lawrence welk show 1965 (2022)

lawrence welk show 1965 (1)

The Lawrence Welk Show: With Lawrence Welk, Myron Floren, Dick Dale, Jimmy Roberts. One of the most successful and fondly-remembered shows in TV history, "The Lawrence Welk Show" featured musical numbers and skits, with host Welk leading the band.

Renowned bandleader Lawrence Welk began his own variety series in 1955... and it has never stopped running. Each program was straightforward musical numbers from Welk's band (many of which had featured solos at one point or another), as well as vocal selections and dance numbers from the show's cast. Most of the introductions to the performances, read stiffy by Welk, were kept short. Many of the shows revolved around a certain theme (e.g., "The Music Man" or the Fourth of July), with appropriate songs and dance numbers. The most famous of the featured singers were the Lennon Sisters (Dianne, Janet, Kathy and Peggy), who were featured most every week for 13 years. At the end of each show, Welk would invite women from the audience on stage to dance with him as the theme, "Bubbles in the Wine" (and later, "Champagne Fanfare") played. The show enjoyed a 16-year network run on ABC, and later a succesful 11-year syndicated run. Just months after the original series ended, older shows (from c. 1965-1982) were repackaged with new footage and entered a long run in both syndication and on PBS. —Brian Rathjen

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lawrence welk show 1965 (2)

By what name was The Dodge Dancing Party (1955) officially released in India in English?

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lawrence welk show 1965 (3)

19-24. 3-S-24. 2 Mar 74. We Believe in Music. 941. 19-25. 3-S-25. 9 Mar 74. Lawrence Welk's Golden Anniversary in Show Business.

(a Titles & Air Dates Guide)


Last updated:

