. That's all Michael Jackson was looking for, love.

He wanted to be accepted. Wanted to be so good that he couldn't be denied. But you can't change family history, and the public no longer treats you as human, as an equal, once you break through. People want to rip you off or tear you down, or shower you in faux love that's more about their unfulfilled desires than yours. It gets so confusing that you retreat.

The Jackson 5 broke through at the tail end of the sixties. When both Motown and Top Forty radio were in decline. But the burst of energy known as "I Want You Back" could not be denied. And the continuous singles made Michael Jackson a star.

He sang a horror movie theme. He endured puberty. He was a faded child star. Then, suddenly, he released a dance floor epic. When disco was supposedly dead, Michael Jackson and Quincy Jones concocted a synthesis of rock and beats that could not be denied. Few were paying attention when "Off The Wall" was released. But over the course of two years, word spread. This was an album that could be played endlessly, that made you feel exuberant, totally alive. We didn't stop listening because we could never get enough.

Then came "Thriller".

There are indelible television moments. When there's only before and after. Michael Jackson's "Motown 25" moonwalk was one of those events. Akin to the landing of Neil Armstrong and Buzz Aldrin on the moon over a decade before. MTV was AOR. Dancing was something you saw on Broadway. Give Walter Yetnikoff credit, he forced MTV to play Michael Jackson and not only was the color barrier broken, not only did videos turn into extravaganzas, the biggest star since the Beatles was hatched, fifteen years after Michael had first gained public notoriety, years after he'd started performing. It's "Outliers" in action. Michael Jackson made it look easy. But there were far in excess of 10,000 hours involved. When everybody was finally paying attention, no one else was close. You had newbie bands from the U.K. who could barely sing, never mind play. And you had this phenomenon prancing on screen fully realized. It was like the 1927 Yankees playing a Little League team.

And then it was over.

There was another album with Q, but it was a step down. There's nowhere to go from the top but down. But Michael Jackson couldn't accept this. Everything had to be bigger and better. A musician's career can last forever. But to have those legs, you've got to have perspective. Existing at the center of the hurricane, unable to step outside the maelstrom, means that you have no frame of reference.

Not that you can't buy one. Or that hucksters and shysters don't try to give you one. You trust everyone but know you can trust no one. You're a party of one. What means so much to everybody else means almost nothing to you. You don't want to give up your money and fame, but they don't buy you peace of mind, they don't buy you love, they don't keep you warm at night.

It's been a sad movie that's been unspooling. We can delineate the low points. But let's just say it started with plastic surgery and it ended with court cases. Michael Jackson just didn't think he was good enough. And when he tried to explain, when he showed up in court in his pajamas, we didn't want to listen, we didn't want to give him a break, we just wanted to make fun of him, deride him.

Michael Jackson was an entertainer until the very end.

It's just that his latest gigs were not inside theatres, but played out on "investigative" television shows and gossip Websites. Everybody was living off Michael Jackson. He gave good ratings. He rescued the hoi polloi from a life of drudgery.

But that's all over now.

Sony can be thrilled that the digital marketplace insures there's endless inventory for those sitting shiva to buy. And they're going to end up with the Beatles catalog too. But we've lost something with the passing of Michael Jackson. A belief that America is a good-hearted place, a supportive place, where we want everybody to have a good life and be happy.

Wonder about the price of fame? Just look at the miserable Jon & Kate. Never mind their eight children.

We did this to Michael Jackson. And there wasn't a single person who could save him. He was too isolated.

We'll remember where we were when we heard the news. But I'd rather remember that explosion emanating from the radio back in '69.

Michael, we want you back! We want to see you moonwalk one more time! We want you to sing "Billie Jean"!

Alas, that's impossible.

As he once sang, "now it's much too late for me to take a second look."

The king is dead.

Booking/Getting Gigs

  1. Think Locally - The best place to start looking for gigs is in your own backyard. Get to know the music scene in your area. What venues and promoters are willing to give up and coming bands a chance? What bands in your area play live often and might need a support act? What venues in your area put on touring bands, who might need a local opening act? To get a gig, all of these factors can come into play. Approaching the right venues will open doors to you, and there is strength in numbers, so working together will the other bands in the area will increase the opportunities for everyone. (Plus, you can share gear!)

  2. Get your Promo Package Together - Have a standard package ready to introduce yourself to venues and promoters. Much like the package you use when you send a demo to a label , this promo package should be short and sweet. Include a short demo CD, a short bio or one sheet to introduce the band, and some press clippings, if you have any (especially ones that review live performances). If you're going to approach people by email instead, cut and paste the info into the body of an email and include a link to a site where your music can be heard. Don't send attachments - most people won't open them.

