All in the Family

From Wikipedia, the free encyclopedia - View original article

All in the Family
All in the family.jpg
FormatSitcom
Developed byNorman Lear (based on Till Death Us Do Part, created by Johnny Speight)
StarringCarroll O'Connor
Jean Stapleton
Rob Reiner
Sally Struthers
Danielle Brisebois
Theme music composerLee Adams
Charles Strouse
Opening theme"Those Were the Days"
Performed by Carroll O'Connor and Jean Stapleton
Ending theme"Remembering You"
by Roger Kellaway and Carroll O'Connor (instrumental version)
Country of originUnited States
No. of seasons9
No. of episodes208[1] (List of episodes)
Production
Location(s)CBS Television City
Hollywood, California (1971-1975)
Metromedia Square
Hollywood, California (1975-1979)
Running time22–24 minutes
Production company(s)Tandem Productions
DistributorViacom Enterprises (1976-1991)
Columbia Pictures Television (1991-1996)
Columbia TriStar Television (1996-2002)
Sony Pictures Television (2002-present)
Broadcast
Original channelCBS
Picture formatColor
Original runJanuary 12, 1971 (1971-01-12) – April 8, 1979 (1979-04-08)
Chronology
Followed byArchie Bunker's Place
704 Hauser
Related showsMaude
The Jeffersons
Gloria
 
  (Redirected from Justice For All (TV pilot))
Jump to: navigation, search
All in the Family
All in the family.jpg
FormatSitcom
Developed byNorman Lear (based on Till Death Us Do Part, created by Johnny Speight)
StarringCarroll O'Connor
Jean Stapleton
Rob Reiner
Sally Struthers
Danielle Brisebois
Theme music composerLee Adams
Charles Strouse
Opening theme"Those Were the Days"
Performed by Carroll O'Connor and Jean Stapleton
Ending theme"Remembering You"
by Roger Kellaway and Carroll O'Connor (instrumental version)
Country of originUnited States
No. of seasons9
No. of episodes208[1] (List of episodes)
Production
Location(s)CBS Television City
Hollywood, California (1971-1975)
Metromedia Square
Hollywood, California (1975-1979)
Running time22–24 minutes
Production company(s)Tandem Productions
DistributorViacom Enterprises (1976-1991)
Columbia Pictures Television (1991-1996)
Columbia TriStar Television (1996-2002)
Sony Pictures Television (2002-present)
Broadcast
Original channelCBS
Picture formatColor
Original runJanuary 12, 1971 (1971-01-12) – April 8, 1979 (1979-04-08)
Chronology
Followed byArchie Bunker's Place
704 Hauser
Related showsMaude
The Jeffersons
Gloria

All in the Family is an American sitcom that was originally broadcast on the CBS television network from January 12, 1971, to April 8, 1979. In September 1979, a new show, Archie Bunker's Place, picked up where All in the Family had ended. That sitcom lasted another four years, ending its run in 1983.

Produced by Norman Lear and Bud Yorkin, the original pilot was entitled Justice for All and was developed for ABC. Tom Bosley, Jack Warden and Jackie Gleason were all considered for the role of Archie Bunker. In fact, CBS wanted to buy the rights to the original British show Till Death Us Do Part and retool it specifically for Gleason, who was under contract to them, but producer Norman Lear beat out CBS for the rights and offered the show to ABC.

Carroll O'Connor and Jean Stapleton played Archie and Edith Justice. Kelly Jean Peters played Gloria and Tim McIntire played her husband, Richard. It was taped in October 1968 in New York City. After screening the first pilot, ABC gave the producers more money to shoot a second pilot entitled Those Were the Days, which was taped in February 1969 in Hollywood. Candice Azzara played Gloria and Chip Oliver played Richard. D'Urville Martin played Lionel Jefferson in both pilots. After ABC turned down the second pilot, CBS developed the third pilot, entitled All in the Family. This pilot had the final cast and was the series' first episode.