Episode list & details from: TVmazeTV.com

Episode # Prod Code Original
Air Date
Titles
Season 1 ABC
1.1- 12 Jul 55First Network Show
2.1- 29 Jul 55July 9, 1955
6.1- 66 Aug 55August 6, 1955
7.1- 713 Aug 55August 13, 1955
12.1-1217 Sep 55September 17, 1955
18.1-1829 Oct 55October 29, 1955
19.1-195 Nov 55November 5, 1955
20.1-2012 Nov 55November 12, 1955
21.1-2119 Nov 55November 19, 1955
22.1-2226 Nov 55November 26, 1955
25.1-2517 Dec 55December 17, 1955
26.1-2624 Dec 55Christmas Show 1955
28.1-287 Jan 56January 7, 1956
29.1-2914 Jan 56January 14, 1956
30.1-3021 Jan 56January 21, 1956
31.1-3128 Jan 56January 28, 1956
35.1-3525 Feb 56February 25, 1956
36.1-363 Mar 56March 3, 1956
37.1-3710 Mar 56March 10, 1956
38.1-3817 Mar 56March 17, 1956
39.1-3924 Mar 56March 24, 1956
41.1-417 Apr 56April 7, 1956
46.1-4612 May 56May 12, 1956
51.1-5116 Jun 56June 16, 1956
53.1-5330 Jun 56June 30, 1956
55.1-5514 Jul 56July 14, 1956
57.1-5728 Jul 56July 28, 1956
58.1-584 Aug 56August 4, 1956
Season 2
79.2- 66 Oct 56October 6, 1956
81.2- 820 Oct 56October 20, 1956
82.2- 927 Oct 56October 27, 1956
84.2-1110 Nov 56November 10, 1956
85.2-1217 Nov 56November 17, 1956
86.2-1324 Nov 56November 24, 1956
88.2-158 Dec 56December 8, 1956
91.2-1829 Dec 56December 29, 1956
99.2-3123 Feb 57Salute to the Heart Fund
100.2-322 Mar 57March 2, 1957
101.2-339 Mar 57March 9, 1957
104.2-3630 Mar 57March 30, 1957
107.2-3920 Apr 57Easter Show
109.2-414 May 57May 4, 1957
115.2-4714 Jun 57June 14, 1957
116.2-4821 Jun 57June 21, 1957
120.2-5220 Jul 57July 20, 1957
126.2-5831 Aug 57August 31, 1957
Season 3
127.3- 17 Sep 57September 7, 1957
137.3-1116 Nov 57November 16, 1957
141.3-1514 Dec 57December 14, 1957
144.3-184 Jan 58January 4, 1958
145.3-1911 Jan 58January 11, 1958
147.3-2125 Jan 58January 25, 1958
148.3-221 Feb 58February 1, 1958
149.3-238 Feb 58February 8, 1958
150.3-2415 Feb 58February 15, 1958
151.3-2522 Feb 58February 22, 1958
153.3-278 Mar 58March 8, 1958
155.3-2922 Mar 58March 22, 1958
156.3-3029 Mar 58March 29, 1958
159.3-3319 Apr 58April 19, 1958
163.3-3717 May 58A Salute to Norway
165.3-3931 May 58May 31, 1958
166.3-407 Jun 58June 7, 1958
167.3-4114 Jun 58June 14, 1958
168.3-4221 Jun 58June 21, 1958
172.3-482 Aug 58August 2, 1958
173.3-499 Aug 58August 9, 1958
175.3-5123 Aug 58August 23, 1958
176.3-5230 Aug 58August 30, 1958
Season 4
183.4- 722 Oct 58October 22, 1958
187.4-1119 Nov 58November 19, 1958
205.4-2925 Mar 59March 25, 1959
207.4-318 Apr 59April 8, 1959
208.4-3215 Apr 59April 15, 1959
Season 5
223.5- 15 Sep 59September 5, 1959
224.5- 212 Sep 59September 12, 1959
228.5- 610 Oct 59October 10, 1959 from Hawaii
231.5- 931 Oct 59October 31, 1959
237.5-1512 Dec 59December 12, 1959
238.5-1619 Dec 59Christmas Show (1959)
239.5-1726 Dec 59December 26, 1959
246.5-2413 Feb 60February 13, 1960
247.5-2520 Feb 60February 20, 1960
259.5-3714 May 60May 14, 1960
262.5-404 Jun 60June 4, 1960
264.5-4218 Jun 60Father's Day
272.5-5027 Aug 60August 27, 1960
Season 6
287.6-1517 Dec 60December 17, 1960
288.6-1624 Dec 60December 24, 1960
291.6-1914 Jan 61January 14, 1961
292.6-2021 Jan 61January 21, 1961
298.6-244 Mar 61March 4, 1961
303.6-318 Apr 61April 8, 1961
304.6-3215 Apr 61April 15, 1961
305.6-3322 Apr 61April 22, 1961
307.6-356 May 61May 6, 1961
310.6-3827 May 61May 27, 1961
311.6-393 Jun 61June 3, 1961
312.6-4010 Jun 61June 10, 1961 from New York
313.6-4117 Jun 61June 17, 1961
314.6-4224 Jun 61June 24, 1961
318.6-4622 Jul 61July 22, 1961
319.6-4729 Jul 61July 29, 1961
321.6-4912 Aug 61August 12, 1961
Season 7
324.7- 12 Sep 61September 2, 1961
325.7- 29 Sep 61September 9, 1961
327.7- 423 Sep 61September 23, 1961
330.7- 714 Oct 61October 14, 1961
331.7- 821 Oct 61October 21, 1961
332.7- 928 Oct 61October 28, 1961
335.7-1218 Nov 61November 18, 1961
336.7-1325 Nov 61November 25, 1961
340.7-1723 Dec 61Christmas Show (1961)
362.7-3926 May 62May 26, 1962
Season 8
380.8- 56 Oct 62October 6, 1962
396.8-2126 Jan 63January 26, 1963
397.8-222 Feb 63February 2, 1963
398.8-239 Feb 63February 9, 1963
399.8-2416 Feb 63February 16, 1963
400.8-2523 Feb 63400th Television Show
412.8-3718 May 63May 18, 1963
421.8-4620 Jul 63July 20, 1963
Season 9
429.9- 114 Sep 63September 14, 1963
430.9- 221 Sep 63September 21, 1963
431.9- 328 Sep 63September 28, 1963
432.9- 45 Oct 63October 5, 1963
433.9- 512 Oct 63October 12, 1963
434.9- 619 Oct 63October 19, 1953
435.9- 726 Oct 63October 26, 1963
436.9- 82 Nov 63November 2, 1963
437.9- 99 Nov 63November 9, 1963
438.9-1016 Nov 63November 16, 1963
439.9-1123 Nov 63November 23, 1963 Thanksgiving Show
451.9-2315 Feb 64February 15, 1964
452.9-2422 Feb 64February 22, 1964 - Southtown USA
453.9-2529 Feb 64February 29, 1964
459.9-3111 Apr 64April 11, 1964
460.9-3218 Apr 64April 18, 1964
462.9-342 May 64May 2, 1964
Season 10
480.10- 15 Sep 64September 5, 1964
484.10- 53 Oct 64October 3, 1964
486.10- 717 Oct 64October 17, 1964
491.10-1221 Nov 64Thanksgiving (1964)
493.10-144935 Dec 64December 5, 1964
495.10-1649519 Dec 64Christmas Show (1964)
496.10-1749626 Dec 64New Year's Eve Show (1964)
498.10-199 Jan 65January 9, 1965
499.10-2016 Jan 65January 16, 1965
500.10-2150023 Jan 65January 23, 1965 - 500th Show
502.10-235026 Feb 65Country & Western Show (1965)
503.10-2450313 Feb 65February 13, 1965
514.10-351 May 65May 1, 1965
524.10-4510 Jul 65July 10, 1965
Season 11
534.11- 318 Sep 65September 18, 1965
539.11- 823 Oct 65October 23, 1965
540.11- 930 Oct 65October 30, 1965
541.11-106 Nov 65November 6, 1965
542.11-1113 Nov 65November 13, 1965
544.11-1327 Nov 65November 27, 1965
545.11-144 Dec 65December 4, 1965
547.11-1618 Dec 65December 18, 1965
548.11-171 Jan 66January 1, 1966
554.11-2312 Feb 66February 12, 1966
555.11-2419 Feb 66February 19, 1966
556.11-2526 Feb 66February 26, 1966
557.11-265 Mar 66March 5, 1966
559.11-2819 Mar 66March 19, 1966
562.11-319 Apr 66April 9, 1966
563.11-3216 Apr 66April 16, 1966
564.11-3323 Apr 66April 23, 1966
