Print syndication distributes news articles, columns, comic strips and other features to newspapers, magazines and websites. They offer reprint rights and grant permissions to other parties for republishing content of which they own/represent copyrights.

Prominent national and international syndication services include Family Features Editorial Syndicate, Guardian News Service, News International Syndication, The New York Times News Service, North Star Writers Group, Telegraph Media Group, Tribune Media Services and Project Syndicate. Universal Press Syndicate provides news and lifestyle content to various other publications and IFA-Amsterdam (International Feature Agency). Cagle Cartoons offers newspaper editorial cartoons and columns. 3DSyndication comprises Syndication Service from India, the India Today Group's Syndications Today and Times Syndication Service of India.

Comic strip syndication[link]

A comic strip syndicate functions as an agent for cartoonists and comic strip creators, placing the cartoons and strips in as many newspapers as possible on behalf of the artist. In some cases, the work will be owned by the syndicate as opposed to the creator. A syndicate can annually receive thousands of submissions from which only two or three might be selected for representation. The leading strip syndicates include Creators Syndicate, King Features Syndicate, NI Syndication, United Media and the Washington Post Writers Group.

See also[link]

• List of comic strip syndicates
• List of syndicated columnists
• Web syndication

References[link]

• Vaughn, Susan (10 December 2000). "Career Make-Over; Looking on the Lighter Side of 'The Change'; Cartoonist wants to take 'Minnie Pauz' character into syndication.". The Los Angeles Times. http://www.minniepauz.com/latimes_article.html. 
• Times Syndication Service Content licensing and syndication wing of The Times Group.

Further reading[link]

• Blackbeard, Bill. The Smithsonian Collection of Newspaper Comics (1977) Smithsonian Inst. Press/Harry Abrams
• Horn, Maurice. The World Encyclopedia of Comics (1976) Chelsea House, (1982) Avon
• Robinson, Jerry. The Comics: An Illustrated History of Comic Strip Art (1974) G.P. Putnam's Sons

External links[link]

• 3DSyndication: Syndication Service from India
• Cagle Cartoons, Inc.
• Family Features Editorial Syndicate
• Guardian News Service
• IFA-Amsterdam (International Feature Agency)
• News International Syndication
• The New York Times News Service
• NI Syndication
• Times Syndication Service of India
• Tribune Media Services
• Universal Press Syndicate

Norm Feuti is an American cartoonist and author best known for his nationally syndicated comic strips Retail and Gil.

[edit] Retail

Having worked in retail for more than 15 years, Feuti started working on the daily comic strip Retail which was eventually launched on January 1, 2006 by King Features Syndicate. His book Pretending You Care: The Retail Employee Handbook (2007) features over 200 Retail strips.

[edit] Gil

In 2008, Feuti created a second strip, Gil, as a web comic on his website. The main character is an eight-year-old boy named Gil who is raised by his single mother Cheryl in a poverty-stricken household. Gil also sees his father Frank occasionally, a ne'er-do-well who often offers Gil questionable advice. Secondary characters include Gil's friend and confidant Shandra and his antagonist Morgan. In 2011, Gil was picked up for syndication by King Features and launched in newspapers on January 2, 2012.

External links[link]

• Norm Feuti Cartoons

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Andy Griffith
Andy Griffith receiving the Presidential Medal of Freedom.
Born	Andy Samuel Griffith (1926-06-01) June 1, 1926 (age 86) Mount Airy, North Carolina, United States
Nationality	American
Education	Mount Airy High School
Alma mater	University of North Carolina at Chapel Hill
Occupation	Actor, comedian, director, producer, singer (country, bluegrass & southern gospel), writer
Years active	1949–present
Notable work(s)	The Andy Griffith Show, Matlock
Political party	Democrat
Religion	Christian (Baptist/Moravian Church)
Spouse	Barbara Bray Edwards (m. 1949–72) (divorced) Solica Cassuto (m. 1975–81) (divorced) Cindi Knight (1983–present)

Andy Samuel Griffith (born June 1, 1926) is an American actor, director, producer, Grammy Award-winning Southern-gospel singer, and writer.^[1] He gained prominence in the starring role in director Elia Kazan's epic film, A Face in the Crowd (1957) before he became better known for his television roles, playing the lead characters in the 1960–68 situation comedy, The Andy Griffith Show, and in the 1986–95 legal drama, Matlock. Griffith was awarded the Presidential Medal of Freedom by US President George W. Bush on November 9, 2005.

Early life and education[link]

Griffith was born in Mount Airy, North Carolina, the only child of Geneva (née Nunn) and Carl Lee Griffith.^[2] At a very young age, Griffith had to live with relatives until his parents could afford to get a home of their own. Without a crib or a bed, he slept in drawers for a few months. In 1929, when Griffith was three years old, his father took a job working as a carpenter and was finally able to purchase a home in Mount Airy's "blue-collar" southside.

Like his mother, Griffith grew up listening to music. His father instilled a sense of humor from old family stories. By the time he entered school he was well aware that he was from what many considered the "wrong side of the tracks". He was a shy student, but once he found a way to make his peers laugh, he began to come out of his shell and come into his own.

As a student at Mount Airy High School, Griffith cultivated an interest in the arts, and he participated in the school's drama program. A growing love of music, particularly swing, would change his life. Griffith was raised Baptist^[3] and looked up to Ed Mickey, a minister at Grace Moravian Church, who led the brass band and taught him to sing and play the trombone. Mickey nurtured Griffith's talent throughout high school until graduation in 1944. Griffith was delighted when he was offered a role in The Lost Colony, a play still performed today on Roanoke Island. He performed as a cast member of the play for several years, playing a variety of roles, until he finally landed the role of Sir Walter Raleigh, the namesake of North Carolina's capital.

He began college studying to be a Moravian preacher, but he changed his major to music and became a part of the school's Carolina Play Makers. He attended the University of North Carolina at Chapel Hill (UNC) in Chapel Hill, North Carolina, and graduated with a bachelor of music degree in 1949. At UNC he was president of the UNC Men's Glee Club and a member of the Alpha Rho Chapter of Phi Mu Alpha Sinfonia, America's oldest fraternity for men in music.^{[citation needed]} He also played roles in several student operettas, including The Chimes of Normandy (1946), and Gilbert and Sullivan's The Gondoliers (1945), The Mikado (1948) and H.M.S. Pinafore (1949).^[4]

After graduation, he taught English for a few years at Goldsboro High School in Goldsboro, North Carolina, where he taught, among others, Carl Kasell.^[5] He also began to write.

Career[link]

From rising comedian to film star[link]

Griffith's early career was as a monologist, delivering long stories such as What it Was, Was Football, which is told from the point of view of a rural backwoodsman trying to figure out what was going on in a football game.^[6] Released as a single in 1953 on the Colonial label, the monologue was a hit for Griffith, reaching number nine on the charts in 1954.^[7]

Griffith starred in a one-hour teleplay version of No Time for Sergeants (March 1955)—a story about a country boy in the US Air Force—on The United States Steel Hour, a television anthology series. He expanded that role in a full-length theatrical version of the same name (October 1955) on Broadway in New York City, New York.^[8] His Broadway career also included the title role in the 1957 musical, Destry Rides Again, co-starring Delores Gray. The show, with a score by Harold Rome, ran for more than a year.

Griffith later reprised his role for the film version (1958) of No Time for Sergeants; the film also featured Don Knotts, as a corporal in charge of manual-dexterity tests, marking the beginning of a life-long association between Griffith and Knotts. No Time for Sergeants is considered the direct inspiration for the later television situation comedy Gomer Pyle, U.S.M.C.^[9]

He also portrayed a US Coast Guard sailor in the feature film Onionhead (1958); it was neither a critical nor a commercial success.

[edit] Dramatic role in A Face in the Crowd (1957)

In 1957 Griffith made his film début, starring in the film A Face in the Crowd. Although he plays a "country boy", this country boy is manipulative and power-hungry, a drifter who becomes a television host and uses his show as a gateway to political power. Co-starring Patricia Neal, Walter Matthau, Tony Franciosa, and Lee Remick (in her film début as well), this now-classic film, directed by Elia Kazan, showcases Griffith's powerful talents. Written by Budd Schulberg, and partly based on the on-stage phoniness of Arthur Godfrey, the film demonstrated, quite early on, the power that television can have upon the masses. This prescient film was seldom run on television until the 1990s.^{[citation needed]}

A 2005 DVD reissue of A Face in the Crowd includes a mini-documentary on the film, with comments from Schulberg and surviving cast members Griffith, Franciosa, and Neal. In his interview, Griffith, revered for his wholesome image for decades, reveals a more complex side of himself. He recalls Kazan prepping him to shoot his first scene with Remick's teenaged baton twirler, who captivates Griffith's character on a trip to Arkansas. Griffith also expresses his belief that the film was far more popular and respected in more recent decades than it was when originally released.

Television roles[link]

Early television roles[link]

Publicity photo of Griffith for his No Time for Sergeants television appearance.

Griffith's first appearance on television had been in 1955 in the one-hour teleplay of No Time for Sergeants on The United States Steel Hour. That was the first of two appearances on that series.

In 1960, Griffith appeared as a county sheriff (who was also a justice of the peace and the editor of the local newspaper) in an episode of Make Room for Daddy, starring Danny Thomas. This episode, in which Thomas' character is stopped for speeding in a little town, served as a backdoor pilot for The Andy Griffith Show. Both shows were produced by Sheldon Leonard.