All in the Family revolved around the life of a working class bigot and his family. Despite being considerably softer in its approach than its BBC predecessor, the show broke ground in its depiction of issues previously considered unsuitable for U.S. network television comedy, such as racism, homosexuality, women's liberation, rape, miscarriage, abortion, breast cancer, the Vietnam War, menopause, and impotence. Through depicting these controversial issues, the series became arguably one of television's most influential comedic programs, as it injected the sitcom format with real-life conflicts.[2]

The show ranked number-one in the yearly Nielsen ratings from 1971 to 1976. It became the first television series to reach the milestone of having topped the Nielsen ratings for five consecutive years, a mark later matched by The Cosby Show and surpassed by American Idol, which notched eight consecutive seasons at #1. The episode "Sammy's Visit" was ranked #13 on TV Guide's 100 Greatest Episodes of All Time.[3] TV Guide's 50 Greatest TV Shows of All Time ranked All in the Family as #4. Bravo also named the show's protagonist, Archie Bunker, TV's greatest character of all time.[4] In 2013, the Writers Guild of America ranked All in the Family the fourth best written TV series ever[5] and TV Guide ranked it as the fourth greatest show of all time.[6]

Premise[edit]

The comedy revolves around Archie Bunker (Carroll O'Connor), a working-class World War II veteran living in Queens. He is an outspoken bigot, seemingly prejudiced against everyone who is not a U.S.-born, politically conservative, heterosexual White Anglo-Saxon Protestant male, and dismissive of anyone not in agreement with his view of the world. His ignorance and stubbornness seem to cause his malapropism-filled yet insightful arguments to self-destruct. He often responds to uncomfortable truths by blowing a raspberry. He longs for better times when people sharing his viewpoint were in charge, as evidenced by the nostalgic theme song "Those Were the Days," the show's original title. Despite his bigotry, he is portrayed as loveable and decent, as well as a man who is simply struggling to adapt to the changes in the world, rather than someone motivated by hateful racism or prejudice.

By contrast, Archie's wife, Edith (Jean Stapleton), is a sweet and understanding, if somewhat naïve, woman who usually defers to her husband. On the rare occasions when Edith takes a stand she proves to be one of the wisest characters, as evidenced in the episodes "The Battle of the Month" and "The Games Bunkers Play". Archie often tells her to "stifle" herself and calls her a "dingbat".[7] Despite their different personalities they love each other deeply.

They have one child, Gloria (Sally Struthers) who, for the most part, is kind and good natured, like her mother, but who also on occasion displays traces of her father's stubbornness; she becomes more of an outspoken feminist as the series progresses. Gloria is married to college student Michael Stivic (Rob Reiner). Michael is referred to as "Meathead" by Archie and "Mike" by nearly everyone else. Mike is a bit of a hippie, and his morality is informed by the counterculture of the 1960s. He and Archie represent the real-life clash between the so-called Greatest Generation and the Baby Boomers. They constantly clash over religious, political, social, and personal issues. For much of the series, the Stivics live in the Bunkers' home to save money, providing even more opportunity for the two men to irritate each other. When Mike finally finishes graduate school and the Stivics move out, it turns out to be to the house next door. The house was offered to them by George Jefferson, the Bunkers' former neighbor, who knows it will irritate Archie. In addition to calling him "Meathead", Archie also frequently cites Mike's Polish ancestry, referring to him as a "dumb Polack."

The show is set in the Astoria section of Queens, one of New York City's five boroughs, with the vast majority of scenes taking place in the Bunkers' home at 704 Hauser Street (and later, frequently, the Stivics' home). Occasional scenes take place in other locations, most often (especially during later seasons) Kelsey's Bar, a neighborhood tavern where Archie spends a good deal of time and which he eventually buys. The house seen in the opening is at 89-70 Cooper Avenue in the Glendale section of Queens.

Cast[edit]

Main characters[edit]

The Bunkers & the Stivics: standing, Gloria (Sally Struthers) and Michael (Rob Reiner); seated, Archie (Carroll O'Connor) and Edith (Jean Stapleton) with baby Joey.

Supporting characters[edit]

When Archie visits a local blood bank to make a donation, he meets his neighbor, Lionel Jefferson, who is there to do the same thing.

Recurring characters[edit]

Actors in multiple roles[edit]

A number of actors played multiple roles during the show's run:

Production[edit]

Lear bought the rights to Till Death Us Do Part and incorporated his own family experiences with his father into the show. Lear's father would tell Lear's mother to "stifle herself" and she would tell Lear's father "you are the laziest white man I ever saw" (two "Archieisms" that found their way onto the show). Three different pilots were shot for the series. Justice For All (1968) was shot in New York, and named in reference to Archie's family name (later changed to Bunker), while Those Were The Days (1969) was made in Hollywood (both pilots, however, had identical plotlines and similar scripts; both also began with the "Those Were the Days" theme song performed by O'Connor and Stapleton that would continue to be featured throughout the series proper. Different actors played the roles of Mike, Gloria, and Lionel in the first two.