569.11-3828 May 66May 28, 1966
570.11-3911 Jun 66June 11, 1966
572.11-4125 Jun 66June 25, 1966
574.11-439 Jul 66July 9, 1966
575.11-4423 Jul 66July 23, 1966
576.11-456 Aug 66August 6, 1966
Season 12
582.12- 117 Sep 66September 17, 1966 - 12th Season Premiere
585.12- 48 Oct 66October 8, 1966
586.12- 515 Oct 66October 15, 1966
588.12- 729 Oct 66October 29, 1966
590.12- 912 Nov 66November 12, 1966
591.12-1019 Nov 66November 19, 1966
592.12-1126 Nov 66Salute to Vaudeville
595.12-1417 Dec 66December 17, 1966
596.12-1524 Dec 66Christmas Time
597.12-1631 Dec 66New Year's Eve Show
598.12-177 Jan 67My North Dakota Days
600.12-1921 Jan 67Music! Music! Music!
601.12-2028 Jan 67A Salute to Walt Disney
602.12-214 Feb 67Songs of the South
604.12-2318 Feb 67A Salute to the Big Band Era
605.12-2425 Feb 67Country & Western Show
607.12-2611 Mar 67The Music Makers Salute St. Patricks Day
608.12-2718 Mar 67March 18, 1967
609.12-2825 Mar 67March 25, 1967
610.12-291 Apr 67Salute to Spring
613.12-3222 Apr 67April 22, 1967
614.12-3329 Apr 67April 29, 1967
615.12-346 May 67May 6, 1967
616.12-3513 May 67May 13, 1967
617.12-3620 May 67May 20, 1967
618.12-3727 May 67May 27, 1967
619.12-383 Jun 67June 3, 1967
621.12-4024 Jun 67June 24, 1967
623.12-4222 Jul 67July 22, 1967
624.12-435 Aug 67August 5, 1967
626.12-452 Sep 67September 2, 1967
Season 13
627.13- 116 Sep 67September 16, 1967
629.13- 330 Sep 67September 30, 1967
633.13- 728 Oct 67October 28, 1967
636.13-1018 Nov 67November 18, 1967
637.13-1125 Nov 67November 25, 1967
638.13-122 Dec 67December 2, 1967
639.13-139 Dec 67December 9, 1967
641.13-1523 Dec 67December 23, 1967
642.13-1630 Dec 67December 30, 1967
643.13-176 Jan 68January 6, 1968
644.13-1813 Jan 68January 13, 1968
645.13-1920 Jan 68January 20, 1968
646.13-2027 Jan 68January 27, 1968
647.13-213 Feb 68February 3, 1968
648.13-2210 Feb 68February 10, 1968
649.13-2317 Feb 68February 17, 1968
651.13-252 Mar 68March 2, 1968
652.13-269 Mar 68March 9, 1968
657.13-3113 Apr 68April 13, 1968
661.13-3511 May 68May 11, 1968
662.13-3618 May 68May 18, 1968
663.13-3725 May 68May 25, 1968
664.13-381 Jun 68June 1, 1968
666.13-4015 Jun 68June 15, 1968
667.13-4122 Jun 68June 22, 1968
673.13-473 Aug 68August 3, 1968
674.13-4917 Aug 68August 17, 1968
676.13-5131 Aug 68August 31, 1968
Season 14
679.14- 221 Sep 68September 21, 1968
687.14-1016 Nov 68November 16, 1968
688.14-1123 Nov 68Thanksgiving Show
689.14-127 Dec 68Railroads Show
690.14-1314 Dec 68December 14, 1968
691.14-1421 Dec 68Christmas Show
692.14-1528 Dec 68New Year's Eve Show
696.14-1925 Jan 69Music Memories
697.14-201 Feb 69Small Towns of America
702.14-258 Mar 69Working Songs
706.14-295 Apr 69Easter Show
708.14-3119 Apr 69April Showers
717.14-4021 Jun 69Musical Tour of the U.S.A.
723.14-462 Aug 69August 2, 1969
725.14-4816 Aug 69August 16, 1969
Season 15
730.15- 127 Sep 69September 27, 1969 - 15th Season
738.15- 925 Oct 69Halloween Show (1969)
740.15-118 Nov 69Veteran's Day Show
742.15-1322 Nov 69Thanksgiving (1969)
756.15-1720 Dec 69Christmas (1969)
765.15-2621 Feb 70Salute to Brotherhood Week (1970)
767.15-287 Mar 70March 7, 1970
768.15-2914 Mar 70St. Patrick's Day Celebration
769.15-3021 Mar 70Country and Western Show (1970)
770.15-3128 Mar 70Easter Show (1970)
771.15-324 Apr 70Academy Awards (1970)
775.15-362 May 70Kentucky Derby and Cinco de Mayo Celebration
776.15-379 May 70Mother's Day (1970)
777.15-3816 May 70Armed Forces Day (1970)
778.15-3923 May 70Vaudeville Days
780.15-4120 Jun 70Summertime (1970)
784.15-4518 Jul 70Gotta Travel On
785.15-461 Aug 70Songs from the Tropics
787.15-4715 Aug 70Summer End
789.15-4929 Aug 70Togetherness
Season 16
794.16- 510 Oct 70October 10, 1970
796.16- 724 Oct 70Musical Salute to Dixie
799.16-1114 Nov 70Big Band Era
800.16-1221 Nov 70Thanksgiving (1970)
804.16-1619 Dec 70Christmas Show (1970)
805.16-1726 Dec 70Rose Bowl (1970)
809.16-2123 Jan 71Tribute to Irving Berlin
811.16-236 Feb 71National Brotherhood Week
814.16-2627 Feb 71February 27, 1971
815.16-276 Mar 71Musical History Makers
817.16-2920 Mar 71Traditional Songs
818.16-3027 Mar 71Music From A to Z
819.16-313 Apr 71Academy Awards Show (1971)
820.16-3210 Apr 71Easter Show (1971)
821.16-3317 Apr 71National Secretaries Week
829.16-4112 Jun 71Everything's Coming Up Roses
830.16-4219 Jun 71Father's Day
832.16-4417 Jul 71California
833.16-4531 Jul 71A Salute to Summer
834.16-4614 Aug 71A Musical Smorgasbord
835.16-4728 Aug 71County Fair
836.16-484 Sep 71Say It With Music
Season 17 syndicated
838.17- 21-S-218 Sep 71School Days
839.17- 31-S-325 Sep 71Tribute to Vincent Youmans
840.17- 41-S-42 Oct 71The World
841.17- 51-S-59 Oct 71Riverboat Show (1971)
843.17- 71-S-723 Oct 71Fashion and Hits Through the Years
844.17- 81-S-830 Oct 71Halloween (1971)
845.17- 91-S-96 Nov 71Country and Western Show (1971)
847.17-111-S-1120 Nov 71Thanksgiving (1971)
848.17-121-S-1227 Nov 71Broadway Musicals
850.17-141-S-1411 Dec 71Farm Show
852.17-161-S-1625 Dec 71Christmas (1971)
853.17-171-S-171 Jan 72New Year's Day Show
855.17-191-S-1915 Jan 72Los Angeles
856.17-201-S-2022 Jan 72January 22, 1972
857.17-211-S-2129 Jan 72Songs of the 40's
858.17-221-S-225 Feb 72History of American Musical Entertainment
861.17-251-S-2526 Feb 72Meet Our Family - Spotlight on Talent
862.17-261-S-264 Mar 72Great Songs from 'Way Down South'
863.17-271-S-2711 Mar 72Songs of the Scintillating '60s
864.17-281-S-2818 Mar 72Big Band Memories
866.17-301-S-301 Apr 72The Easter Parade
868.17-321-S-3215 Apr 72Famous Resorts
877.17-431 Jul 72Movie Melodies
884.17-5026 Aug 72August 26, 1972
Season 18
885.18- 12-S-19 Sep 72Hawaii
889.18- 52-S-47 Oct 72Tribute to Harry Warren
890.18- 62-S-514 Oct 72Transportation
892.18- 82-S-728 Oct 72America, What It Used to Be
893.18- 92-S-84 Nov 72Tahoe Highlights
894.18-102-S-911 Nov 72Salute to George Gershwin
895.18-112-S-1018 Nov 72America, The Melting Pot (Thanksgiving)