[edit] The Andy Griffith Show (1960–1968)

Beginning in 1960, Griffith starred as Sheriff Andy Taylor in The Andy Griffith Show for the CBS television network. The show took place in the fictional town of Mayberry, North Carolina, where Taylor, a widower, was the sheriff and town sage. The show was filmed at Desilu Studios, with exteriors filmed at Forty Acres in Culver City, CA.

From 1960 to 1965, the show co-starred character actor and comedian—and Griffith's longtime friend—Don Knotts in the role of Deputy Barney Fife, Taylor's best friend and partner. He was also Taylor's cousin in the show. In the series première episode, in a conversation between the two, Fife calls Taylor "Cousin Andy", and Taylor calls Fife "Cousin Barney". The show also starred child actor Ron Howard (then known as Ronny Howard), who played Taylor's only child, Opie Taylor.

Andy lends a hand when Barney gets his gun stuck on his finger.

It was an immediate hit. Although Griffith never received a writing credit for the show, he worked on the development of every script. While Knotts was frequently lauded and won multiple Emmy Awards for his comedic performances (as did Frances Bavier in 1967), Griffith was never nominated for an Emmy Award during the show's run.

In 1967, Griffith was under contract with CBS to do one more season of the show. However, he decided to quit the show to pursue a movie career and other projects. The series continued as Mayberry R.F.D., with Ken Berry starring as a widower farmer and many of the regular characters recurring, some regularly and some as guest appearances. Griffith served as executive producer (according to Griffith, he came in once a week to review the week's scripts and give input) and guest starred in five episodes (the pilot episode involved his marriage to Helen Crump).^[10] He made final appearances as Taylor in the 1986 reunion television film, Return to Mayberry, and in two reunion specials in 1993 and 2003.

[edit] Matlock (1986–1995)

After leaving his still-popular show in 1968, and starting his own production company (Andy Griffith Enterprises) in 1972, Griffith starred in less-successful television series such as Headmaster (1970), The New Andy Griffith Show (1971), Adams of Eagle Lake (1975) Salvage 1 (1979), and The Yeagers (1980).

After spending time in rehabilitation for leg paralysis from Guillain–Barré syndrome in 1986, Griffith returned to television as the title character, Ben Matlock, in the legal drama Matlock (1986–1995) on NBC and ABC. Matlock was a country lawyer in Atlanta, Georgia, who was known for his Southern drawl and for always winning his cases. Matlock also starred unfamiliar actors (both of whom were childhood fans of Andy Griffith) Nancy Stafford as Michelle Thomas (1987–1992) and Clarence Gilyard Jr. as Conrad McMasters (1989–1993). By the end of its first season it was a ratings powerhouse on Tuesday nights. Although the show was nominated for four Emmy Awards, Griffith once again was never nominated. He did, however, win a People's Choice Award in 1987 for his work as Matlock.

During the series' sixth season, he served as unofficial director, executive producer and writer of the show.

This show is mentioned on TV's longest animated show The Simpsons and is noted as Grandpa Simpson's favorite show as well as Marge Simpson's mother Jacqueline Bouvier's as well.

Other television appearances[link]

Griffith has also made other character appearances through the years on Playhouse 90, Gomer Pyle, U.S.M.C., The Mod Squad, Hawaii Five-O, The Doris Day Show, Here's Lucy, The Bionic Woman, Fantasy Island, among many others. He also reprised his role as Ben Matlock on Diagnosis: Murder in 1997, and his most recent guest-starring role was in 2001 in an episode of Dawson's Creek.

Films (including television films)[link]

For most of the 1970s, Griffith starred or appeared in many television films including The Strangers In 7A (1972), Go Ask Alice (1973), Winter Kill (1974), and Pray for the Wildcats (1974), which marked his first villainous role. Griffith appeared again as a villain in Savages (1974), a television film based on the novel Deathwatch (1972) by Robb White. Griffith received his only Primetime Emmy Award nomination as Outstanding Supporting Actor – Miniseries or a Movie for his role as the father of a murder victim in the television film Murder In Texas (1981) and won further acclaim for his role as a homicidal villain in the television film Murder in Coweta County (1983), co-starring music legend Johnny Cash as the sheriff. He also proved to be a good character actor and appeared in several television mini-series, including the television version of From Here to Eternity (1979), Roots: The Next Generations (1979), Centennial (1978), and the Watergate scandal-inspired Washington: Behind Closed Doors (1977), playing a former president loosely based on Lyndon B. Johnson.

Most of the TV movies Griffith starred in were also attempts to launch a new series. 1974's Winter Kill launched the short lived Adams of Eagle Lake which was canceled after only two episodes in 1975. A year later, he starred as a New York City attorney for the DA's office in Street Killing which also failed to launch a new series. Two television films for NBC in 1977, The Girl in The Empty Grave and Deadly Game, were attempts for Griffith to launch a new series featuring him as Police Chief Abel Marsh, a more hard-edged version of Andy Taylor; despite strong ratings for both films, both were unsuccessful.

While appearing in television films and guest roles on television series over the next 10 years, Griffith also appeared in two feature films, both of which flopped at the box office. He co-starred with Jeff Bridges as a crusty old 1930s western actor in the comedy Hearts of the West (1975), and he appeared alongside Tom Berenger as a gay villainous colonel and cattle baron in the western comedy spoof Rustlers' Rhapsody (1985).

He also appeared as an attorney in the NBC mini-series Fatal Vision in 1984, which is considered a precursor to his role in Matlock.

Griffith stunned many unfamiliar with his A Face in the Crowd work in the television film Crime of Innocence (1985), where he portrayed a callous judge who routinely sentenced juveniles to hard prison time. He further stunned audiences with his role as a dangerous and mysterious grandfather in 1995's Gramps, co-starring the late John Ritter. He also appeared as a comical villain in the spy movie spoof Spy Hard (1996) starring Leslie Nielsen. In the television film A Holiday Romance (1999), Griffith played the role of "Jake Peterson." In the film Daddy and Them (2001), Griffith portrayed a patriarch of a dysfunctional southern family.

In the feature film Waitress (2007), Griffith played a crusty diner owner who takes a shine to Keri Russell's character. His latest appearance was the leading role in the romantic comedy, independent film Play The Game (2009) as a lonely, widowed grandfather re-entering the dating world after a 60-year hiatus. The cast of Play The Game also included Rance Howard, Ron Howard's real-life father, who made appearances in various supporting roles on The Andy Griffith Show, and Clint Howard, Ron's younger brother, who had the recurring role of Leon (the kid offering the ice cream cone or peanut butter sandwich) on TAGS.

Singing and recording career[link]

Griffith sang as part of some of his acting roles, most notably in A Face In The Crowd and in many episodes of both The Andy Griffith Show and Matlock. In addition to his recordings of comic monologues in the 1950s, he made an album of upbeat country and gospel tunes during the run of The Andy Griffith Show, which included a version of the show's theme sung by Griffith under the title "The Fishin' Hole". In recent years, he has recorded successful albums of classic Christian hymns for Sparrow Records. His most successful was the 1996 release I Love to Tell the Story: 25 Timeless Hymns, which was certified platinum by the RIAA.^[11]

Griffith appeared in country singer Brad Paisley's music video "Waitin' on a Woman" (2008).

Name dispute[link]

William Harold Fenrick of Platteville, Wisconsin, legally changed his name to Andrew Jackson Griffith and ran unsuccessfully for sheriff of Grant County in November 2006. Subsequently, actor Griffith filed a lawsuit against Griffith/Fenrick, asserting that he violated trademark, copyright, and privacy laws by changing his name for the "sole purpose of taking advantage of Griffith's notoriety in an attempt to gain votes". On May 4, 2007, US District Court Judge John C. Shabaz ruled that Griffith/Fenrick did not violate federal trademark law because he did not use the Griffith name in a commercial transaction but instead strove "to seek elective office, fundamental First Amendment protected speech."^[12]

Associations[link]

R.G. Armstrong[link]

The longest association Griffith has had began in 1949 with a then-unknown actor, R.G. Armstrong. They met when Armstrong was one of Griffith's and his first wife's students at UNC, where Armstrong majored in drama. After graduating from college, Armstrong went on to become a versatile character actor while attending The Actors Studio in New York City.

In the 1960s, they were reunited in an episode of The Andy Griffith Show, with Armstrong playing a farmer who was the father of a tomboy. In the 1980s, Armstrong made a guest appearance in a two-part episode of Matlock, which was filmed in Wilmington, North Carolina, playing the role of a sheriff who introduces Matlock to a young, hotshot private investigator. Griffith and Armstrong keep in contact.

Don Knotts[link]

Griffith's relationship with Knotts began in 1955, when they co-starred in the Broadway play No Time for Sergeants. Several years later, Knotts had a regular role on The Andy Griffith Show for five seasons. Knotts left the series in 1965 but periodically returned for guest appearances. He appeared in the pilot for Griffith's subsequent short-lived series, The New Andy Griffith Show, and he had a recurring role on Matlock, from 1988 to 1992.

They kept in contact until Knotts' death in early 2006. Griffith traveled from his Manteo, North Carolina home to Los Angeles, California, to visit a terminally ill Knotts in the hospital just before Knotts died from complications of lung cancer.^[13]

Ron Howard[link]

Griffith's friendship with Howard began in 1960, when they guest-starred in the episode of Make Room For Daddy that led to the formation of The Andy Griffith Show that same year. For eight seasons they shared a unique father-son relationship on the set. They guest-starred together in its spin-off series, Mayberry R.F.D., in an episode where Griffith's character married his long-time girlfriend. They also appeared in the episode Opie's Ill-Gotten Gain, in which Howard's character, Opie, runs away from home and attempts to enlist in the US Marines. Howard and Griffith starred together in most of "The Andy Griffith Show" episodes. They costarred in the television special Return to Mayberry (1986), in which the now-adult Opie is about to become a father, and they later appeared together in CBS reunion specials in 1993 and 2003.