After stations' and viewers' complaints caused ABC to cancel Turn-On after only one episode in February 1969, the network became uneasy about airing a show with a "foul-mouthed, bigoted lead" character, and rejected the series[13][14] at about the time Richard Dreyfuss sought the role of Michael. Rival network CBS was eager to update its image and was looking to replace much of its then popular "rural" programming (Mayberry R.F.D., The Beverly Hillbillies, Petticoat Junction, and Green Acres) with more "urban", contemporary series and was interested in Lear's project. They bought the rights from ABC and retitled the show All in the Family.

Lear initially wanted to shoot in black and white. While CBS insisted on color, Lear had the set furnished in rather neutral tones, keeping everything relatively devoid of color. As wardrobe designer Rita Riggs described in her 2001 Archive of American Television interview, Lear's idea was to create the feeling of sepia tones, in an attempt to make viewers feel as if they were looking at an old family album.

All in the Family was the first major American series to be videotaped in front of a live studio audience. In the 1960s, most sitcoms had been filmed in the single-camera format without audiences, with a laugh track simulating an audience response. Lear employed the multi-camera format of shooting in front of an audience, but used tape, whereas previous multi-camera shows like Mary Tyler Moore had used film. Thanks to the success of All in the Family, videotaping sitcoms in front of an audience became a common format for the genre during the 1970s. The use of videotape also gave All in the Family the look and feel of early live television, including the original live broadcasts of The Honeymooners, to which All in the Family is sometimes compared.

For the show's final season, the practice of being taped before a live audience changed to playing the already taped and edited show to an audience and recording their laughter to add to the original sound track. Thus, the voice-over during the end credits was changed from Rob Reiner's "All in the Family was recorded on tape before a live audience" to Carroll O'Connor's "All in the Family was played to a studio audience for live responses". (Typically, the audience would be gathered for a taping of One Day at a Time, and get to see All In the Family as a bonus.) Throughout its run, Norman Lear took pride in the fact that canned laughter was never used (mentioning this on many occasions); the laughter heard in the episodes was genuine.

Theme song[edit]

The series' opening theme song "Those Were the Days",[15] written by Lee Adams (lyrics) and Charles Strouse (music), was presented in a unique way for a 1970s series: Carroll O'Connor and Jean Stapleton seated at a console or spinet piano (played by Stapleton) and singing the tune on-camera at the start of every episode, concluding with live-audience applause. (The song dates back to the very first Justice for All pilot, although on that occasion O'Connor and Stapleton performed the song off-camera and at a faster tempo than the series version.) Several different performances were recorded over the run of the series, including one version that includes additional lyrics. The song is a simple, pentatonic melody (that can be played exclusively with black keys on a piano) in which Archie and Edith wax nostalgic for the simpler days of yesteryear. A longer version of the song was released as a single on Atlantic Records, reaching No. 30 on the Billboard Adult Contemporary chart early in 1972; the additional lyrics in this longer version lend the song a greater sense of sadness, and make poignant reference to social changes taking place in the 1960s and early 1970s. A few perceptible drifts can be observed when listening to each version chronologically: In the original version Jean Stapleton was wearing glasses and after the first time the lyric "Those Were The Days" was sung over the tonic (root chord of the song's key) the piano strikes a Dominant 7th chord in transition to the next part which is absent from subsequent versions. Jean Stapleton's screeching high note on the line "And you knew what you WEEERRE then" became louder, longer, and more comical, although it was only in the original version that audience laughter was heard in response to her rendition of the note; Carroll O'Connor's pronunciation of "welfare state" gained more of Archie's trademark enunciation and the closing lyrics (especially "Gee, our old LaSalle ran great.") were sung with increasingly deliberate articulation, as viewers had initially complained that they could not understand the words. Also in the original version the camera angle was shot slightly from the right side of the talent as opposed to the straight on angle of the next version.