897.18-132-S-122 Dec 72Country and Western Show
899.18-152-S-1416 Dec 72Childhood Memories
902.18-182-S-176 Jan 73Salute to Canada
903.18-192-S-1813 Jan 73Salute to Mexico
906.18-222-S-213 Feb 73Ecology (The World Around Us)
907.18-232-S-2210 Feb 73Themes from the Classics
910.18-262-S-253 Mar 73Happiness Is
912.18-282-S-2717 Mar 73The Bright Side of Life
914.18-302-S-2931 Mar 73American Pastimes
915.18-312-S-307 Apr 73Songs of the South
916.18-322-S-3114 Apr 73Salute to Irving Berlin
Season 19
917.19- 13-S-122 Sep 73We Can Make Music
918.19- 23-S-229 Sep 73Tribute to Walt Disney
919.19- 33-S-36 Oct 73Salute to Nat King Cole
921.19- 53-S-520 Oct 73Hometowns
922.19- 63-S-627 Oct 73Salute to Cole Porter
923.19- 73-S-73 Nov 73Salute to the Ladies
924.19- 83-S-810 Nov 73Mancini-Mercer
925.19- 93-S-917 Nov 73Thanksgiving Special
930.19-143-S-1422 Dec 73Christmas (1973)
931.19-153-S-1529 Dec 73New Year's Eve (1973)
932.19-163-S-165 Jan 74Musical Tour of Europe
934.19-183-S-1819 Jan 74Tribute to Glenn Miller
936.19-203-S-202 Feb 74Songs to Remember
940.19-243-S-242 Mar 74We Believe in Music
941.19-253-S-259 Mar 74Lawrence Welk's Golden Anniversary in Show Business
946.19-303-S-3013 Apr 74Don't Get Around Much Anymore
947.19-313-S-3120 Apr 74Western Heritage
948.19-323-S-3227 Apr 74Tribute to Famous Entertainers
Season 20
949.20- 14-S-17 Sep 74That's Entertainment
950.20- 24-S-214 Sep 74Number One Songs of the 70s
952.20- 44-S-428 Sep 74Favorite Love Songs
953.20- 54-S-55 Oct 74Best Selling Hits
954.20- 64-S-612 Oct 74Tribute to Duke Ellington
955.20- 74-S-719 Oct 74Salute to Famous Musical Families
959.20-114-S-1116 Nov 74Escondido Show
960.20-124-S-1223 Nov 74Tribute to the Fabulous Dorseys
963.20-154-S-1514 Dec 74Tribute to Walt Disney
964.20-164-S-1621 Dec 74Christmas
965.20-174-S-1728 Dec 74New Year's Show
966.20-184-S-184 Jan 75Those Were the Days
967.20-194-S-1911 Jan 75Salute to Jerome Kern
968.20-204-S-2018 Jan 75Tribute to Famous Girl Singers
969.20-214-S-2125 Jan 75This Colorful World
971.20-234-S-238 Feb 75Hooray for Hollywood
972.20-244-S-2415 Feb 75Tribute to the Sweet Bands
974.20-264-S-261 Mar 75Tribute to Irving Berlin (1975)
977.20-294-S-2922 Mar 75A Cavalcade of Musical Styles
979.20-314-S-315 Apr 75Famous Places
Season 21
980.21- 15-S-16 Sep 75Silver Anniversary
981.21- 25-S-213 Sep 75Harvest on the Farm
982.21- 35-S-320 Sep 75Salute to Male Singers
983.21- 45-S-427 Sep 75Best of the New Songs
984.21- 55-S-54 Oct 75Most Requested Songs
985.21- 65-S-611 Oct 75America's Wonderland
986.21- 75-S-718 Oct 75Musical Masterpieces
987.21- 85-S-825 Oct 75Halloween (1975)
988.21- 95-S-91 Nov 75America on the Move
991.21-125-S-1222 Nov 75Thanksgiving (1975)
993.21-145-S-146 Dec 75Lawrence Welk Family of Nations
995.21-165-S-1620 Dec 75Christmas
996.21-175-S-1727 Dec 75New Year's Show
997.21-185-S-183 Jan 76Strike Up the Band
998.21-195-S-1910 Jan 76Shall We Dance?
999.21-205-S-2017 Jan 76200 Years of American Music (1)
1000.21-21 5-S-2124 Jan 76
1001.21-22 5-S-2231 Jan 76
1002.21-23 5-S-237 Feb 76
1003.21-24 5-S-2414 Feb 76
1004.21-25 5-S-2521 Feb 76
1005.21-26 5-S-2628 Feb 76
1006.21-27 5-S-276 Mar 76
1008.21-29 5-S-2920 Mar 76
1011.21-32 5-S-3210 Apr 76
Season 22
1012.22-1 6-S-125 Sep 76
1013.22-2 6-S-22 Oct 76
1014.22-3 6-S-39 Oct 76
1016.22-5 6-S-523 Oct 76
1017.22-6 6-S-630 Oct 76
1023.22-12 6-S-1211 Dec 76
1024.22-13 6-S-1318 Dec 76
1025.22-14 6-S-1425 Dec 76
1027.22-17 6-S-178 Jan 77
1029.22-19 6-S-1822 Jan 77
1035.22-25 6-S-245 Mar 77
1036.22-26 6-S-2512 Mar 77
1039.22-29 6-S-282 Apr 77
1042.22-32 6-S-3123 Apr 77
1043.22-33 6-S-3230 Apr 77
Season 23
1046.23-3 7-S-31 Oct 77
1047.23-4 7-S-48 Oct 77
1048.23-5 7-S-515 Oct 77
1049.23-6 7-S-622 Oct 77
1050.23-7 7-S-729 Oct 77
1052.23-9 7-S-912 Nov 77
1053.23-10 7-S-1019 Nov 77
1054.23-11 7-S-1126 Nov 77
1056.23-13 7-S-1310 Dec 77
1060.23-17 7-S-177 Jan 78
1061.23-18 7-S-1814 Jan 78
1071.23-28 7-S-2825 Mar 78
1072.23-29 7-S-291 Apr 78
1074.23-31 7-S-3115 Apr 78
Season 24
1075.24-1 8-S-116 Sep 78
1076.24-2 8-S-223 Sep 78
1078.24-4 8-S-47 Oct 78
1079.24-5 8-S-514 Oct 78
1080.24-6 8-S-621 Oct 78
1081.24-7 8-S-728 Oct 78
1082.24-8 8-S-84 Nov 78
1083.24-9 8-S-911 Nov 78
1084.24-10 8-S-1018 Nov 78
1086.24-12 8-S-122 Dec 78
1089.24-15 8-S-1523 Dec 78
1090.24-16 8-S-1630 Dec 78
1093.24-19 8-S-1920 Jan 79
1098.24-24 8-S-2424 Feb 79
1101.24-27 8-S-2717 Mar 79
1103.24-29 8-S-2931 Mar 79
1105.24-31 8-S-3114 Apr 79
1106.24-32 8-S-3221 Apr 79
Season 25
1107.25-1 9-S-115 Sep 79
1108.25-2 9-S-222 Sep 79
1109.25-3 9-S-329 Sep 79
1110.25-4 9-S-46 Oct 79
1111.25-5 9-S-513 Oct 79
1113.25-7 9-S-727 Oct 79
1114.25-8 9-S-83 Nov 79
1115.25-9 9-S-910 Nov 79
1117.25-11 9-S-1124 Nov 79
1120.25-14 9-S-1415 Dec 79
1121.25-15 9-S-1522 Dec 79
1122.25-16 9-S-1629 Dec 79
1123.25-17 9-S-175 Jan 80
1124.25-18 9-S-1812 Jan 80
1126.25-20 9-S-2026 Jan 80
1127.25-21 9-S-212 Feb 80
1129.25-23 9-S-2316 Feb 80
1130.25-24 9-S-2423 Feb 80
1132.25-26 9-S-268 Mar 80
1133.25-27 9-S-2715 Mar 80
1135.25-29 9-S-2929 Mar 80
1136.25-30 9-S-305 Apr 80
1137.25-31 9-S-3112 Apr 80
1138.25-32 9-S-3219 Apr 80
Season 26
1139.26-1 10-S-113 Sep 80
1141.26-3 10-S-327 Sep 80
1142.26-4 10-S-44 Oct 80
1143.26-5 10-S-511 Oct 80
1145.26-7 10-S-725 Oct 80
1148.26-10 10-S-1015 Nov 80
1149.26-11 10-S-1122 Nov 80
1150.26-12 10-S-1229 Nov 80
1151.26-13 10-S-136 Dec 80
1152.26-14 10-S-1413 Dec 80
1153.26-15 10-S-1520 Dec 80
1156.26-18 10-S-1810 Jan 81
1157.26-19 10-S-1917 Jan 81
1158.26-20 10-S-2024 Jan 81
1159.26-21 10-S-2131 Jan 81
1160.26-22 10-S-227 Feb 81
1161.26-23 10-S-2314 Feb 81
1162.26-24 10-S-2421 Feb 81
1163.26-25 10-S-2528 Feb 81
1165.26-27 10-S-2714 Mar 81
1168.26-30 10-S-304 Apr 81
1170.26-32 10-S-3218 Apr 81
Season 27
1171.27-1 11-S-112 Sep 81
1172.27-2 11-S-219 Sep 81
1173.27-3 11-S-326 Sep 81
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(Video) Lawrence Welk Show - "At The Country Club" - 1965 - Complete