Griffith made a surprise appearance as the ghost of Andy Taylor when Howard hosted Saturday Night Live in 1982. Howard did not make any cameo appearances on Matlock, but his mother, Jean Speegle Howard, had a small role in one episode. Howard attended the People's Choice Awards in 1987, where Griffith was honored.

Howard and Griffith keep in contact sharing news about family and personal activities. Howard and his family attended Waitress (2007), which they reportedly enjoyed.^{[citation needed]} To this day, Griffith still calls Howard by his childhood nickname, Ronny.

In October 2008, Griffith and Howard briefly reprised their Mayberry roles in an online video Ron Howard’s Call to Action. It was posted to comedy video website Funny or Die. The video encouraged people to vote and endorsed Democratic candidates Barack Obama and Joe Biden.^[14]

Personal life[link]

Marriage and family[link]

Griffith and Barbara Bray Edwards were married on August 22, 1949, and they adopted a son, Andrew Samuel Griffith Jr. (born in 1957 and known as Sam Griffith), a real-estate developer, and a daughter, Dixie Nan. They were divorced in 1972. Sam died in 1996 after years of alcoholism.^[15]

He and Cindi Knight were married on April 12, 1983; they had met when he was filming Murder in Coweta County.

Political activities[link]

In addition to his online video with Howard in 2008, in politics Griffith has favored Democrats and recorded television commercials endorsing North Carolina Governors Mike Easley^[16] and Bev Perdue.^[17] He spoke at the inauguration ceremonies of both.^[18][19] In 1984, he declined an offer by Democratic party officials to run against Jesse Helms, a US Senator from North Carolina.^{[citation needed]}

In July 2010, he also starred in ads about Medicare.^[20]

Health[link]

Griffith's first serious health problem was in April 1983, when he was diagnosed with Guillain-Barré syndrome^[21][22] and could not walk for seven months because of paralysis from the knees down.

On May 9, 2000, he underwent quadruple heart-bypass surgery at Sentara Norfolk General Hospital in Norfolk, Virginia.^[23] After a fall, Griffith underwent hip surgery on September 5, 2007, at Cedars-Sinai Medical Center in Los Angeles.^[24]

Albums[link]

Filmography[link]

Features[link]

Short subjects[link]

Television work[link]

Honors[link]

Andy Griffith and Julie Adams in 1962

Mount Airy annually celebrates Griffith and his eponymous television series with "Mayberry Days", named after the fictional community of Mayberry in The Andy Griffith Show.^[26]

A statue of the Mayberry characters, Andy and Opie, was constructed in Pullen Park in Raleigh, North Carolina, and at the Andy Griffith Playhouse in Mount Airy.

C.F. Martin & Company, guitar manufacturers, offers an Andy Griffith signature model guitar. Limited edition in 2004 of the D-18 Model with 311 units total production. Patterned after Andy's own 1956 D-18.

Griffith received a Grammy Award for Best Southern, Country or Bluegrass Gospel Album for I Love to Tell the Story — 25 Timeless Hymns in 1997.

In 1999 Griffith was inducted into the Country Gospel Music Hall of Fame with fellow artists Lulu Roman, Barbara Mandrell, David L. Cook, Gary S. Paxton, Jimmy Snow, Loretta Lynn, and Jody Miller.^[27]

In October 2002, an 11-mile (18 km) stretch of US Highway 52 that passes through Mount Airy was dedicated as the Andy Griffith Parkway.

He was awarded the Presidential Medal of Freedom by President Bush on November 9, 2005.^[28]

A few weeks earlier, he had helped preside over the reopening of UNC's Memorial Hall and donated a substantial amount of memorabilia from his career to the university.

In 2007, he was inducted into the Christian Music Hall of Fame and Museum.^[29]

References[link]

External links[link]

Wikimedia Commons has media related to: Andy Griffith

• Andy Griffith at the Internet Movie Database
• Andy Griffith at the Internet Broadway Database
• Discography at CMT.com
• Inventory of the Andy Griffith Papers, 1949–1997, in the Southern Historical Collection, University of North Carolina at Chapel Hill
• "Judge: Wis'. 'Andy Griffith' Did Not Harm Actor"^{[dead link]}, news report by The Associated Press on the May 2007 ruling in favor of William Harold Fenrick.
• "What It Was, Was Football", includes links to audio of the routine and Mad magazine treatment.
• Fans created replica of Sheriff Andy Taylor's Mayberry home for B&B
• Taylor home replica inn
• Beckwith, Ryan Teague (December 27, 2007). "Andy Griffith", profile at The News & Observer. Accessed November 12, 2009.
• Andy Griffith Archive of American Television Interview

I Love Lucy is an American television sitcom starring Lucille Ball, Desi Arnaz, Vivian Vance, and William Frawley. The black-and-white series originally ran from October 15, 1951, to May 6, 1957, on the Columbia Broadcasting System (CBS). After the series ended in 1957, however, a modified version continued for three more seasons with 13 one-hour specials, running from 1957 to 1960, known first as The Lucille Ball-Desi Arnaz Show and later in reruns as The Lucy-Desi Comedy Hour.

I Love Lucy was the most watched show in the United States in four of its six seasons, and was the first to end its run at the top of the Nielsen ratings (an accomplishment later matched by The Andy Griffith Show and Seinfeld). I Love Lucy is still syndicated in dozens of languages across the world.

The show was the first scripted television program to be shot on 35 mm film in front of a studio audience, and won five Emmy Awards and received numerous nominations. In 2002, it ranked second on TV Guide's list of television's greatest shows, behind Seinfeld and ahead of The Honeymooners.^[1] In 2007 it was listed as one of Time magazine's "100 Best TV Shows of All-TIME."^[2] I Love Lucy remains hugely popular today; more than 60 years after its debut, it is still seen by 40 million Americans each year.^[3]

Premise[link]

Originally set in an apartment building in New York City, I Love Lucy centers on Lucy Ricardo (Lucille Ball) and her singer/bandleader husband Ricky Ricardo (Desi Arnaz), along with their best friends and landlords Fred Mertz (William Frawley) and Ethel Mertz (Vivian Vance). During the second season, Lucy and Ricky have a son named Ricky Ricardo Jr. ("Little Ricky"), whose birth was timed to coincide with Ball's real-life delivery of her son Desi Arnaz Jr.^[4]

Lucy is naive and ambitious, with an undeserved zeal for stardom and a knack for getting herself and her husband into trouble whenever Lucy yearns to make it in show business. The Ricardo's best friends, Fred and Ethel, are former vaudevillians and this only strengthens Lucy's resolve to prove herself as a performer. Unfortunately, she has few marketable performance skills. She does not seem to be able to carry a tune or play anything other than off-key renditions of songs such as "Glow Worm" or "Sweet Sue" on the saxophone, and many of her performances devolve into disaster. However, to say she is completely without talent would be untrue, as on occasion, she is shown to be a good dancer and a competent singer.

The show provided Ball ample opportunity to display her considerable skill at clowning and physical comedy. Character development was not a major focus of early sitcoms, so little was offered about her life before the show. A few episodes mentioned that she was born in Jamestown, New York (Lucille Ball's real-life home town), later corrected to West Jamestown, that she graduated from Jamestown High School, that her maiden name was "McGillicuddy" (indicating a Scottish ethnicity, though she once mentioned her grandmother was Swedish), and that she met Ricky on a blind date. Her family was absent, other than occasional appearances by her bird-brained mother (Kathryn Card), who could never get Ricky's name right. Lucy also exhibited many stereotypical female traits that were standard for comedy at the time, including being secretive about her age and true hair color, and being careless with money. She was also depicted as a devoted housewife and attentive mother.

Lucy and Ricky are mountain climbing in the Alps during their 1956 European vacation.

Lucy's husband, Ricky Ricardo, is an up-and-coming Cuban American singer and bandleader with an excitable personality. His patience is frequently tested by his wife's antics. When exasperated, he often reverts to speaking rapidly in Spanish. As with Lucy, not much is revealed about his past or family. Ricky's mother (played by actress Mary Emery) appears in two episodes; in another Lucy mentions that he has five brothers. Ricky also mentions that he had been "practically raised" by his uncle Alberto (who was seen during a family visit to Cuba), and that he had attended Havana University.

An extended flashback segment in the 1957 episode "Lucy Takes a Cruise to Havana" of The Lucille Ball–Desi Arnaz Show filled in numerous details of how Lucy and Ricky met and how Ricky came to the United States. The story, at least insofar as related to newspaper columnist Hedda Hopper, is that the couple met in Havana when Lucy and the Mertzes vacationed there in 1940. Despite his being a university graduate and proficient in English, Ricky is portrayed as a driver of a horse-drawn cab who waits for fares at a pier where tourists arrive by ship. Ricky is hired to serve as one of Lucy's tour guides and the two fall in love. Having coincidentally also met popular singer Rudy Vallée on the cruise ship, Lucy arranges an audition for Ricky who is hired to be in Vallée's orchestra thus allowing him to immigrate to the United States on the very ship on which Lucy and the Mertzes were returning. Lucy later states Ricky played for Vallée only one night before being traded to Xavier Cugat's orchestra.

