Turn-On! Turned Off (part 1)

Turn-On! Is a legendary 1969 TV show legendary for all the wrong reasons:  It was cancelled during its first commercial break.

Typically when TV shows of that era are discussed it’s out of context with the time.  This is okay when discussing conventional westerns or cop shows or comedy-variety shows since they typically took great pains to avoid the social issues of their day in order to maximize appeal.

But there’s a different breed of cat that went out looking for trouble, and boy howdy!, was Turn-On! one of those.  It was a brilliant misfire, w-a-a-a-y ahead of its time, offensive then, and in an odd way, even more offensive now.

First off let’s set the culture temperature for the U.S. on February 5, 1969, Turn-On!’s premiere:

• 1967’s Summer of Love morphed into 1968’s days of rage

• The Vietnam War continued to drag on in the wake of the Tet Offensive in January 1968

• Martin Luther King Jr. and Robert Kennedy were assassinated

• Political infighting split the Democratic Party, culminating with the infamous 1968 Democratic

• Convention riot in Chicago “The whole world’s watching!”

• White racist George Wallace created the proto-MAGA American Independent Party and siphoned off enough votes from Hubert Humphrey to cost him the election

• Richard Nixon and Spiro Agnew, who until recently were the sleaziest bastards ever to set foot in the White House, won election for the so-called “silent majority”

• The popular and innovative 1967 show The Smothers Brothers Comedy Hour became increasingly more political, rousing both White House and network ire (it would be cancelled on June 6, 1969)

• On January 22, 1968 Rowan And Martin’s Laugh-In, produced by George Schlatter and Ed Friendly. replaced The Man From U.N.C.L.E. and became an immediate smash hit

The latter bears great importance on the story of Turn-On! and not merely because Schlatter and Friendly produced both shows.

Turn-On! has been accurately described as watching a half-hour’s worth of TikTok videos back-to-back.  While Laugh-In pioneered fast paced rapid-fire editing for skit comedy, it nonetheless maintained enough form for (most) audiences to get their bearings.  Whenever things grew too frenetic, they could always return to hosts Dan Rowan and Dick Martin or announcer Gary Owen to give viewers a chance to catch their breath.  They employed regular skits so the folks at home could find reassuring familiarity each week as well as more or less conventional satirical musical numbers, all backed by well placed laugh tracks.

They also hired a good cast, created several recurring stock characters who remain familiar to this day, and launched several catch phrases emblemic of the era:  “Sock it to me” “The flying fickle finger of fate” “You bet your sweet bippy” “Here comes the judge” (Okay, that last one is actually a call back to African-American vaudeville, but bravo to Laugh-In for sharing it with the rest of the country.)

And while the show didn’t steer clear of political and social satire, they lacked the heartfelt intensity the Smothers Brothers brought to theirs. 

You’re scarcely nibbling the hand that feeds you when you invite Richard Nixon to say “Sock it to me” on national television.

So Laugh-In had a sense of rebellion, a sense of daring, but in truth often appeared no more edgy than a copy Captain Billy’s Whiz Bang.  It was a format swiftly and ironically even more successfully imitated in cornpone by Hee Haw (and don’t get me wrong, Hee Haw could be damn funny).

© Buzz Dixon

Turn-On! episode one with Tim Conway

Turn-On! episode two with Robert Culp and France Nuyen