The Lawrence Welk Show, the longest-running televised American musical variety show, first aired locally in Los Angeles from 1951 to 1955, broadcast from the since-demolished Aragon Ballroom in Venice Beach.The show made its national television debut on July 2, 1955, and was produced at the Hollywood Palladium for 23 of its 27 years on the air.

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More FAQs for lawrence welk show 1965

  • Where can one find a Lawrence Welk show?

    Welk was awarded four US design patents:A musically themed restaurant menuAn accordion-themed tray for serving food at a restaurantAn accordion-themed tray for serving food at a restaurantAn accordion-themed ashtray

    Watch The Lawrence Welk Show Online

  • Was Lawrence Welk a nice guy?

    Welk’s big band had been carefully pulled together over his years touring and on the radio, and it was filled with the sorts of nice, Midwestern boys like Welk himself (a North Dakota native).

    For most of the history of television, the barrier to syndication—and to profitability—has been 100 episodes. The shows that have made it to that mark are an unusual group. Many were big hits. Some found small cult audiences. Still others just hung on as best they could and never posted numbers quite low enough to be canceled. In 100 Episodes,we examine the shows that made it to that number, considering both how they advanced and reflected the medium and what contributed to their popularity.

    For most of television’s first decade, it was something of a party. As the new gadget infiltrated American life, people visited the homes of neighbors who had purchased one of the machines to check out what it was capable of, and the programming that was most popular was often festive, designed to promote the idea of an audience as a community, and make those who watched the box not feel so alone. The medium was heavily indebted to the stage and to radio, and it borrowed many of its most persistent forms—the social-issues drama, the sitcom, the soap opera—from either or both.

    Those forms exist to this day, though some are on their last legs. The social-issues drama, which TV took from the kitchen-sink stage dramas of the time, continues to pop up occasionally on the broadcast networks, and the health of the sitcom is in good shape (even if what we have now is a far cry from the radio-stage hybrid I Love Lucy). The soaps are dying, but at least they’re still around, too, some with ties back to the radio soap operas that gave them their name (thanks to the programs’ sponsorship by soap companies).

    Yet just as many forms have died out. How many TV Westerns are there anymore? And what ever became of the variety show, with its multiple acts and wide variety of talented celebrities hauled before the cameras to sing and dance? Anthology dramas have also mostly disappeared. All of these forms will be resurrected every so often, but audiences seem mostly uninterested in them nowadays, even with their historical roots, and they’ll go back into TV’s attic until some new network president takes it upon him or herself to bring back a genre he or she loved as a child. (This seems to happen the most often with variety shows.)

    The Lawrence Welk Show was a kind of variety show, but its real roots lay in the kinds of music programs that had been hugely popular on radio, for obvious reasons. Where something like The Ed Sullivan Show was dedicated to cramming as many different acts into one episode as possible, The Lawrence Welk Show aimed to re-create a particular kind of fun, an evening spent out on the town listening to inoffensive yet danceable music, then taking a swing out on the floor with a significant other. Welk’s big band had been carefully pulled together over his years touring and on the radio, and it was filled with the sorts of nice, Midwestern boys like Welk himself (a North Dakota native). The primary goal of the program was to make sure the music never stopped playing, and that it never got to be too much for the show’s predominantly older audience. And that audience was loyal, sticking with the program as it moved from a locally based Los Angeles show to a national one to one that ran in first-run syndication. Welk had a program on the air somewhere in the country from 1951 to 1982, a staggeringly long run that no other musical variety program can really touch. And he did it all without catering to changing whims or fashions, outside of the occasional badly misjudged musical number, such as this one:

    Welk’s connections to radio were real. He’d begun his career on the national stage as a bandleader for South Dakota’s WNAX radio, a popular station that could be picked up all over the Midwest under the right conditions. Welk kept the affectations he’d learned growing up in the Dakotas his whole life, to the point where his program sometimes seemed like a small-town newspaper come to life. He’d almost always introduce the musicians on the show with their hometowns, and for many years, his Christmas show featured the members of his band hauling their kids up onstage to introduce themselves to the cameras. (In one version, a wailing baby threatens to drown everything out, but Welk plows right on through, an immovable smile on his face.) Welk hailed back to a day when entertainment was respectable, when the most out-there thing that might happen on television was expert accordionist Myron Floren (Welk’s right-hand man for the show’s entire run) ripping through “Lady Of Spain” while hunched over his instrument like a mad scientist coaxing life into it.

    When Welk began his program as a local show in Los Angeles, he was courting an audience the networks were interested in. Early in its life, television was already being viewed with suspicion by those who feared it would turn into a platform for kiddie programming and shows of no use to adult viewers. The early ’50s were the great age of arts programming and live drama, as the networks toyed around with attracting a mass audience by appealing to their better natures, but it was also the age when game shows and the broad comedy of Milton Berle ruled the roost. Berle’s antics were often hilarious, but no one would mistake them for sophisticated, and some feared that television would become devoid of any cultural worth.

    Now, it’s hard to look back at Welk’s show and read “cultural worth” into it, but as the bandleader’s audience consisted of those entering late middle age or elderly years, it was evident that no one would mistake this show for any of a number of programs aimed more at kids and teenagers. In the modern era, a TV series that attracted mainly elderly people would be ushered off the air, and it would never be conceived of as a program directed at that audience. Yet Welk specifically set out to attract a “mature” audience, and when ABC saw what he had accomplished with a Los Angeles program, he was given plumb positioning on the then-new network. He began his run there in 1955, and it concluded in 1971, at a time when the networks were finally purging themselves of programs aimed at older adults and pursuing the youth market more, a move that evolved into the current obsession with the 18- to 49-year-old demographic. Welk was impervious to cancellation, however, and he re-launched the program in first-run syndication, where he became a staple of many local stations, particularly PBS stations, for another 10 years, then even longer in syndicated reruns.

    Welk didn’t want to challenge his audience, really, but he benefited from networks that wanted arts programming and thought he came close enough. What Welk wanted, most of all, was to present a good time, a fizzy party that would never end, filled with his light and bubbly Champagne Music. Watching the early episodes of The Lawrence Welk Show—before the series was overwhelmed by the cheesy musical skits that dominate the program in the public imagination—is watching a culture struggling to hold onto itself in the face of a coming youth movement. The songs are old. The dances are traditional. And every time a polka begins, someone swoops in from offstage to dance around and express the joy the audience will ideally be feeling in its heart. The Lawrence Welk Show just might be the most Midwestern program ever made, and it gave a national audience to the touring Midwestern dance bands that enlivened county fairs and local festivals.

    Welk had a tremendous eye for talent. He launched the Lennon Sisters, who became one of the most popular recording acts of the period, and he gave the virtuosity of Floren center stage on numerous occasions. (The two would often duet, but Welk would let Floren have most of the big moments and flourishes, as he was simply a better player than Welk was.) In his second autobiography, Ah-One, Ah-Two! Life With My Musical Family, which he wrote in the wake of his immensely successful reimagining of the show as a syndicated series, Welk writes movingly and strangely about his “musical family,” the people he surrounded himself with who became band members and regular performers on the show. Welk seemed to want to be at once a boss and a father figure to these folks, and he writes at length about his disciplinary measures for those who weren’t on the show, which extended beyond workplace punishment and into the parental, or about how the women in his cast could usually sway him with tears, just like a doting dad might be swayed by his daughter crying. But Welk also was willing to take chances on just about anyone. In Ah-One, Ah-Two, he writes about auditioning those who came up to him on the spot, and he was the first variety-show host to employ a black performer regularly on his show, in tap dancer Arthur Duncan.