In addition to O'Connor and Stapleton singing, footage is also shown beginning with aerial shots of Manhattan, and continuing to Queens, progressively zooming in more closely, culminating with a still shot of a lower middle-class semi-detached home, presumably representing the Bunkers' house in Astoria. The house shown in the opening credits, however, is actually located at 89–70 Cooper Avenue in the Glendale section of Queens. Vivian Yee, "Stifled by Time’s Passage, Fewer Fans Visit the Bunkers’ TV Home," New York Times (June 2, 2013), p. A16.</ref>[16] neighborhood of Queens, New York. There is a notable difference, however, between the Cooper Avenue house and the All in the Family set: there is no porch on the Cooper Avenue house, while the Bunkers' home featured a front porch. The footage for the opening had been shot back in 1968 for the series first pilot, thus the establishing shot of the Manhattan skyline was completely devoid of the World Trade Center towers which had not yet been built. When the series aired two years later, the Trade Center towers, although under construction, had still not yet risen high enough to become a prominent feature on the Manhattan skyline (this would not happen until the end of 1971). Despite this change in the Manhattan skyline the original 1968 footage would continue to be used for the series opening until the series transitioned into Archie Bunker's Place in 1979. At that point a new opening with current shots of the Manhattan skyline were used with the Trade Center towers being seen in the closing credits. This opening format – showing actual footage of the cities and neighborhoods in which the show was set – would become the standard for most of Norman Lear's sitcoms including Maude, Good Times, and The Jeffersons.

At the end of the opening the camera then returns to a few final seconds of O'Connor and Stapleton, as they finish the song. In one version of the opening, at the conclusion Archie hugs Edith at the end, while another version sees Edith smiling blissfully at Archie, while Archie puts a cigar in his mouth and returns a rather cynical look to Edith. Additionally in the first three versions of the opening Archie is seen wearing his classic trademark white shirt. In the last version of the opening done for the series' ninth season Archie is seen wearing a grey sweater jacket over his white shirt. The opening for the animated series Family Guy begins with Peter and Lois Griffin at the piano, singing, a tribute to the All in the Family opening. The lyrics for this also seem to imply things have changed for the worse since the old days ("but where are those good old fashioned values on which we used to rely?").

In interviews, Norman Lear stated that the idea for the piano song introduction was a cost-cutting measure. After completion of the pilot episode, the budget would not allow an elaborate scene to serve as the sequence played during the show's opening credits. Lear decided to have a simple scene of Archie and Edith singing at the piano.

The closing theme (an instrumental) was "Remembering You" played by Roger Kellaway with lyrics co-written by Carroll O'Connor. It was played over footage of the same row of houses in Queens as in the opening (but moving in the opposite direction down the street), and eventually moving back to aerial shots of Manhattan, suggesting the visit to the Bunkers' home has concluded. O'Connor recorded a vocal version of "Remembering You" for a record album, but though he performed it several times on TV appearances, the lyrics (about the end of a romance) were never heard in the actual series.

Except for some brief instances in the first season, there was no background or transitional music.

Setting and location[edit]

The house featured in the opening credits sequence, as it appeared in late 2013.

Lear and his writers set the series in the Queens neighborhood of Astoria. The exact location of the Bunkers' house at 704 Hauser Street is completely fictitious (no Hauser Street exists in Queens), however, and factually incorrect with the way addresses are given in Queens (all address numbers are hyphenated, containing the location of the nearest number street to keep in line with the Queens street numbering system). Nevertheless, many episodes reveal that the Bunkers live near the major thoroughfare Northern Boulevard, which was the location of Kelcy’s Bar and later Archie Bunker's Place.

The façade of the house shown at the show opening is an actual home located at 89-70 Cooper Avenue, Glendale, Queens, New York (40°42′45″N 73°51′39″W / 40.712492°N 73.860784°W / 40.712492; -73.860784).[17]

Many real life Queens institutions are mentioned throughout the series. Carroll O’Connor, a real life Queens native from Forest Hills, said in an interview with the Archive of American Television that he suggested to the writers many of the locations to give the series authenticity. For example it is revealed that Archie attended Flushing High School, a real high school located in Flushing, Queens (although in the "Man Of The Year" episode of Archie Bunker's Place it is revealed that Archie attended Bryant High School in Long Island City, graduating 1940). Additionally the 1976 episode, "The Baby Contest", deals with Archie entering baby Joey in a cutest baby contest sponsored by the Long Island Daily Press, a then-operating local newspaper in Queens and Long Island.