Lucy is usually found with her sidekick and best friend Ethel Mertz. A former model from Albuquerque, New Mexico, Ethel tries to relive her glory days in vaudeville. Ricky is more inclined to include Ethel in performances at his nightclub because, unlike Lucy, she can actually sing and dance.

Ethel's husband Fred served in World War I, and lived through the Great Depression. He is very stingy with money and an irascible no-nonsense type. However, he also shows that he can be a soft touch, especially when it comes to Little Ricky. Fred can also sing and dance and often performs duets with Ethel.

The Manhattan building they all lived in before their move to Westport, Connecticut was addressed at a fictional 623 East 68th Street, on the Upper East Side of Manhattan. The addresses only go up to the 500s before the street terminates at the East River.

Cast[link]

Cast members from left, standing: William Frawley, Desi Arnaz, seated: Vivian Vance and Lucille Ball.

Mike (left) and Joe Mayer both played Little Ricky as a toddler.

• Lucille Ball as Lucille Esmeralda "Lucy" McGillicuddy Ricardo
• Desi Arnaz as Enrique Alberto "Ricky" Ricardo
• Vivian Vance as Ethel Mae Roberta Louise Potter Mertz
• William Frawley as Frederick "Fred" Hobart Mertz
• Keith Thibodeaux as Enrique Alberto Ricardo IV ("Little Ricky")
• Kathryn Card as Mrs. McGillicuddy — Lucy's mother
• Mary Jane Croft as Lucy's socialite school chum Cynthia Harcourt, Evelyn Bigsby (Return from Europe) later as Connecticut neighbor Betty Ramsey
• Jerry Hausner as himself
• Bob Jellison as Bobby
• Doris Singleton as Carolyn Appleby
• Shirley Mitchell as Marion Strong
• Elizabeth Patterson as Mrs. Matilda Trumbull
• Micheal and Joseph Mayer as Ricky Ricardo, Jr. as a Toddler
• Richard and Ronald Lee Simmons as Ricky Ricardo, Jr. as an infant
• Charles Lane as various characters
• Dick Reeves as various characters
• Barbara Pepper as various characters
• Bob Smith as various characters
• Frank Nelson as various characters and as Ralph Ramsey

Gale Gordon and Bea Benaderet, supporting cast members on My Favorite Husband, were originally approached for the roles of Fred and Ethel, but neither could accept owing to previous commitments. Gordon did appear as a guest star in three episodes, playing Ricky's boss, Mr. Littlefield, in two episodes, and later in an hour-long episode as a civil court judge. Gordon was a veteran from the classic radio days in which he perfected the role of the exasperated character, as in Fibber McGee and Molly and Our Miss Brooks. He would go on to co-star with Ball in all of her post–I Love Lucy series ("the Lucy show", "Here's Lucy" and "Life with Lucy"). Benaderet was a guest star in one episode as elderly Miss Lewis, a neighbor of the Ricardos.

Barbara Pepper (later featured as Doris Ziffel in the series Green Acres) was also considered to play Ethel, but Pepper had been drinking very heavily after the death of her husband, Craig W. Reynolds. Her friendship with Ball dated back to the film Roman Scandals, in which both appeared as Goldwyn Girls. She did, however, turn up regularly in bit parts.^{[citation needed]}

Many of the characters' names were after family members or close friends of Lucille Ball's; for example, Marion Strong was one of her best friends and roommate for a time in New York. Lillian Appleby was a teacher of Lucy's when she was in an amateur production on the stage. Pauline Lopus was a childhood friend, Fred was also her brother and grandfather's name. Lucy and Desi had a business manager by the name of Mr. Andrew Hickox, and in the first episode of season 4, called the "The Business Manager" Lucy and Ricky hire a man named Mr. Hickox.

Primary production team[link]

• Directors: Marc Daniels (33 episodes, 1951–53); William Asher (101 episodes, 1952–57); James V. Kern (39 episodes, 1955–57)
• Producers: Jess Oppenheimer (153 episodes, 1951–56); Desi Arnaz (exec. producer - 124 episodes, 1952–56; producer - 26 episodes, 1956–57)
• Writers: Madelyn Pugh Davis, Bob Carroll, Jr. (All Seasons including Lucy-Desi Comedy Hour), Jess Oppenheimer (Seasons 1–5), Bob Schiller, Bob Weiskopf (Seasons 5–6 and Lucy-Desi Comedy Hour)
• Original Music: Wilbur Hatch (33 episodes, 1951–54); Eliot Daniel (135 episodes, 1952–57); Marco Rizo (1951–1957)
• Cinematography: Karl Freund (149 episodes, 1951–56)
• Costume design: Elois Jenssen (57 episodes, 1953–55)
• Editors: Dann Cahn, Bud Molin

Background and development[link]

Lucille Ball had come to Hollywood in 1933, when, after a successful stint as a New York model, she was chosen by Sam Goldwyn to be one of sixteen Goldwyn Girls to co-star in the picture Roman Scandals with film star Eddie Cantor. Enthusiastic and hard-working Ball had been able to secure film work briefly at the Samuel Goldwyn Studio and Columbia Pictures and then eventually at RKO Radio Pictures. It was at RKO that Ball received steady film work, first as an extra and bit player, eventually working her way up to co-starring roles in feature films and starring roles in second rate B pictures, collectively earning the nickname "Queen of the B's". During her run at the RKO, Ball gained the reputation for doing physical comedy and stunts that most other actresses avoided, keeping her steadily employed. In 1940, Lucy met Desi Arnaz, a Cuban bandleader who had just come off a successful run in the 1939–40 Broadway show Too Many Girls. RKO had bought the film rights to the show and cast Ball as Arnaz's love interest in the picture. The duo began a whirlwind courtship leading to their elopement to Connecticut in November 1940. Despite being madly in love, however, their careers kept them separated, with Lucy's film work keeping her anchored in Hollywood, while Desi's nightclub engagements with his orchestra kept him on the road.

Despite steadily working in pictures, Lucy's movie career never advanced to the level of a headlining feature-film actress; nevertheless she remained popular with movie audiences. After receiving critical acclaim for her starring role in the 1942 Damon Runyon film The Big Street (with Henry Fonda), Ball came to the attention of MGM, which bought out her contract. It was at MGM that Ball, who had been a blonde, dyed her hair red to complement the Technicolor features that MGM had planned to use her in. MGM used Ball in a variety of films, but it was her work with funny man Red Skelton in the 1942 film DuBarry Was a Lady that brought Ball's physical comedy into the forefront, earning her the reputation as "that crazy redhead"^{[says who?]}. Nonetheless, Ball's striking beauty was in sharp contrast to physical antics she did in her films; thus, MGM tried to use her in an array of different film genres that did little to highlight her skills. Being difficult to cast, MGM chose not to renew her contract when it expired in 1946.

Ball began working as a free-lancer in films and began to explore other venues. Before and during World War II, Lucy had made several notable and successful guest appearances on several radio programs; among them Jack Haley's radio show and bandleader Kay Kaiser's radio program. These appearances brought Lucy to the attention of CBS, which in 1948 enlisted Ball to star in one of two new half-hour situational comedies in development, Our Miss Brooks and My Favorite Husband. Choosing the latter, Lucy portrayed Liz Cugat (later anglicized to Cooper), the frustrated and scheming housewife of a Minneapolis banker, played originally by actor Lee Bowman in the series pilot, and later by actor Richard Denning. Based on the novel Mr. and Mrs. Cugat by Isabel Scott Rorick, My Favorite Husband was produced by Jess Oppenheimer, written by Oppenheimer, plus scribes Madelyn Pugh and Bob Carroll, Jr.. Premiering on July 23, 1948 and sponsored by General Foods, Husband became a hit for CBS. During the run of the radio program Lucy appeared in two feature films with Bob Hope, Sorrowful Jones in 1949, and Fancy Pants in 1950. Both films were box office and critical successes, further cementing Ball's reputation as a top notch first-rate comedienne. They also showed her continuing popularity with audiences, enticing CBS to further use her skills.

In 1950, CBS asked Ball to take My Favorite Husband to television with co-star Richard Denning. She, however, saw a television show as a great opportunity to work with Desi as it would keep them both in Hollywood, and perhaps save their shaky marriage. Lucy insisted that Desi play her husband, much to the dismay of CBS. which was reluctant because Arnaz was Cuban. Network executives believed that audiences would not believe the marriage between an all-American girl and a Latin man. To prove CBS wrong, the couple developed a vaudeville act, written by Caroll and Pugh, that they took on the road with Arnaz's orchestra. The act was a hit and convinced CBS executive Harry Ackerman that a Ball-Arnaz pairing would be a worthwhile venture. At the same time, rival networks NBC, ABC, and DuMont were showing interest in a Ball-Arnaz series, which Ackerman used to convince CBS to sign the duo. A pilot was ordered and kinescoped in Hollywood in March 1951, which coincided with Lucy's first pregnancy, and the ending of Husband, which aired its last radio show on March 31, 1951. Ball and Arnaz used the same radio team of Oppenheimer, Pugh, and Carroll to create the television series that was named I Love Lucy. After showing the pilot to several advertising agencies, at first with not much luck, CBS was able to sell the series to the Milton Biow agency, which was able to convince one of their clients, cigarette giant Philip Morris, to sponsor the show.

