WKRP in Cincinnati

At the age of 40 with a leaky heart valve and car payments and rent to pay, there is a twelve-year-old boy that wants to hear Johnny Fever drag a needle across vinyl and drag a floundering Ohio radio station into the rock era. I have driven across Cincinnati at least a hundred times, but I still long to catch a glimpse of the Flimm building, and let the news tell me that "...while the Senator admitted to being intoxicated, he could note explain his nudity." (Best Ted Kennedy Joke Ever!) WKRP was based on creator Hugh Wilson's experiences at Atlanta radio station WQXI. The Turkeys really happened at Lenox Square in Atlanta, and Fever was rumored to have been modeled on longtime Atlanta radio personality (the late) "Skinny" Bobby Harper.

As God is my witness, I thought turkeys could fly!

Only a very few comedies have reached what I consider the height of mixing pathos, characterization, slapstick, verbal byplay. Night Court, Cheers, Mary Tyler Moore...and WKRP manages to surpass them all. WKRP comes out ahead of most of these (except maybe Night Court) because it was a true ensemble. It didn't focus on just Sam & Diane, or just Mary, but equally covered each of its cast members, giving them almost-equal screen time.

These were also folks who had _lives_ that didn't revolve entirely around the office or resolving the problem at the office: families, social lives, etc.

The recent Nick at Nite marathon (40 hours, five nights) just brought back home to me that this show was so funny, and why even some of the worst episodes are still a heck of a lot funnier than most "comedies" on the air today.

Hopefully WKRP will be settling into a long stay on Nick at Nite once the marathon runs its course.

WKRP is the show that I may have the toughest time reviewing. I would like to make my love for this show clear without simply stating it was the best show of all time, but there may be no other way. I Love Lucy, MASH, Cheers, Seinfeld, Mary Tyler Moore, and any other sitcom regarded as classic all pale in comparison to WKRP in Cincinnati. This show focused on eight characters, rarely devoting too much time to any one individual. The cast did not change in four years. They didn't even add anybody for a few episodes to play a love interest or something like that. They didn't have to. Each one of the eight could have carried the show by themselves.

I was born during WKRP's initial run and I have grown up in an era where almost every sitcom is populated by characters whose personality is exaggerated beyond reality, and who can't seem to laugh at anything that doesn't involve sex. KRP had its share of these types of jokes, but they never dominated the show. There were rarely any episodes trying to figure out who's dating whom. There was never a season ending cliffhanger wondering which two characters were going to get together. In fact, the episodes where this did happen are some of the show's weakest such as Andy's country western girlfriend, and the episode where Johnny stays at Bailey's apartment prompting rumors around the office. That being said, there is not one single episode of WKRP in Cincinnati that isn't funny. Even the two I referenced earlier have their moments.

The character development and subtlety of this show is unmatched. Each character built a relationship with the other seven, and the writers were able to tap into those relationships whenever it was needed. There are episodes that you have to watch several times to get the full effect of what is going on. The union episode is one of the best because of the way Andy deals with the other characters, but this is something that goes unnoticed unless you pay attention to all the little details that you can see watching the episode a second time. Everything down to his wardrobe is just perfectly crafted. Another great KRP moment comes when station critic Norris Breeze refers to Jennifer as a "total airhead" in front of Mama Carlson. The one person Mrs. Carlson considers her equal, and she is called a "total airhead." What a great moment.

The final episode ties everything together perfectly. It was not guaranteed at that time whether KRP was returning, so they made an episode that could be the last, but it didn't have to be. Johnny's explanation of how KRP is supposed to lose money explains why Mrs. Carlson went along with the new format in the first place four years earlier.

There has certainly never been a more socially consious sitcom, and there are many great dramas that didn't deal with as many issues as WKRP. Every political issue that is important even today is tackled in a KRP episode. Abortion, racism, homosexuality, censorship, unions, alcoholism, drug abuse, and education to name a few. There are also episodes involving the rich vs. poor, and a classic involving lying, scheming politicians. I have literally tried to think of an issue that wasn't addressed on WKRP, and I can't do it.

It's unfortunate that none of the eight actors ever made a real splash after WKRP. Tim Reid, Howard Hesseman, and Loni Anderson have had their moments, but none of these actors are considered to be big stars. For four great years, they created a show that a lot of people missed. For those of us who have gotten to see it, we will never forget.

Hugh Wilson is something of a television genius. I doubt that anyone thought that doing a television show about a little radio station in a small market city would work, but he got MTM to produce it and CBS to air it and "WKRP in Cincinnati" hit the airwaves (and I'm sure that "NewsRadio" owes a debt of thanks to this series for paving the way)!

Populated with some of the most hilarious and memorable characters in television and with some brilliant, meaningful and sometimes outrageous story lines, WKRP always provided its audience with a worthwhile viewing experience that often extended beyond the events that occurred on the air.

The reason the show worked is because of the characters, and perhaps more importantly, the actors that played them. Jennifer Marlowe could have been just a bubble head or a snappy comeback responder in the hands of a lesser actress, but Loni Anderson was brilliant. Dr. Johnny Fever could have been just a waste product, but Howard Hesseman gave him attitude and subtle subtext. Venus Flytrap might have just been the token minority, but Tim Reid turned him into a deep, meaningful spirit. Bailey Quarters could have been totally wooden and forgotten, but Jan Smithers made her quietly determined and caring. Les Nessman might have just been the virginal boy scout, but Richard Saunders gave him humor and texture. Herb Tarlek might have just been the bad dressing (even for the late 70s - early 80s!) fast talking salesman, but Frank Bonner made him amusing and even at times sympathetic. Arthur Carlson could have just been the no-nothing owner, but Gordon Jump's long time experience in sitcoms certainly prevented that! And Andy Travis might have been a total control freak in the midst of everyone else, but Gary Sandy was the perfect stability for everyone: the eye of this hilarious storm!

I mourn the fact that this series will never truly be seen again, because of the royalty issues over the use of music in the episodes. It just isn't WKRP if you don't have the songs! It's like seeing a loved one you cared about, now horribly disfigured. Yes, you still care about them, but nothing will ever again be the same.

Unfortunately, unless you visit the Paley Center for Media, either in New York or Los Angeles, where the original episodes are preserved in their broadcast state, you'll just have to remember the eps the way they were.

WKRP is one of the best sitcoms of all time. It ranks up there with Taxi, early M*A*S*H, MTM, Seinfeld, and the often forgotten, and, IMHO, best sitcom of all time, Barney Miller (mushy, mushy, mushy!). The characters and the stories were well-rounded and believable. And the music on Johnny's morning show was the best. Too bad it can't be found up or down the dial these days. And yes, I'm a Bailey man, too!