Additionally the writers of All In The Family continued throughout the series to have the Bunkers, as well as other characters, use telephone exchange names when giving a telephone number (most other series at the time, such as The Mary Tyler Moore Show, were using the standard 555 telephone number) at a time when AT&T was earnestly trying to discontinue them. At different times throughout the series the telephone exchanges Ravenswood and Bayside were used for the Bunkers' telephone number. Both exchanges were and still are applicable names for phone numbers in the neighborhoods of Astoria and Bayside. This may have had to do with the fact that at the time many major cities in the United States, such as New York, were resisting the dropping of telephone exchange names in favor of all-number dialing, and were still printing their telephone books with exchange names. This fact is referred to in the 1979 episode "The Appendectomy", when Edith, while dialing a telephone number, uses the Parkview exchange name only to correct herself by saying that she keeps forgetting that it's all number dialing now. However, she comes to the conclusion that the number is exactly the same either way.

Broadcast history[edit]

Episodes[edit]

"Sammy's Visit," first broadcast in February 1972, is a particularly notable episode, whose famous episode-ending scene produced the longest sustained audience laughter in the history of the show. Guest star Sammy Davis, Jr. plays himself in the episode. Davis leaves a briefcase behind in Archie's taxi (Archie is moonlighting as a cab driver) and goes to the Bunker home to pick it up. After hearing Archie's racist remarks, Davis asks for a photograph with him. At the moment the picture is taken, Davis suddenly kisses a stunned Archie on the cheek. The ensuing laughter went on for so long that it had to be severely edited[18] for network broadcast, as Carroll O'Connor still had one line ("Well, what the hell — he said it was in his contract!") to deliver after the kiss. (The line is usually cut in syndication.)

Syndication[edit]

During the show's sixth season in December 1975, CBS began showing reruns on weekdays. This lasted until September 1979, at which point the reruns entered off-network syndication. Since the late 1980s, All in the Family has been rerun on various cable and satellite networks including TBS, TV Land and Nick at Nite. Since January 3, 2011, the show has been airing on Antenna TV.

The cast settled their residual rights for a cash payout early in the production run.[19]

Ratings[edit]

All in the Family is one of three television shows (The Cosby Show and American Idol being the others) that have been No. 1 in the Nielsen ratings for five consecutive TV seasons. The show remained in the top-ten for eight of its nine seasons.

SeasonRankRating
1970–1971N/A
1971–1972#134.0[20]
1972–197333.3[21]
1973–197431.2[22]
1974–197530.2[23]
1975–197630.1[24]
1976–1977#1222.9[25]
1977–1978#424.4 (Tied with 60 Minutes and Charlie's Angels)[26]
1978–1979#924.9 (Tied with Taxi)[27]

The series finale was seen by 40.2 million viewers.[28]

Spin-offs, inspiration, and TV specials[edit]

According to The Complete Directory to Prime Time Network and Cable TV Shows 1946–Present, All in the Family has the most spin-offs for a prime-time television series, spawning five other shows, three of which were highly successful and two of which are spin-offs from spin-offs.[29]

Other spin-offs of All in the Family include:

At the height of the show's popularity, Henry Fonda hosted a special one-hour retrospective of All in the Family and its impact on American television. Included were clips from the show's most memorable episodes up to that time. It was titled The Best of "All in the Family", and aired on December 21, 1974.

A 90-minute retrospective, All in the Family 20th Anniversary Special, was produced to commemorate the show's 20th anniversary and aired on CBS February 16, 1991. It was hosted by Norman Lear, and featured a compilation of clips from the show's best moments, and interviews with the four main cast members.

The special was so well received by the viewing audience (ratings: 14.7 household rating from 8-9:30pm while Empty Nest garnered a 17.3) that CBS decided to air reruns of All in the Family during their summer schedule that year. During its summer run, the 20-year-old program was popular.[30]

The creators of the long-running ongoing adult animated series American Dad! have likened the early seasons of their series to All In The Family. In its early going, American Dad was almost that of a farcical animated version of All In The Family, utilizing elements of bigotry, conservatism, patriotism, etc. In both series, Conservatism is expressed ludicrously by a paternal main character (Stan Smith likened to Archie) while Liberalism is expressed sensibly by a daughter character and her husband (Hayley Smith and Jeff Fischer likened to Gloria and Mike). Also in both series, the daughter has a Liberal, hippy husband of whom the paternal main character is averse to but must put up with under his roof (Jeff likened to Mike; Stan likened to Archie).[31]

Summer 1991 Ratings

DVD releases[edit]

Sony Pictures Home Entertainment (formerly Columbia Tri-Star Home Entertainment) released the first six seasons of All in the Family on DVD in Region 1 between 2002-2007. No further seasons were released, because the sales figures did not match Sony's expectations.