Production

During the spring and summer of 1951, I Love Lucy moved into production. Oppenheimer, Pugh, and Davis began fine-tuning the premise of the show and writing the series' first scripts. The trio had the good graces of having a backlog of storylines from My Favorite Husband to adapt for use on television. In addition, the series' ensemble cast and crew were assembled. Desi Arnaz retained his orchestra, which was used in the series musical numbers and to score the show's background and transitional music. Arnaz's childhood friend Marco Rizo arranged the music and played the piano for the show, while Wilbur Hatch was used to conduct the orchestra. Two problems arose, however, after Philip Morris signed on to sponsor the show, that would ultimately change the fate of I Love Lucy.

With John Wayne in an episode.

Lucy and Desi had originally decided that the series would air on a biweekly basis much like The George Burns and Gracie Allen Show. Philip Morris, however, was insistent that the show air weekly, thus diminishing the possibility of Lucy continuing her film career alongside a television show. Another problem lay in the fact that Philip Morris wanted the series to originate from New York rather than Hollywood. At the time, most television shows were produced from New York with live broadcasts of the show airing for eastern and Midwest audiences. West coast viewers were only able to view live programs through low-quality kinescopes, which derived their images by using a 35 mm or 16 mm film camera to record the show off a closed-circuit television monitor. As videotape had not yet been developed, (and would not be until the mid-fifties), kinescopes were the only practical, and affordable, means to allow a live show to reach television markets on the west coast. Complicating matters was that kinescopes were not available for immediate re-broadcast as in 1951 no coast-to-coast cable system was yet in service. Shows had to be sent to Hollywood, which delayed their airings for west coast audiences by nearly a week. The process operated in the reverse for the few programs that originated live in Hollywood, such as Burns and Allen and The Ed Wynn Show, thus making blurry kinescopes of these shows the only available print for eastern audiences. Most sponsors, including Philip Morris, found this to be undesirable as most of the television audience lived east of the Mississippi at the time. Owing to the impending birth of their first child, both Lucy and Desi insisted on staying in Hollywood and producing the show on film, something a few Hollywood-based series had begun doing. Both CBS and Philip Morris initially balked at the idea, because of the higher cost that filming the show would incur, yet acquiesced only after the pair offered to take a one-thousand-dollar a week pay cut in order to cover the additional expense. In exchange, Lucy and Desi demanded, and were given, the majority ownership in the I Love Lucy films. Putting the show on film, however, would require that Lucy and Desi become responsible for producing the series themselves. Union agreements at the time stipulated that any production filmed in a studio use film studio employees. CBS staff were television and radio employees and thus fell under different union agreements. Thus, Arnaz reorganized the company he created to manage his orchestra bookings and used it as the corporation that would produce the I Love Lucy shows. Named after their ranch in Chatsworth, California, the company was named Desilu.

Though some television series were already being filmed in Hollywood, most used the single-camera format familiar from movies, with a laugh track added to comedies to simulate audience response. Arnaz and Jess Oppenheimer decided, however, that Lucy needed to work in front of an audience to create the kind of comic energy she had displayed on radio. The idea of a film studio that could accommodate an audience was a new one for the time, as fire laws made it difficult to allow an audience in a studio. Arnaz and Oppenheimer were lucky enough to find the financially struggling General Service Studios located on Las Palmas Avenue in Hollywood. Studio owner Jimmy Nasser was eager to accommodate the Desilu company and allowed them, with financial backing of CBS, to renovate two of his studios so that they could accommodate an audience and be in compliance with local fire laws.

Cinematographer Karl Freund in 1915

Another component to filming the show came when it was decided to use three 35 mm film cameras to simultaneously film the show. The idea had been pioneered by Ralph Edwards on the game show Truth or Consequences, and had subsequently been used on Amos 'n' Andy as a way to save money, though Amos n' Andy did not use an audience. Edwards's assistant Al Simon was hired by Desilu to help perfect the new technique for the series. The process lent itself to the Lucy production as it eliminated the problem of requiring an audience to view and react to a scene three or four times in order for all necessary shots to be filmed. Multiple cameras would also allow scenes to be performed in sequence, as a play would be, which was unusual at the time for filmed series. Retakes were rare and dialogue mistakes were often played off for the sake of continuity. Lucy and Desi enlisted the services of Karl Freund, an Academy Award-winning cinematographer of such films as Metropolis (1927), Dracula (1931), and The Good Earth (1937), as well as director of The Mummy (1932), to be the series cinematographer. Although at first Freund did not want anything to do with television, it was the personal plea of both Lucy and Desi that convinced Freund to take the job. Freund was instrumental in developing a way to uniformly light the set so that each of the three cameras would pick up the same quality of image.

As mentioned, audience reactions were live, thus creating a far more authentic laugh than the "canned laughter" used on most filmed sitcoms of the time. Regular audience members were sometimes heard from episode to episode, and Arnaz's distinctive laugh could be heard in the background during scenes in which he did not perform.

I Love Lucy's pioneering use of three cameras led to it becoming the standard technique for the production of most sitcoms filmed in front of an audience, though single-camera remained the technique of choice for sitcoms that did not use audiences. The process resulted in a much sharper quality of show in contrast to blurry kinescopes. This led to an unexpected benefit for Desilu during the series's second season when it was discovered that Lucy was pregnant. Not being able to fulfill the show's 39-episode commitment, both Desi and Jess Oppenheimer decided to rebroadcast popular episodes of the series's first season to help give Lucy the necessary rest she needed after she gave birth, effectively allowing fewer episodes to be filmed that season. Unexpectedly the rebroadcasts proved to be ratings winners, effectively giving birth to the rerun, which would later lead to the profitable development of the rerun syndication market.

Desilu Productions, jointly owned by Ball and Arnaz, would gradually expand to produce and lease studio space for many other shows. For seasons 1 and 2 (1951–1953), Desilu rented space and filmed I Love Lucy at General Service Studios, which eventually became known as Hollywood Center Studios. In 1953, it leased the Motion Picture Center at 846 Cahuenga Blvd. in Hollywood, and renamed it Desilu Studios to shoot seasons 3–6 (1953–1957) of I Love Lucy. After 1956, it became known as Desilu-Cahuenga Studios to avoid confusion with other acquired Desilu locations. In an effort to keep up with the studio's growth, and need for additional sound stages, Desi and Lucy purchased RKO Radio Pictures from General Tire in 1957 for over six million dollars, effectively owning the studio where they had started as contract players. Desilu acquired RKO's two studios located on Gower Street in Hollywood, and in Culver City, along with the Culver City back lot nicknamed "Forty Acres". The sale was achieved by the duo selling their ownership of the once thought worthless I Love Lucy films back to CBS for over four million dollars. In 1962, two years after their marriage dissolved, Lucy bought out Desi's shares of Desilu, becoming the studio's sole owner. She eventually sold off Desilu in 1968 to Gulf and Western, owners of Paramount Studios. After the sale, Desilu-Cahuenga became a private production company and is now known as Ren-Mar Studios. The RKO-Desilu Studio on Gower Street is now owned by Paramount while the Culver City studio has become the independently owned Culver Studios. The "Forty Acres" backlot was sold off by Gulf and Western in 1976 and redeveloped in the 1980s into an industrial tract.^[5]

The Mertzes[link]

As with My Favorite Husband, Lucy writers decided that the Ricardos needed an older couple to play off of. While doing Husband, veteran character actors Gale Gordon and Bea Benaderet had played Rudolph and Iris Atterbury, an older, more financially stable couple as Mr. Atterbury was George Cooper's (Lucy's radio husband's) boss. Ball had initially wanted both actors to reprise their roles on television, however, both were unavailable at the time the show went into production as Benaderet was already playing Blanche Morton on Burns and Allen, and Gordon was under contract by CBS to play Mr. Conklin on the radio and television versions of Our Miss Brooks.

William Frawley in 1951

Casting the Mertzes, as they were now called (the surname taken from a doctor Lucy scribe Madelyn Pugh knew as a child in Indianapolis), proved to be a challenge. Ball had initially wanted character actor James Gleason, with whom she appeared in Columbia Pictures 1949 movie Miss Grant Takes Richmond, to play Fred Mertz. However, Gleason wanted nearly $3,500 per episode to play the role, a price that was far too steep. Sixty-four-year-old Bill Frawley, a seasoned vaudevillian and movie character actor with nearly 100 film credits to his name, was a long shot to play Fred Mertz and only came into consideration after he telephoned Ball personally to ask if there was a role for him on her new show. Ball, who had only briefly known Frawley from her days at RKO, suggested him to both Arnaz and CBS. CBS balked at the idea of Frawley, fearing that his excessive drinking — which was well known in Hollywood — would interfere with his doing a live show. Arnaz nonetheless liked Frawley and lobbied hard for him to have the role, even to the point of having Lucy scribes re-tailor the role of Fred Mertz to be a less financially successful and more curmudgeonly (in contrast to Gale Gordon's Mr. Atterbury) character to fit Frawley's persona. CBS relented only after Arnaz contractually bound Frawley to complete sobriety during the production of the show, and reportedly told the veteran actor that if he ever appeared on-set more than once in an intoxicated state he would be fired. Not once during Lucy's nine seasons did Frawley's drinking ever interfere with his performance, and over time Arnaz became one of Frawley's few close friends.

