I also heard that the Lawrence Welk stars had signed a morality contract saying that wouldn't do anything sexually compromising or to embarrass the show.Myron Floren Bobby Burgess Norma Zimmer Dick Dale The Lennon Sisters Arthur Duncan Joe Feeney Jack Imel Dave Edwards Sandi Griffiths Tanya Falan Ava Barber Ralna English Guy Hovis Gail Farrell Mary Lou Metzger Natalie Nevins Anacani Bob Ralston Jo Ann Castle Frank Scott Bob Lido Andra Willis Steve Smith Henry Cuesta Among many othersīubbles in the Wine (1951-1956) Champagne Time (1956-1976) Fanfare (1976-1982)īubbles in the Wine (1951-1971) Adios, Au Revoir, Auf Wiedersehen (1971-1982) And he was just a bit too put together and coiffed. I still say he was gay because if he weren't, he would have indicated so at least somewhat, but he didn't. I suspected he was gay, but he was very guarded and wouldn't let his guard down. He was a good guy, very friendly and personable. I did my best to try and get a gay vibe from him, but he played it very cool and gave no indication, straight or gay. She changed her clothes in the front seat of my car when we were going to a party after the show. Tom Netherton and Cissy King were my favorite. I was the dresser for Bobby Burgess good guy but very hetero and wasn't too keen on his dancing partner, Cissy King, getting wild and crazy after the show. I worked at a summer theatre in 1977 where the stars of the Lawrence Welk Shows played for a week. It's just captivating, primarily in color. I'm not saying it's good, though sometimes it accidentally is. As another poster said, the show's confounding blandness has actually begun to attract a new, young audience who are tiring of the split-second, brash, often talent-free cacophany of today's trend music. They don't get the oddball charm, camp and humor of watching it and I don't need those types of stiff, snotty and priggish people in my life. The ones who scoff at it and stay that way are clearly people I don't need around. I've shown it to many friends and it eventually grows on most of them, sometimes to the point of equal obsession. Incidentally, TLS is a litmus test for me. All we can do is learn from it and attempt to prevent those feelings from coming back again in a mainstream way. It happened and it's history and removing it would only be censorship which has the adverse effect of making it seem as though there was never any problem to begin with. As for the second thing, that was the time and place, especially for a man of Lawrence's age and background, and there is no reason to edit it out. I think he can be forgiven for the first thing. Lawrence always, ALWAYS referred to each and every one of his musical family as "boys and girls" unless they were old and decrepit. I'm sure Lawrence treated him well but still made some faux pas when announcing him ("Look at that boy dance!") and even on a recent PBS broadcast they didn't bother to edit out Welk's comment that "Arthur is a credit to his race." In the group numbers he's often paired with "Mexican senority" Anacani, the darkest of the women on the show.<< If he was gay and black, holy moses, he must have had a rough time! He used to prerecord (at LW's request) his tap sounds and then try to match it on the show, which made it doubly hard because he had to stick to precisely the same moves and timing he had used in the tap recordings. And even now, these people trade on their LWS fame for gigs, long after what voices they had are practically gone.Īrthur Duncan was THE FIRST black regular cast member on a variety show and was treated like all the others, re: he would be paired with white women in numbers with no regard to his race. HOWEVER, their exposure on the show allowed for unbridled publicity for plugging their latest albums and concert appearances, etc. He was always very kind to his "musical family" and they did get treated to gifts, but they worked on the show for SCALE - all treated pretty much equally and quite a few of them got pissed off about that.
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