  3. Approach the Venue - To get a gig directly with a venue, call and find out who is in charge of booking bands and send them your promo package. They may tell when to contact them again. If not, give them about a week, and follow up by phone or email. Keep trying until you get an answer. If you've haven't played live much, your best bet is try to get on an existing bill with a band that already has a bit of a following. Keep in mind that if you book with a venue, you may be in charge of promoting the show yourself and paying venue rental fees, unless you are invited on to an existing concert bill.

  4. Approach the Promoter - If you'd rather not self promote and take on venue fees, you can approach a promoter to get a gig. Send your promo pack to the promoter and follow up in the same way you would with a venue. If a promoter agrees to get you a show, they will book the venue and promote the show for you, but you may need to send them posters you have made yourself to do so.

    If the promoter doesn't want to put you on by yourself yet, ask them if they have any shows you could play as an opening act. If they say no, check in from time to time to remind them you are always available as a support act.

  5. Understand the Deal - This is the trickiest part for most bands. First, understand that when you are just getting started, you often will not make money on your shows. In fact, you may even end up out of pocket. That doesn't mean it was all for nothing - building up your fan base will mean you do make money on future gigs.

    If you do make money, you will either have a deal where you get paid a pre-agreed amount no matter how many people turn up, or you will have a door split deal . Either deal is fine and fair. Focus on building your audience and not the money right now.

  6. Play the Gig - Sounds obvious, I know, but the way you handle the gig can have a lasting impact on your ability to get future shows. Show up on time for the soundcheck and if there are other bands playing, remember everyone needs time for their soundcheck. Be professional - there is likely to be free drinks around, but remember everyone is there to hear your music, not to see if you can handle your beer. Don't sell yourself short by getting on stage in anything but your top shape, ready to play a great show. Play a good show, be courteous and professional, and you'll soon be getting more show offers!

Tips:

  1. Don't Get Caught Up on the Deal - This is worth repeating. Your goal is build up your audience. Promoters and venues are taking a chance on you when you are just getting started - they will be more willing to give you a chance if you don't have a lot of financial demands.

  2. But Don't Pay to Play - If you're putting on your own show, of course you may have to pay a venue hire fee and you may to pay some promotional costs. However, don't pay money simply to get on a bill, and don't trust anyone who asks you to.

  3. Invite the Press - Keep the entertainment writers at your local papers informed about your activities and always invite them to the show. Also, keep your local radio stations up to date on what's happening with your band and when you're playing.

  4. Respect the Guest List - Guests lists have a way of getting out of hand, fast. Don't push it with promoters with the guest list when you are trying to build up a name for yourself. If you're part of a larger bill, you may not even have any guest list spaces. If you do, use what you have and be done with it. Don't try to get 50 of your closest cheapskate friends into every show for free. You'll get a bad name for yourse

1,000 of 'Transformers' Shows Sold Out!

LOS ANGELES (UPI) -- More than 2,000 U.S. Tuesday-Wednesday midnight screenings of "Transformers: Revenge of the Fallen" were sold out, Fandango said.


The movie-ticketing outlet said it has been selling more than eight "Transformers" tickets per second during peak periods, prior to the flick's opening Wednesday.

Both Fandango and MovieTickets.com said the film represented 94 percent of their advance ticket sales.

The "Transformers" sequel is selling twice as many tickets as 2008's "Iron Man" sold on Fandango at the same point in that movie's sales cycle, Fandango said.

"The film's success proves that fans are ready for the summer and looking for an escape," Rick Butler, chief operating officer of Fandango, said in a statement. "Moviegoers should certainly buy their tickets in advance before heading to the theater. 'Transformers: Revenge of the Fallen' may end up enjoying one of the top-selling opening weekdays in the history of our company."

MovieTickets.com said by Tuesday night the film had beat out "Pirates of the Caribbean: Dead Man's Chest," "Quantum of Solace," "The Lord of the Rings: Fellowship of the Ring" and "Indiana Jones and the Kingdom of the Crystal Skull" on the Web site's list of Top Pre-sellers of All-Time. "Transformers: Revenge of the Fallen" finished just behind the first three "Harry Potter" films, Movietickets.com said.

True Blue Fans (TBF)

Up & Coming Artist should be aware their livelyhoods will depend how well they learn these two very important pricipals that will lead to them, developing successful careers:

1. Fan Base Building....I call them True Blue Fans. These are your tribe members, that will purchase/spend at least $100 / year on merchandise/door fees. They will bring at least 5 new TBF into your tribe each year.

2. Realizing ALL ROADS LEAD TO THE STAGE. This is so much more than what any artist may think.

Music World 2.0

Music World 2.0 is where anything/everything music is headed. Anyone one believing we will live & work under the authorian of Music World 1.0 is in for a for many failures and disappointments.

Iran

We should show more support for the freedom protestors.