On June 23, 2010, Shout! Factory announced that they had acquired the rights to the series, and have since released the remaining three seasons.[32][33][34][35]

On October 30, 2012, Shout! Factory released All in the Family - The Complete Series on DVD in Region 1. The 28-disc box set features all 208 episodes of the series as well as bonus features.[36]

DVD NameEp #Release Date
The Complete First Season13March 26, 2002
The Complete Second Season24February 4, 2003
The Complete Third Season24July 20, 2004
The Complete Fourth Season24April 12, 2005
The Complete Fifth Season25January 3, 2006
The Complete Sixth Season24February 13, 2007
The Complete Seventh Season25October 5, 2010
The Complete Eighth Season24January 11, 2011
The Complete Ninth Season24May 17, 2011
The Complete Series208October 30, 2012

Cultural impact[edit]

Archie and Edith Bunker's chairs on display in the Smithsonian National Museum of American History.

As one of television's most acclaimed and groundbreaking programs, All in the Family has been referenced or parodied in countless other forms of media. References on other sitcoms include That '70s Show, The Brady Bunch, and The Simpsons. The animated series Family Guy pays homage to All in the Family in the opening sequence which features Peter and Lois Griffin playing the piano and singing a lament on the loss of traditional values.

Popular T-shirts, buttons, and bumper stickers showing O'Connor's image and farcically promoting "Archie Bunker for President" appeared around the time of the 1972 presidential election. In 1998, All in the Family was honored on a 33-cent stamp by the USPS.[37]

Archie and Edith Bunker's chairs are on display in the Smithsonian National Museum of American History.[38] Originally purchased by the show's set designer for a few dollars at a local Goodwill thrift store, the originals were given to the Smithsonian (for an exhibit on American television history) in 1978. It cost producers thousands of dollars to create replicas to replace the originals.

Also, then-US President Richard Nixon can be heard discussing the show (specifically the 1971 episodes "Writing the President" and "Judging Books by Covers") on one of the infamous Watergate tapes.[39]

Rapper Redman has made references to Archie Bunker in a few of his songs, specifically his smoking of large cigars.[40]

Awards[edit]

All in the Family is the first of three sitcoms in which all the lead actors (O'Connor, Stapleton, Struthers, and Reiner) won Primetime Emmy Awards. The other two are The Golden Girls and Will & Grace.

Primetime Emmy Awards and Nominations[edit]

1971
1972
1973
1974
1975
1976
1977
1978
1979

Golden Globe Awards and Nominations[edit]

1972
1973
1974
1975
1976
1977
1978
1979
1980

TCA Heritage Award[edit]

In 2013, the Television Critics Association honored All in the Family with its Heritage Award for its cultural and social impact on society.[41]

See also[edit]

References[edit]