    Yet his sense of Midwestern decency could cut both ways: Welk’s relentless pursuit of a safe space for his audience, those who felt increasingly left behind by the cultural shifts of the ’60s, essentially sutured it off from any cultural advances, turning it into a show that existed in a perpetual 1952, an age when big band was still the biggest music around, and everybody in pop culture was expected to behave a certain way. He made all of the show’s performers adhere to a strict moral code, and he famously fired “Champagne Girl” Alice Lon in 1959, with some sources claiming it was because she sat on a desk and crossed her legs. (Others argue Lon, a young mother, wanted too big of a raise.) He read fan mail intently, hoping to glean information on which performers audience members were and weren’t responding to, and he cut people from the show often without much of an explanation, simply because he felt they weren’t working out. This had the effect of keeping the safe world his audience liked intact, while simultaneously engendering a fierce loyalty to Welk from young performers who might otherwise be venturing into the music scene of the era. Indeed, many Welk performers married other Welk performers, and after a time, the whole show seemed to occupy an alternate universe from the increasingly youth-heavy Los Angeles it was taped in.

    The Lawrence Welk Show did try to change with the times. It updated rock songs and folk hits in the big-band style, though it inevitably sanded any edges off the product, making everything from The Beatles to Burt Bacharach sound like The Lawrence Welk Band. The show attempted to build a bridge between the grandparents of America and their increasingly incomprehensible grandchildren, but it more often ended up in skits like the “One Toke Over The Line” number shown above, skits that seemed to utterly misunderstand what it was that the kids were up to nowadays. Welk wanted to make a show that stood for good, old-fashioned, Christian entertainment, but he also wanted to make a fun show, one that would get the folks at home up and dancing, just like the shows he used to play in the Midwest. Instead, he closed himself off more and more from the world at large, and ABC cut him loose in 1971.

    In Ah-One, Ah-Two, Welk partially blames this on the attempts to play rock music; he says that on a tour after the cancellation, audiences around the country asked him to bring back a program where he performed “our music.” He writes:

    “I began to realize that if I had put my foot down more firmly during the last year we appeared on ABC and insisted on playing the kind of music that was right for us—then we might never have lost our show. I think we got off the track when we encountered the massive trend toward rock and roll, and acid rock, during the late sixties. Trends are mysterious. They seem to come from nowhere, and they are often very hard to withstand—or understand!”

    Yet, rock ’n’ roll was already the dominant cultural force in American musical culture, and it only became more so, before being supplanted by hip-hop (a musical form it’s hard to imagine Welk even beginning to fathom). Welk’s show ran for another 10 years, but what had begun as a sophisticated party, a hoped-for mark of maturity and intelligence, had become a program that marked itself as something only those who wished no engagement with modern culture would watch. Welk had successfully preserved “our music,” but he’d also closed himself off from everything else that was good and vital about modern culture. He held so firm to the initial impetus for his hiring that he was unable to evolve. What had been relevant became laughably irrelevant, and the only people dancing at the party were ghosts.

    (Video) Lawrence Welk - 500th Broadcast Anniversary Show from 1965 - The Lennon Sisters Host

    Next time: A Different World

    Tom Netherton-Lawrence Welk Show

  • Who is still alive from the Laurance Welk show?

    Richard L. Dale (September 14, 1926 – December 26, 2014) was an American singer and musician, best known as a featured singer and saxophone player on the television variety show The Lawrence Welk Show . A native of Algona, Iowa, he served in the United States Navy during World War II after graduation from Algona High School.

    Is Lawrence Welk Jr Still Alive?

  • Where to watch Lawrence Welk?

    Lawrence Welk was always on tv in on Saturday nights. I got such joy today hearing my Mom singing along with the songs and laughing. We watch PBS every Saturday evening to see this show. I am not sure any generation is as loyal to anyone as these folks are to Lawrence Welk.

    Watch 3 Classic Episodes of the Lawrence Welk Show

lawrence welk show 1965 (8)

25-12-2021 · The Lawrence Welk Show - filmed live from the Aragon - aired on May 11, 1951 and lasted until 1955, when the show was picked up by ABC and aired nationally. On July 2, 1955 the Dodge Dancing Party ( their sponsor, Dodge, renamed the show of course ) debuted and across the nation future grannies thrilled at the toe-tapping beat emitting from their teletubes.

25-12-2021

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Every Saturday night at 7pm amyriadof loyal fans gatheraround in front of their television screens to watch an American institution unfold. A fanfare of trumpets heralds the approaching wave of bubbles that float down upon the screen, each one bearing the face of an old familiar friend, with the last - and largest bubble - featuring the grinning face of the music maestro himself - Lawrence Welk.

Thiseffervescentpageantof sudsy splendor is PBS's tacked onopening to that wunderbar institution known as The Lawrence Welk Show. Ever since The Lawrence Welk Show first aired in 1955, watching it has become a sacred ritual in many a home and, to be honest, Saturday night would just not be complete without this ritual, forThe Lawrence Welk Showmanages to capturefeelings of summer days, Disneyland, good ol' fashioned fun, southern California, and the spirit of a patriotic America all within one short hour, every week. It's asatisfyingprogram that is hard for one to resist.

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The Lawrence Welk Showwas one of the longest running variety shows on television, running for 27 years and still airing today on PBS. It featured dancing, singing and plenty of band music in all forms : big band, jive, jazz, country, polka, Latin, pop, gospel and, of course, champagne music. Welk's music has a lilting quality that is delightfully light and bubbly and - almost - tickles your nose.

The majority of the younger generation of today would consider the show, and the music being played, old people's entertainment but strangely, these "old people" watching the show today were young people forty years ago who lamented the same fact.

If you still have your teeth, and most of your hair strands intact, and thrive on this wunnerfully hokey show then don't be all too ashamed, or amazed, at yourpeculiartastes. There are thousands, if not hundreds of thousands, of Welkies across America who love it too...and new fans are being born every leap year.

What makes this show so darn appealing?Welk was infectiously joyous, as was the rest of the cast. Those watching his show feel that they are meeting up with old friends at the "same place, same time" to share some laughs, goof around, sing and dance and have a whale of a good time. You could come as you like and would always be welkome. Bubbles, colorful settings, beautiful gals in beautiful dresses ( thanks to the talent of costume designer Rose Weiss ), handsome men in matching suits ( or the occasional kilt ), and plenty of music makes the show an addictive pleasure to behold.

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It is indeed a corny show, but that is exactly what makes it so fun to watch. In an age when violence and distasteful humor areprevalent, it's good to sit down to a program that has a healthyatmosphere. Lawrence wanted a show that was full of good clean entertainment, and he never let anything slip into his program that wasn't suitable for children to watch.