Vivian Vance in 1948

Casting the Ethel Mertz character was also some work. One choice was actress Barbara Pepper, who was a close friend of Lucy's. The two had a long history together, as Pepper had been of the Goldwyn Girls who came to Hollywood with Lucy in 1933. Pepper was favored by Lucy herself, however, CBS refused on the grounds that Pepper suffered from a drinking problem that was far more severe than Frawley's. Nonetheless Pepper did appear in several bit parts during the run of the show. Vivian Vance became a consideration on the recommendation of Lucy director Marc Daniels. Daniels had worked with Vance in New York on Broadway in the early 1940s. Vance had already been a successful stage star performing on Broadway for nearly 20 years in variety of plays and in addition, after relocating to Hollywood in the late 1940s, had two film roles to her credit. Nonetheless, by 1951, she was still a relatively unknown actress in Hollywood. Vance was performing in a revival of the play The Voice of the Turtle in La Jolla, California. Arnaz and Jess Oppenheimer went to see her in the play and hired her on the spot. Vance was reluctant about giving up her film and stage work for a television show, yet was convinced by Daniels that it would be a big break in her career. Ball, however, had many misgivings about hiring Vance, who was around the same age as she, and far more attractive than the concept of Ethel as an older, somewhat homely woman. Ball was also a believer in the Hollywood adage at the time that there should be only one pretty woman on the set and Ball, being the star of the show, was it. Arnaz, however, was impressed by Vance's work and hired her. The decision was then made to dress Vance in frumpier clothing to tone down her attractiveness. Ball and Vance's relationship during the series' early beginnings were lukewarm to say the most. When Ball found out that Vance objected to the use of the word "crazy" in the show for comical purposes, as Vance felt it was inappropriate, Ball began to use the word more during tapings, even saying it during times when it was not written in the script. Eventually realizing that Vance was no threat and was very professional, Ball began to warm to her. In 1954, Vance would become the first actress to win an Emmy Award for Outstanding Supporting Actress. Vance and Ball would develop a lifelong close friendship. Ball would go on to ask Vance to co-star in Ball's new series The Lucy Show after the end of I Love Lucy.

Vance and Frawley's off-screen relationship was less successful. In spite of this, they were always professional and exhibited exceptional chemistry while performing on the show. In fact, their acrimonious personal relationship may have helped their onscreen marriage be that much funnier. Frawley derisively described Vance's appearance as "a sack of shit."^[6] It was reported that Vance, who was 23 years younger than Frawley, was not really keen on the idea that her character Ethel was married to a man that was old enough to be her father. Vance also complained Frawley's song-and-dance skills were not what they once were. Frawley and Vance would have an adversarial relationship during the entire run of the show.^[5]

In 1957, I Love Lucy was re-tailored into an hour-long show originally titled The Lucille Ball-Desi Arnaz Show that was to be part of an anthology series called the Westinghouse Desilu Playhouse. The hour-long Lucy-Desi show was to alternate on a monthly basis with other hour long Playhouse shows. The new series put a much heavier emphasis on big name guest stars as being part of the plot and although the Mertz characters continued into the new series, their roles became somewhat diminished. Although a lighter workload was welcomed by Frawley, Vance came to somewhat resent the change. In an effort to please Vance, whom he had much respect for, Arnaz proposed doing a spin-off from I Love Lucy called The Mertzes to star Vivian Vance and William Frawley. Seeing a lucrative opportunity and the chance to star in his own show, Frawley was enthused. Vance, however, declined for a number of reasons, the biggest factor being that she felt she and Frawley could barely work together on the ensemble show they were doing at the time, so it would be much less likely the two could work together on their own series. Vance also felt that the Mertz characters would not be as successful without the Ricardos to play off of, and despite being her biggest success, she was becoming interested in doing more glamorous roles instead of playing Ethel. In fact, during the thirteen episode run of the Lucy-Desi hour-long shows, Vance was given a lot more latitude to look more attractive as Ethel Mertz, something she had been denied during the run of the I Love Lucy episodes. Frawley's resentment of Vance intensified after she declined to do the spin-off show and the two rarely talked to each other outside of their characters dialogue with one another.

Years later, when Vance was on The Lucy Show and Frawley was on My Three Sons, Frawley would often bribe the eponymous sons to play practical jokes on Vance when she was rehearsing, as the two shows filmed on neighboring soundstages. It was recalled that, in 1966, when she learned of Frawley's death, Vance shouted, "Champagne for everyone!" ^[5]

Pregnancy and Little Ricky[link]

Just before filming the show, Lucy and Desi learned that Lucy was once again pregnant (after multiple miscarriages earlier in their marriage) with their first child, Lucie Arnaz. They actually filmed the original pilot while Lucy was "showing", but did not include any references to the pregnancy in the episode. This was because CBS thought that talk of pregnancy might be in bad taste and because an ad agency told Desi not to show a pregnant woman.^[7]

Later, during the second season, Lucy was pregnant again with second child Desi Arnaz, Jr., and this time the pregnancy was incorporated into the series' storyline. Despite popular belief, Lucy's pregnancy was not television's first on-screen pregnancy. That distinction belongs to Mary Kay on the late 1940s sitcom Mary Kay and Johnny.

Superman episode

CBS would not allow I Love Lucy to use the word "pregnant", so "expecting" was used instead.^[8] The episode "Lucy Is Enceinte" first aired on December 8, 1952 ("enceinte" being French for "expecting" or "pregnant"). One week later, on December 15, 1952, the episode titled "Pregnant Women Are Unpredictable" was aired (although the show never displayed episode titles on the air). The episode in which Lucy gives birth, "Lucy Goes to the Hospital", first aired on January 19, 1953. To increase the publicity of this episode, the original air date was chosen to coincide with Lucille Ball's real-life delivery of Desi, Jr. by Caesarean section.^[4] "Lucy Goes to the Hospital" was watched by more people than any other television program up to that time, with 71.7% of all American television sets tuned in, topping the 67.7 rating for Dwight Eisenhower's inauguration coverage the following morning.

Unlike some programs that advance the age of a newborn over a short period of time, I Love Lucy allowed the Little Ricky character to grow up in real time. America saw Little Ricky as an infant in the 1952–53 season, a toddler from 1953 to 1956, and finally a young school-age boy from 1956 to 1960. However, five actors played the role, two sets of twins and later Keith Thibodeaux. (In the Superman episode, Little Ricky is mentioned as 5 years old but it had only been 4 years since the birth-of-Little-Ricky episode.)

Jess Oppenheimer stated in his autobiography that deciding the sex of the Ricardo child was initially problematic. Lucy scribes initially wanted the Ricardos to have a boy, feeling that a boy would allow for more comical plot lines. Still unconvinced, Oppenheimer asked Desi what he wanted: Desi replied that he wanted a boy because this might be his only chance to have a son with Lucy. From then on, no matter what the sex of Lucille Ball's real baby was, Lucy Ricardo would have a boy.

Opening[link]

The opening familiar to most viewers, featuring the credits superimposed over a "heart on satin" image, was created specifically for the 1959–67 CBS daytime network rebroadcasts, and subsequent syndication. As originally broadcast, the episodes opened with animated matchstick figures of Arnaz and Ball making reference to whoever the particular episode's sponsor was. These sequences were created by the animation team of Bill Hanna and Joe Barbera, who declined screen credit because they were technically under exclusive contract to MGM at the time.

The original sponsor was cigarette maker Philip Morris, so the program opened with a cartoon of Lucy and Ricky climbing down a pack of Philip Morris cigarettes. In the early episodes, Lucy and Ricky, as well as Ethel and Fred on occasion, were shown smoking Philip Morris cigarettes. Lucy even went so far as to parody Johnny Roventini's image as the Philip Morris "bellhop" in the May 5, 1952, episode, "Lucy Does a TV Commercial". Since the original sponsor references were no longer appropriate when the shows went into syndication, a new opening was needed, which resulted in the classic "heart on satin" opening. Other sponsors, whose products appeared during the original openings, were Procter & Gamble for Cheer and Lilt Home Permanent (1954–57), General Foods for Sanka (1955–57), Ford Motor Company (1957–58), and Westinghouse company (1958–60).

The original openings, with the sponsor names edited out, were revived on TV Land showings, with a TV Land logo superimposed to obscure the original sponsor's logo. However, this has led some people to believe that the restored introduction was created specifically for TV Land as an example of kitsch.

The animated openings, along with the middle commercial introductory animations, are included, fully restored, in the DVDs.

Show merchandise[link]

Ball and Arnaz authorized various types of I Love Lucy merchandise. Beginning in November 1952, I Love Lucy dolls were sold. Adult-size I Love Lucy pajamas and a bedroom set were also produced; all of these items appeared on the show.

Radio[link]

There was some thought about creating an I Love Lucy radio show to run in conjuncture with the television series as was being done at the time with the CBS hit show Our Miss Brooks. On February 27, 1952, a sample I Love Lucy radio show was produced, but it never aired. This was a pilot episode, created by editing the soundtrack of the television episode "Breaking the Lease", with added Arnaz narration. It included commercials for Philip Morris, which sponsored the television series. While it never aired on radio at the time in the 1950s (Philip Morris eventually sponsored a radio edition of My Little Margie instead), copies of this radio pilot episode have been circulating among "old time radio" collectors for years, and this radio pilot episode has aired in more recent decades on numerous local radio stations that air some "old time radio" programming.

Comic book and comic strip[link]

Dell Comics published 35 issues of an I Love Lucy comic book between 1954 and 1962 including two try-out Four Color issues (#535 and #559).^[9] King Features syndicated a comic strip (credited to "Bob Lawrence" but actually written by Lawrence Nadel and drawn by Bob Oksner) from 1952 to 1955.^[10][11] Eternity Comics in the early 1990s issued comic books that reprinted the strip and Dell comic book series.