  1. ^ As referenced by IMDB.com
  2. ^ All in the Family TV Show - Videos, Actors, Photos and Episodes from the Classic Television Show
  3. ^ "Special Collector's Issue: 100 Greatest Episodes of All Time". TV Guide (June 28–July 4). 1997. 
  4. ^ The 100 Greatest TV Characters at Bravo.com[dead link]
  5. ^ 101 Best Written TV Series List
  6. ^ Fretts, Bruce; Roush, Matt. "The Greatest Shows on Earth". TV Guide Magazine 61 (3194-3195): 16–19. 
  7. ^ This is an allusion to an early 20th-century comic strip, The Dingbat Family, by cartoonist George Herriman.
  8. ^ http://www.hollywoodreporter.com/news/norman-lear-jean-stapleton-a-562207
  9. ^ "Gloria Bunker-Stivi". ShareTV.org. Retrieved 19 September 2012. 
  10. ^ "TV.com". TV.com. Retrieved 2011-09-17. 
  11. ^ Revealed in "Stretch Cunningham, Goodbye" episode.
  12. ^ Source: The end credits of season three episodes, and onward, mention Tommy Kelsey as the character playing the bar owner.
  13. ^ Neuwirth, Allan (2006). They'll never put that on the air: an oral history of taboo-breaking TV comedy. Allworth Communications, Inc. pp. 132–133. ISBN 1-58115-417-8. 
  14. ^ Gitlin, Todd (2000). Inside Prime Time. University of California Press. p. 212. ISBN 0-520-21785-3. 
  15. ^ "Those Were the Days". 
  16. ^ 89-70 Cooper Ave (1970-01-01). "Location of the target house as per Google Maps". Maps.google.ca. Retrieved 2011-09-17. 
  17. ^ Vivian Yee, "Stifled by Time’s Passage, Fewer Fans Visit the Bunkers’ TV Home," New York Times (June 2, 2013), p. A16.
  18. ^ "http://www.atarifun.com/ClassicTVSales/All_in_the_Family.html". atarifun.com. Retrieved 19 September 2012. 
  19. ^ http://insidetv.ew.com/2013/06/01/jean-stapleton-dies-at-90/
  20. ^ "Ratings archive 1971". Classictvhits.com. Retrieved 2011-09-17. 
  21. ^ "Ratings archive 1972". Classictvhits.com. Retrieved 2011-09-17. 
  22. ^ "Ratings archive 1973". Classictvhits.com. Retrieved 2011-09-17. 
  23. ^ "Ratings archive 1974". Classictvhits.com. Retrieved 2011-09-17. 
  24. ^ "Ratings archive 1975". Classictvhits.com. Retrieved 2011-09-17. 
  25. ^ "Ratings archive 1976". Classictvhits.com. Retrieved 2011-09-17. 
  26. ^ Ratings archives 1977 [1] [2]
  27. ^ Ratings archives 1978 [3] [4]
  28. ^ Quotenmeter.de - Das Online-Fernsehmagazin (2005-05-23). "Die erfolgreichsten Serien-Finale". Quotenmeter.de. Retrieved 2011-09-17. 
  29. ^ Brooks, Tim (2007). The Complete Directory to Prime Time Network and Cable TV Shows: 1946-Present (Ninth Edition). Ballantine Books. pp. 1707–1709. ISBN 978-0-345-49773-4. 
  30. ^ Du Brow, Rick (1991-07-20). "Will Someone Please Fix the Emmy Awards?". Los Angeles Times. Retrieved 2012-07-10. 
  31. ^ 0 Like0 Dislike0 Apr 24, 2006 by Mushy (2006-04-24). "EXCLUSIVE: Mike Barker and Matt Weitzman Talk American Dad". MovieWeb.com. Retrieved 2013-05-04. 
  32. ^ "All in the Family DVD news: DVD Plans for All in the Family". TVShowsOnDVD.com. Retrieved 2011-09-17. 
  33. ^ "All in the Family DVD news: Announcement for All in the Family - The Complete 7th Season". TVShowsOnDVD.com. Retrieved 2011-09-17. 
  34. ^ "All in the Family DVD news: Announcement for All in the Family - The Complete 8th Season". TVShowsOnDVD.com. 2007-05-25. Retrieved 2011-09-17. 
  35. ^ "All in the Family DVD news: Announcement for All in the Family - The Complete 9th Season". TVShowsOnDVD.com. Retrieved 2011-09-17. 
  36. ^ All in the Family DVD news: Announcement for All in the Family - The Complete Series | TVShowsOnDVD.com
  37. ^ All in the Family stamp at National Postal Museum, Smithsonian Institution Arago.si.edu
  38. ^ "NMAH, The Bunker's Chairs". Americanhistory.si.edu. Retrieved 2011-09-17. 
  39. ^ James Warren (1999-11-07). "Nixon on Tape Expounds on Welfare and Homosexuality". Chicago Tribune. 
  40. ^ Redman - How To Roll A Blunt Lyrics
  41. ^ "The Television Critics Association Announces 2013 TCA Awards Winners". Television Critics Association. August 3, 2013. Retrieved August 4, 2013. 

Further reading[edit]

External links[edit]


Preceded by
The Wonderful World of Disney
1977
All in the Family
Super Bowl lead-out program
1978
Succeeded by
Brothers and Sisters
1979