Let's take a look now at how the show has evolved over the years and see how many familiar faces you can recognize :

Lawrence came from a family of German immigrants and was born in the mostly-German city of Strasburg, North Dakota. He grew up speaking only his mother tongue, until he went to school, where he failed to lose his heavy accent. At the age of 16 Welk asked his father to buy him a $400 accordion ( the equivalent of about $5000 today ) and for the next four years he worked on his parent's farm and performed at local functions to pay it off. In 1927 he formed his first band and they traveled across the Midwest performing one night stands. In 1939 the Welk Orchestra hit it big when they were hired to perform at the Trianon Ballroom in Chicago. The band was featured in a few Hollywood short films when they moved out to California.

In 1951, The Lawrence Welk band was signed for a 4-week engagement at the Aragon ballroom at Venice Beach, but were such a sensation that they stayed on....for four years! Audience members found out just how addictive champagne music can be. When the crowds on some nights numbered over five thousand, the manager of a Los Angeles television station, KTLA, took notice and asked Welk if the band would like to appear on television.

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The Lawrence Welk Show - filmed live from the Aragon - aired on May 11, 1951 and lasted until 1955, when the show was picked up by ABC and aired nationally. On July 2, 1955 the Dodge Dancing Party ( their sponsor, Dodge, renamed the show of course ) debuted and across the nation future grannies thrilled at the toe-tapping beat emitting from their teletubes.

After testing out various title's in the late 1950s (Lawrence Welk Presents Top Tunes and New Talents: The Lawrence Welk Plymouth Show) it was renamed The Lawrence Welk Show for its 1960 season and remains so till this day.

Performers of the 1950s :

The Lawrence Welk Band - Welk's band was composed of some of the greatest clarinet-tooters and horn-blowers of the 20th century. Many of his band members were emigrants from dismembered big bands of the glorious jitterbuggin' days of the 1940s : Russ Klein of Freddy Martin's Orchestra; "Peanuts" Hucko of Glenn Miller's Army band, Barney Liddell of Glen Gray and his Casa Loma Orchestra, and Bob Havens, trombonist for the Benny Goodman Orchestra. Other notable band members included Big Tiny Little, Bob Ralston, Richard Maloof, Henry Cuesta, Frank Scott, Joe Livoti and Pete Fountain.

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Welk loved to have his audience get to know the band members better and would frequently spotlight them with solo performances... much to theirembarrassment. He also liked to test out their comedic,dancing, or vocal abilities. On many occasions these band members surprised him by being quite multi-talented and they would then find themselves singing in many a skit.Dick Dale, Bob Lido, Larry Hooper, and Rocky Rockwell were all band players who found themselves doing solos.

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Aladdin - Aladdin Pallante was Welk's resident violinist during the 1950s and he stayed with the group until he suffered a heart attack in 1967. Before joining Welk's orchestra Aladdin had his own band and often performed with Rudy Vallee and Ray Noble. If his face looks familiar it's because Aladdin has appeared in over 100 films as well. Aladdin was usually placed in skits with the Lennon sisters, or in comedy routines with his fellow violinists Bob Lido and Dick Kesner. When he was not fiddling away on his magic violin, Aladdin enjoyed reciting speeches and poetry on air. In 1964 Dot Records released a compilation called "Words of Inspiration by Aladdin" featuring audience-favorite recitations.

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Jimmy Roberts - The Kentucky born crooner "Gentleman Jim" got his start with Welk in 1954 and was such a fan favorite that he remained until the series ended in 1982. When he wasn't leaving behind his heart in San Francisco, Jimmy could be found beside the Champagne Lady giving her subtle, but ample support, in religious melodies and Jeanette MacDonald and Nelson Eddy renditions.

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Alice Lon - When Welk's popular Champagne Lady, Roberta Linn left the band in 1953 to do a CBS radio show, Welk hosted a nationwide search for a new champagne lady and little Alice Lon from Kilgore, Texas, auditioned for the coveted spot. She won it. And she remained with the band for five years before leaving. Rumor had it that Welk fired her because she was showing "too much knee" but Lon admitted that she left because she was looking for a better paying job and wanted to sing spunkier songs as well. Big Tiny Little left the same time as Lon in search of a career as a solo artist.

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The Lennon sisters wereundoubtedlyThe Lawrence Welk Show's most famous singing stars, in fact, theyenticed many a young viewer to sit beside their parents and watch the show. The sparkling sisters were Dianne ( the eldest ), Peggy, Kathy, and little Janet. In 1968, all four of the gals left the show to team up with the ol' Schnozzola inJimmy Durante Presents the Lennon Sisters, where they sang, danced, and hosted a variety of entertainers including Jack Benny, Bob Hope, Phyllis Diller, and Neil Harrison. The murder of their father just prior to filming the show may have contributed to it lasting for only one season. During the 1970s they performed regularly on the Andy Willams Show and toured across the country. Kathy, Janet, and Mimi ( their younger sister ) still perform today.

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The 1960s were the hey-days for The Lawrence Welk Show.The program offered easy-listening escapism from the problems of the late 1960s. On the show, Vietnam disappeared, drugs were a non-existentproblem, and violence was unheard of.The Nielsen ratings ranked the show at #12 in the nation in 1965. A new addition to the show was the creation of sets, used as backdrops for the entertainers to perform with. These eventually led to all-out skits.

(Video) Lawrence Welk Show - "Norma Zimmer" - 1965 - Complete HD

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This decade also brought a wave of new musicians and great talent in the music industry and Welk played all of the new hits as fast as the composers were penning them. The music of Mancini and Bacharach were particular favorites of his. Welk had more records on the Billboard Top 100 chart than any other big band during the rock and roll era. His biggest hits, "Calcutta" and "Baby Elephant Walk", remained on the charts for 17 weeks.

Performers of the 1960s :

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Natalie Nevins- The lovely Natalie Nevins studied opera in New York and Hollywood before landing a gig as the star of a weekly television program, Notes from Natalie. This show earned the attention of Ed Sullivan who featured Nevins on his program. After doing other guest TV spots and nightclub performances Natalie auditioned for Welk ( over the telephone ) and got a spot on the Welk show in 1965. Her Barbie doll movements and beautiful pitch-perfect singing voice made her a very popular lady and she remained a regular member until 1970, when Welk fired her because she missed a live engagement.

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Arthur Duncan-Duncan was the first African-American to join the cast in 1964, when he replaced Jack Imel as the star tap dancer. Duncan had traveled across Europe performing and was appearing at the Basin Street West in LA when he was spotted by the music Maestro's manager. Duncan was often paired with Imel and Bobby Burgess to form a tappin' trio in addition to his usual solo spot. In later decades Duncan enjoyed doing Bojangles routines. He also appeared in the tappin' film "TAP".

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Jo Ann Castle - The popular lightning-fast ragtime piano player had a dark life hiding behind that bright and winsome smile. Castle joined with the Welk orchestra in 1959, first as anaccordionistand then doingher ragtime solos. By 1969, however, Welk had fired her due to some off-screen publicity of the sort that he did not relish.
Today she still gathers with the gang for Welk performances in Branson.