Episodes[link]

Most episodes take place in the Ricardos' modest brownstone apartment at 623 East 68th Street (40°45′51″N 73°57′17″W / 40.764226°N 73.954747°W / 40.764226; -73.954747) or at the downtown "Tropicana" nightclub where Ricky is employed, though other parts of the city are sometimes used. Later episodes take the Ricardos and the Mertzes to Hollywood for Ricky to shoot a movie, and to Europe, when Ricky and his band tour the continent. There is also a trip to Miami Beach for the two couples, with a side trip to Ricky's homeland of Cuba. Eventually, like millions of other Americans in the late 1950s, the friends move to the suburbs, in this case, to Westport, Connecticut.

Some especially memorable episodes:

• "Lucy Does a TV Commercial": Lucy is hired to act as the "Vitameatavegamin girl" in a television commercial, to promote a health tonic that contains healthy amounts of vitamins, meat, vegetables, minerals — and a less-than-healthy dose of 23% alcohol. Lucy becomes progressively drunker throughout rehearsal, but gamely keeps on pitching the product, eventually leading to a completely flubbed live performance for "this stuff." In October 2005, fans voted this episode as their favorite, during a 60th anniversary I Love Lucy television special. TV Guide and Nick at Nite ranked it the second greatest television episode of all time, after the Mary Tyler Moore Show episode "Chuckles Bites the Dust". (original air date May 5, 1952)
• "Job Switching": Lucy and Ethel get jobs packaging candy that is delivered on a conveyor belt. The work seems easy enough when they are shown what to do by their supervisor, but then the pace picks up and the women soon fall further and further behind. In desperation, they resort to comical means to try to keep up. The skit, a variation of an old vaudeville routine, has been parodied numerous times. (original air date Sept 15, 1952)
• "Lucy and Superman": Lucy tries to get George Reeves, star of the 1950s Adventures of Superman television series, to appear at little Ricky's birthday party. When she fails, she dresses up as Superman herself, only to have Reeves turn up in costume at the last minute and rescue her after she traps herself on the ledge of her apartment. As Superman brings Lucy back to the window of her apartment, Ricky is furious, and at one point yells, "...In all of the fifteen years we've been married..." Then Superman says, "You mean to tell me that you've been married to her for fifteen years?" Ricky answers, "Yeah, fifteen years." Superman replies, "And they call me superman!" Reeves stays in the character of Superman throughout the episode. (original air date Jan 14, 1957)
• "L.A. At Last!": Lucy, Fred, and Ethel have lunch at The Brown Derby, a restaurant frequented by Hollywood film stars. A nervous Lucy accidentally causes a waiter to heave a pie in William Holden's face. Later at the hotel, Ricky has a surprise for her. He has brought one of her favorite actors to meet her — none other than William Holden. Fearing that the actor will recognize her, she puts on a disguise that includes a putty nose, which catches on fire when she lights a cigarette. This episode was reportedly Lucille Ball's favorite episode. (original air date Feb 7, 1955)
• "Harpo Marx": While living in Hollywood, Lucy is visited by Carolyn Appleby, a friend who is under the impression that Lucy knows numerous celebrities. After Lucy and Ethel get Carolyn's glasses away from her, Lucy pretends to be various stars. Meanwhile, Ricky and Fred invite Harpo Marx to the Ricardos' apartment. When he shows up, Lucy is disguised as him; seeing the real Harpo, she hides in a kitchen doorway. Harpo is perplexed when he sees what he thinks is his reflection, forcing Lucy to mimic his every move to avoid detection. This was a tribute to Harpo and Groucho's famous mirror scene in the Marx Brothers comedy classic, Duck Soup.^[12] (original air date May 9, 1955)
• "Lucy's Italian Movie": In this episode, Lucy spontaneously decides to visit a local Italian winery. She is completely taken aback when she arrives at the winery, is mistaken for one of the workers—a wine stomper—and ends up in a gigantic grape vat where she has the fight of her life. She literally "gets some local color!" (original air date April 16, 1956)
• "Lucy Does the Tango": The Ricardos' and the Mertzes' chicken business is not doing very well. Lucy and Ethel come up with a scheme to fool the boys into thinking the hens are laying lots of eggs by smuggling some, hidden underneath their clothes, into the henhouse. On one such trip, Ricky insists that he and Lucy rehearse their tango number for a local benefit. Unbeknown to Ricky, Lucy's blouse is filled with chicken eggs. The climax of this scene provoked the longest laugh from a studio audience in television history.^{[citation needed]} (original air date Mar 11, 1957)
• "The Black Wig": Lucy thinks Ricky is not paying enough attention to her and might be tempted to see other women. Lucy's hairdresser, Eve McVeagh, fixes her up in an Italian style black wig. Lucy uses this opportunity to pretend to be someone else that can tempt Ricky. Ricky, of course, recognizes her in this poor attempt at a disguise but acts as if he believes she really is another woman and asks her on a date. The joke is on Lucy, and her plan does not work out the way she wants. (original air date April,19 1954)

Feature films[link]

Arnaz and Ball capitalized on the series' popularity by starring in Vincente Minnelli's 1954 film The Long, Long Trailer as Tracy and Nicky Collini, two characters very similar to Lucy and Ricky. Also during this time, Desilu produced a feature film version of the show in 1953, consisting of three first-season episodes edited together: "The Benefit", "Breaking the Lease" and "The Ballet". New scenes featuring the cast were filmed and put between the episodes to tie them into one cohesive story. MGM, however, demanded the I Love Lucy movie be shelved because they felt it would diminish interest in The Long, Long Trailer. Although I Love Lucy was never theatrically released and had been forgotten, it has since been found and has been released on the bonus disc in the Complete Series collection.

In 1956 Lucy and Desi starred in the feature film Forever, Darling with James Mason.

[edit] After Lucy and legacy

After the conclusion of the sixth season of I Love Lucy, Lucy and Desi decided to cut down on the number of episodes that were filmed. Instead, they extended I Love Lucy to 60 minutes, with a guest star each episode. They renamed the show The Lucille Ball-Desi Arnaz Show, also known as The Lucy-Desi Comedy Hour. Thirteen hour-long episodes aired from 1957 to 1960. The main cast, Lucille Ball, Desi Arnaz, Vivian Vance, William Frawley and Keith Thibodeaux were all in the show. The Lucy-Desi Comedy Hour is available on DVD, released as I Love Lucy: The Final Seasons 7, 8, & 9. On March 2, Desi's birthday, 1960, the day after the last hour-long episode was filmed, Lucille Ball filed for divorce from Desi Arnaz. It made that playful, yet passionate kiss at the end of the final episode, which aired April 1, "Lucy Meets the Moustache", all the more poignant, as the world already knew that this storied Hollywood marriage was all but over, and also lent extra meaning to the use of the song "That's All" in that episode.

As mentioned Vance and Frawley were offered a chance to take their characters to their own spin-off series. Frawley was willing, but Vance refused to ever work with Frawley again since the two did not get along. Frawley did appear once more with Lucille Ball — in an episode of The Lucy Show in 1965, which did not include Vance (who by then had ceased to be a regular on that show). However, this was his last screen appearance with his longtime friend. He died in Hollywood on March 3, 1966 of a heart attack at age 79.

In 1962, Ball began a six-year run with The Lucy Show, followed immediately in 1968 by six more years on yet another sitcom, Here's Lucy, finally ending her long run as a CBS sitcom star in 1974. Both The Lucy Show and Here's Lucy are notable for having Vance as recurring characters named Viv (Vivian Bagley Bunson on The Lucy Show and Vivian Jones on Here's Lucy), so named because she was tired of being recognized on the street and addressed as Ethel. Vance was a regular during the first three seasons of The Lucy Show but continued to make guest appearances through the years on The Lucy Show, and on Here's Lucy. In 1977, Vance and Ball were reunited one last time in the CBS special, Lucy Calls the President,^[13] which co-starred Gale Gordon.

In 1986, Ball tried another sitcom, Life with Lucy. The series aired on ABC for eight episodes before being canceled owing to low ratings. However, the show debuted to very high ratings, landing in Nielsen's Top 20 for that week.

I Love Lucy has remained perennially popular. For instance, it was one of the first programs made in the USA seen on British television, which became more open to commerce with the launch of ITV, a commercial network that aired the series, in September 1955. As of July 2007, it remains the longest-running program to air continuously in the Los Angeles area, almost 50 years after production ended. However, the series is currently aired on KTTV on weekends and now KCOP on weekdays because both stations are a duopoly, of which KTTV had given up the CBS affiliation several months before I Love Lucy premiered.^{[citation needed]} In the US, reruns have aired nationally on TBS (1980s–1990s), Nick at Nite (1994–2001) and TV Land (2001–2008) in addition to local channels. TV Land ended its run of the series by giving viewers the opportunity to vote on the show's top 25 greatest episodes of all-time on December 31, 2008 on the network's website. This is particularly notable because, unlike some shows to which a cable channel is given exclusive rights to maximize ratings, Lucy has been consistently—and successfully—broadcast on multiple channels simultaneously. Hallmark Channel is now the home for I Love Lucy in the United States, having moved to the network on January 2, 2009, while the national version of Weigel Broadcasting's Me-TV digital subchannel network has carried the program since its debut in December 15, 2010, depending on the market (in markets where another station holds the rights, The Lucy Show is substituted). The show is seen on Fox Classics in Australia.

The Lucille Ball-Desi Arnaz Center in Jamestown, New York is a museum memorializing Lucy and I Love Lucy, including replicas of the NYC apartment set (located in the Desilu Playhouse facility in the Rapaport Center).^[14]

"Weird Al" Yankovic's debut album features a song called "Ricky" (a parody of Toni Basil's "Mickey"), detailing the plot of I Love Lucy.

