Hymn for a Sunday Evening (Ed Sullivan)

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Sign Out My Profile. I mean, he actually didn't have a booker at first, except his producer. His first producer was Marlo Lewis. And he was so familiar with the acts that he would personally call them up and ask them to be on the show. Now, at the beginning, there wasn't much money to be paid, so he had to almost ask favors for them to be on the show. And it was, you know, it was favors at first because the show was just beginning and not making money.

But eventually it became so popular and it built to where 35 million people watched that show every Sunday. Well, Elvis Presley actually got the biggest salary because he had a wonderful negotiator in the colonel. This is probably the greatest honor that I've ever had in my life. There's not much I can say except it makes you feel good.

And we went to thank you from the bottom of our heart. And now, don't be cruel. Singing Now, you know I can be found, sitting home all alone, if you can't come around, at least come. Did he think it was a big deal when Elvis made his appearance that the camera made sure it's pointed above his pelvis?

The first show, he photographed him just as if he was any other performer, and they received thousands of letters and calls and so on saying that they didn't like it. But on the second time he played, you only saw him from the waist up. At times I think there was. Just especially with dancers where they couldn't do both the singing and the dancing. But in general it was a live show. It was at a time when they had already started to tape shows. But Ed insisted that there would be no taping, unless it was it couldn't be done any other way.

And he demanded that the performers perform live. I want you to meet to young impressionist that came on from the coast; I brought him on from the coast.

He's out there with Eddie Fisher. This week we're going to have for youin person on this stage for you next week, we're going to have on this stage in person for you next week. You know, Ed Sullivan was not your typical TV kind of personality. I mean, you know, so many people had done impressions of him over the years. In fact, don't you consider it rather brave of him to invite an impressionist who did an impression of him on the show? Well, he never minded people making, you know, fun of him in sort of that kind of way. You know, the way he spoke, the way he walked and so on.

But I think he felt dehumanized though. He just had such interesting mannerisms sometimes, I mean, you know, when he'd come out and say let's hear it for "Ave Maria," you know?

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He was looking at a teleprompter, so he was reading off a teleprompter most of the time. And he wrote the teleprompter, he wrote the script for the show. So, he was just a very nervous person onstage, I think. Well, Ed, if I may be so bold - and I don't like to ask this - but actually how much do you make? They raised it one time unintelligible.

We remember the big names he had on the show, the rock and roll stars and the comedy stars, but he also - and it's a quotation: And the drops of culture were a ballet star, like Noreav ph , a classical pianist, like Van Cliburn or Eugene Liss ph. And he actually brought the Metropolitan Opera stars to television. The singer who appeared the most times on his show was the Metropolitan Opera star Roberta Peters. He loved Roberta Peters and he had her on the show 41 times, more than any other classical singer or pop singer. You have a chapter in the book about the color line, and you made the note that "The Ed Sullivan Show" was the first TV show to include an African-American in the dancing chorus.

What sort of influence did the show have on African-American performers? Well, he loved to have African-American performers. He had nohe was colorblind. And he's always had a great ear for listening to who the public wanted, and he felt they wanted people like Nat King Cole and Ella Fitzgerald. And he actually paid for Bill Bojangle Robinson, the great tap dancer, he paid for his funeral and he staged his funeral from Harlem down Broadway all the way to Times Square when Bill died. So, if there's anybody who really opened up the door to African-American entertainers in television, it certainly was Ed Sullivan.

I wanted you to know we've put out the word about our interview on our NPR Weekend account on Twitter and we received a few questions that our listeners would like to ask. So, the first one is from Doug Wood: Yes, he loved it, and he's the one who found Topo Gigio on Italian television. At first he wasn't supposed to do that repartee with a little Italian puppet, but there was nobody else.

So, he tried it once. He just talked to it like it was a little boy and. And he loved it. And Topo Gigio was on 50 times.

And Ed insisted that on the last show, the very last show, that he would be the last thing on the last show. Yeah, Ed used to walk through New York and there would be, you know. We have another listener, Joe Sokol ph , on Twitter, what about dressing room antics? He wants to know about drugs, sex and booze use among the guests.

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I will tell you that there was no such thing. That was a very straight-laced show. I don't know if you realize, Ed was a very religious person. He was a Catholic. Very moral, very straight, and nobody was allowed anything. If drugs and anything went on, it did not go backstage.

It was very clean. He was an interesting guy. Like Bob Precht, who was his producer and his son-in-law, married to Betty Precht, his only daughter, once said to me:

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