An episode of That '70s Show has a segment with Donna and Fez as Lucy and Ricky, and Red and Kitty as Fred and Ethel.

Theme song[link]

The title music was written as an instrumental. Lyrics, sung by Desi Arnaz, were written for the episode "Lucy's Last Birthday":^[15]

I love Lucy and she loves me.
We're as happy as two can be.
Sometimes we quarrel but then, ha-ha-ha...
How we love making up again.

Lucy kisses like no one can.
She's my missus and I'm her man,
And life is heaven you see,
'Cause I love Lucy, Yes I love Lucy, and Lucy loves me!

The song was covered by Michael Franks on the 1993 album Dragonfly Summer. In the 1970s, the Wilton Place Street Band had a top-40 hit with a disco version of the theme, Disco Lucy.

Broadcast History[link]

I Love Lucy aired Monday at 9:00-9:30 PM on CBS its entire run.

Nielsen ratings[link]

I Love Lucy ranked highly in the Nielsen ratings throughout its entire run.

NOTE: The highest average rating for the series is in bold text.

The episode "Lucy Goes to the Hospital" first aired on Monday, January 19, 1953. It garnered a record 71.7 rating, meaning 71.7% of all television households at the time were tuned in to view the program. To this day, that record is surpassed only by Elvis Presley's appearance on The Ed Sullivan Show in 1956 (82.6% rating). I Love Lucy does, however, have the highest average rating for a TV show for any season.

Primetime Emmy Awards and Nominations[link]

1952

• Best Comedy Show - Nominated (Winner: The Red Skelton Hour)

1953

• Best Situation Comedy - Won
• Best Comedienne: Lucille Ball - Won

1954

• Best Female Star of a Regular Series: Lucille Ball - Nominated (Winner: Eve Arden for Our Miss Brooks)
• Best Series Supporting Actor: William Frawley - Nominated (Winner: Art Carney for The Jackie Gleason Show)
• Best Series Supporting Actress: Vivian Vance - Won
• Best Situation Comedy - Won

1955

• Best Actress Starring in a Regular Series: Lucille Ball - Nominated (Winner: Loretta Young for The Loretta Young Show)
• Best Situation Comedy Series - Nominated (Winner: The Danny Thomas Show)
• Best Supporting Actor in a Regular Series: William Frawley - Nominated (Winner: Art Carney for The Jackie Gleason Show)
• Best Supporting Actress in a Regular Series: Vivian Vance - Nominated (Winner: Audrey Meadows for The Jackie Gleason Show)
• Best Written Comedy Material: Jess Oppenheimer, Bob Carroll, Jr. and Madelyn Davis - Nominated (Winners: James B. Allardice, Jack Douglas, Hal Kanter and Harry Winkler for The George Gobel Show)

1956

• Best Actor in a Supporting Role: William Frawley - Nominated (Winner: Art Carney for The Honeymooners)
• Best Actress - Continuing Performance: Lucille Ball - Won
• Best Comedy Writing: Jess Oppenheimer, Madelyn Davis, Bob Carroll, Jr., Bob Schiller and Bob Weiskopf for "L.A. at Last" - Nominated (Winners: Nat Hiken, Barry E. Blitzer, Arnold M. Auerbach, Harvey Orkin, Vin Bogert, Arnie Rosen, Coleman Jacoby, Tony Webster and Terry Ryan for The Phil Silvers Show: "You'll Never Get Rich")

1957

• Best Continuing Performance by a Comedienne in a Series: Lucille Ball - Nominated (Winner: Nanette Fabray for Caesar's Hour)
• Best Supporting Performance by an Actor: William Frawley - Nominated (Winner: Carl Reiner for Caesar's Hour)
• Best Supporting Performance by an Actress: Vivian Vance - Nominated (Winner: Pat Carroll for Caesar's Hour)

1958

• Best Continuing Performance (Female) in a Series by a Comedienne, Singer, Hostess, Dancer, M.C., Announcer, Narrator, Panelist, or any Person who Essentially Plays Herself: Lucille Ball - Nominated (Winner: Dinah Shore for The Dinah Shore Show)
• Best Continuing Supporting Performance by an Actor in a Dramatic or Comedy Series: William Frawley - Nominated (Winner: Carl Reiner for Caesar's Hour)
• Best Continuing Supporting Performance by an Actress in a Dramatic or Comedy Series: Vivian Vance - Nominated (Winner: Ann B. Davis for The Bob Cummings Show)

Honors[link]

• In 1997, the episodes "Lucy Does a TV Commercial" and "Lucy's Italian Movie" were respectively ranked #2 and #18 on their list of the 100 Greatest Episodes of All Time.^[16]
• In 1999, Entertainment Weekly ranked the birth of Little Ricky as the fifth greatest moment in television history.^[17]
• In 2002, TV Guide ranked I Love Lucy #2 on its list of the 50 greatest shows, behind Seinfeld and ahead of The Honeymooners^[1] (According to TV Guide columnist Matt Roush, there was a "passionate" internal debate about whether I Love Lucy should have been first instead of Seinfeld. He stated that this was the main source of controversy in putting together the list.^[18])
• In 2007, Time magazine placed the show on its unranked list of the 100 best television shows.^[2]

DVD releases[link]

Beginning in the Summer of 2001, Columbia House Television began releasing I Love Lucy on DVD in chronological order. They began that summer with the pilot and the first three episodes on a single DVD. Every six weeks, another volume of four episodes would be released on DVD in chronological order. During the summer of 2002, each DVD would contain between five and seven episodes on a single DVD. They continued to release the series very slowly and would not even begin to release any season 2 episodes until the middle of 2002. By the spring of 2003, the third season on DVD began to be released with about six episodes released every six weeks to mail order subscribers. All these DVDs have the same identical features as the DVDs eventually released in the season box sets in retail.

By the fall of 2003, season four episodes began to be offered by mail. By the spring of 2004 season five DVDs with about six episodes each began to be released gradually. Columbia House ended the distribution of these mail order DVDs in the Winter of 2005. They began releasing complete season sets in the Summer of 2004 every few months. They stated that Columbia House Subscribers would get these episodes through mail before releasing any box sets with the same episodes. They finally ended gradual subscriptions in 2005, several months before season 5 became available in retail. Columbia House then began to make season box sets available instead of these single volumes.

CBS DVD (distributed by Paramount) has released all six seasons of I Love Lucy on DVD in Region 1, as well as all 13 episodes of The Lucy and Desi Comedy Hour (as I Love Lucy: The Final Seasons – 7, 8, & 9). Bonus features include rare on-set color footage and the "Desilu/Westinghouse" promotional film, as well as deleted scenes, original openings and interstitials (before they were altered or replaced for syndication) and on-air flubs. These DVDs offered identical features and identical content to the mail order single sets formerly available until 2005.

Other releases[link]

• "I Love Lucy – Season 1" (9 separate discs labeled "Volumes", first volume released July 2, 2002, final volume released September 23, 2003)
• "I Love Lucy – Season 1" (9 Volumes in box set, released September 23, 2003)
• "I Love Lucy – 50th Anniversary Special" (1 disc, released October 1, 2002)
• "I Love Lucy: The Movie and Other Great Rarities" (1 disc, released April 27, 2010) ^[19] (Also included as a bonus disc in the complete series set.)
• "The Best of I Love Lucy" (2 discs: 14 episodes, released in June 2011 in conjunction with the 60th anniversary of the series and Lucille Ball's 100th birthday; sold exclusively through Target.)^[20]

The DVD releases feature the syndicated heart opening, and offer the original broadcast openings as bonus features. Season 6 allows viewers to choose whether to watch the episodes with the original opening or the syndicated opening. The TV Land openings are not on these DVDs.

Initially, the first season was offered in volumes, with four episodes per disc. After the success of releasing seasons 2, 3, and 4 in slimpacks, the first season was re-released as a seven disc set, requiring new discs to be mastered and printed to include more episodes per disc so there would be fewer discs in the set. The individual volume discs for the first season are still in print, but are rare for lack of shelf space and because the slimpacks are more popular.

Episodes feature English closed-captioning, but only Spanish subtitles.

In Australia, The first three season were finally released in Region 4 on August 3, 2010 by CBS, distributed by Paramount. Season 1 includes 'The Pilot and all 35 Season 1' episodes in a 7 disc set. Season 2 includes 'all 31 Season 2' episodes in a 5 disc set. Season 3 includes 'All 31 Season 3' episodes in a 5 disc set. Season 2 and 3 are in a slimline pack. All three seasons have been 'Magnificently Restored and Digitally Remastered'. All episodes appear in order of their original air dates and it states that some episodes may be edited from their original network versions. I Love Lucy still shows on television but there are no new shows.

See also[link]

Character actors favored by Lucille Ball who often played different supporting roles on I Love Lucy, The Lucy-Desi Comedy Hour, The Lucy Show and/or Here's Lucy:

Footnotes[link]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: I Love Lucy

Wikimedia Commons has media related to: I Love Lucy

• I Love Lucy at the Internet Movie Database
• I Love Lucy at AllRovi
• I Love Lucy's 50th Anniversary Special at the Internet Movie Database
• Encyclopedia of Television
• Archive of American Television Video Interview with I Love Lucy writers Madelyn Pugh Davis and Bob Carroll, Jr.
• Discussion of colorizing "Lucy Goes to Scotland" episode at tvshowsondvd.com, 9 Dec. 2007
• I Love Lucy at Hallmark Channel
• I Love Lucy at TVLand.com
• I Love Lucy Google doodle