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Tanya Welk - Tanya Falan joined the Welk group in 1967 and shortly thereafter married Lawrence's son, Larry Jr. Tanya had a deep soulful voice and often performed Petula Clark or Dusty Springfield melodies. This Italian gal stayed on with the show until 1977, when she left to raise her three children. In 1979 she divorced Welk and has since remarried and gone on to be a interior designer.

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The Blenders - The Blenders were composed of Bob Duncan ( the grinning blonde who looks like an ex-prize fighter ), Steve Smith, Greg Dickson and Johnny Johnson. The Blenders blended their voices into harmonic melodies in 1967 but unfortunately, they lasted only one season. Lead singer Steve Smith remained with the Welk show as a soloist until 1969. Off screen he dated Jo Ann Castle.

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The Champagne Lady : Norma Zimmer - The lovely Norma Zimmer began her singing career doing voice-overs for non-singing Hollywood stars and performed with a number of vocal groups such as the Ken Darby singers, Alfred Newman and the Norma Luboff Choir. The Welk Orchestra was performing for two years without a champagne lady, until Norma Zimmer came into their lives in 1960. Zimmer had a canary-like soprano singing voice and often warbled Julie Andrews or Jeanette MacDonald tunes, much to the pleasure of Welk.

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Bobby Burgess - Cheerful Bobby whirled onto the Welk stage in 1961 with his first partner Barbara Boylan, after winning a nationwide Calcutta dance competition. Welk was so pleased with the peppy twosome that he spotlighted them on the show on a weekly basis, and they quickly became fan favorites. When Boylan left in 1967, Cissy King replaced her. Elaine Balden was his final dance partner on the show up until 1982. If Bobby's smile is infectious it's because he had good training as one of the original Mousekateers on Walt Disney's The Mickey Mouse Club.

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Joe Feeney - This Irish tenor joined the gang in 1957 and, he too, was such a fan favorite that he remained till 1982. Feeney always admitted that he never had vocal training, but that never stopped him from belting out many an Irish tune. He was often accompaniedby BobRalston on the organ.

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Andra Willis - Willis was the original Mexican senorita before Anacani arrived on the scene. Originally, she was hired as a replacement for the Lennon Sisters but with her skill in Latin languages Welk often tossed her South American tunes. Willis had a beautiful voice but sadly, left the show 1969, after only two years on television, to get married ( to Elvis Presley's keyboardist Larry Muhoberac ).

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Jack Imel - Fresh out of the Navy, Jack Imel joined the Lawrence Welk Show in 1957 as a tap-dancing marimba player. His love for comedy led him to perform in other skits as a spoon or triangle player. Later, in 1965 he became the associate producer of the show. During the 1960s he was paired with Bobby Burgess in tap routines and later with Mary Lou Metzger in singing performances as well.

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The 1970s brought about some changes with the format of The Lawrence Welk Show."Champagne music" was rarely heard, instead, more and more skits were being used to back up singers performances, many embarrassinglycorny. Myron Floren took over some of the m/c work since Welk's heavy accent was strangely worsening as the years progressed.

By the time the show celebrated their 20th anniversary it was already becoming known as a fad among the elderly and whenever a member left the cast the fan magazines were quick to bring out news of Welk giving them the whip. He had been known to get a wrap for being ahard taskmaster, but as he once explained to a reporter : "What you folks hear out there sometimes is from people who know nothing about it. The writers who create a story like that, they get a little more print. I've never been a person to lower the boom on people. If I was, they wouldn't stay with me."

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"From Hollywood, the Lawrence Welk network presents...."

Welk was known for not having contracts with any one of his band members, but instead made a deal with a simple handshake. He preferred that they stay because they enjoyed their work, rather then for the reason of fulfilling a specified contract.

In 1972 ABC dropped The Lawrence Welk Show from their network but this did not stop Welk from blowing his bubbles. Instead, he became a producer and taped the show for syndication through Don Fedderson Productions ( My Three Sons, Family Affair ). It went on to become more popular than when ABC aired it.

Performers of the 1970s :

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Guy and Ralna - Texan-born Ralna English first joined the gang in 1969 and soon after brought along her Tennessee husband Guy Hovis. The husband-wife team were probably the most popular performers on the Welk show during the 1970s and would frequently perform not one, but two (! ) numbers during the show, usually as a team and with one doing a solo. Today they still perform at Welk reunion concerts together even though they are no longer married.

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Tom Netherton - This handsome German-born lad was one of the Welk's shows most popular leading singers. Tom first appeared on the show during the 1973 Christmas episode and stay until 1981. His rich baritone voice was also heard on off-Broadway productions of Carousel and Oklahoma!.

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Kathie Sullivan - Wisconsin-born Kathie Sullivan was spotted by Welk after she won a Miss Champagne Music contest while attending the University of Wisconsin and joined the group as a full-fledged member in 1976, staying on until the show ended in 1982. Sullivan was once engaged to comedian Andy Kaufman. Today she still performs in between working as a bus driver for a retirement community.

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Clay Hart - With Lynn Anderson leaving the show to start her own solo singing career, Welk felt another big country singer was needed and, in 1969, he hired Clay Hart, whom he considered to be one of the best "contry sengers in the contry". Hart was a John-Davidson-type whom enjoyed performing Glenn Campbell tunes. He left the show in 1975 after marrying Sally Flynn.

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The Simonski Sisters - These gals were Welk's answer to the new Lennon Sisters. Alas, with a name like Simonski they didn't take off as well as hoped. Nevertheless they had a good run while they were on air, which was between 1975-1977. The sisters six included Diane, Donna, Jo Anne, Valerie, Audrey, and Michelle.

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Ken Delo-Delo was one half of the team Delo and Daly, a popular Martin & Lewis style comedy act that enjoyed success in Australia in 1960-1961 with their own television series. The team broke up the following year and Delo did some guest appearances before Arthur Duncan invited him to appear on The Lawrence Welk Show in 1969. Positive viewer response brought Delo back for three more guest appearances before he became a regular performer.

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The Aldrich Sisters - Sheila and Sherry Aldrich were flight attendants before they decided to give show business a try. They auditioned for Welk in 1977 and were given a lucky break when Tanya Welk left the show and an opening needed to be filled. They were often confused as being twins since they were paired with the Otwell twins but in fact the singing hostesses are two years apart.

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The Otwell Twins - The happy-go-lucky Otwell Twins ( Roger and David ) joined the show the same year as the Aldrich sisters. Since there was only an opening for one act, they were teamed with the Aldrich sisters and made a great foursome. Today they live in Texas with their families and still perform at various functions, always with their trusty Martin guitars to back them up.

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Anacani - The "little Mexican senorita", as Welk liked to call Anacani, first appeared with the band in 1972 when she was invited to sing before the audience after Welk had seen her perform at his Escondido resort. Anacani loved to sway to the music and often glided across the stage like Carmen Mirando to a bossa nova beat.

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Jim Turner - When Clay Hart left the show, another male country singer was needed and it was not long before audiences saw Jim Turner croonin' lonesome polecat tunes into his microphone during the 1979 season. Jim Turner was paired with Ava Barber for quite a few duets. After Welk, Turner headlined his own shows at Knotts Berry Farm and has since performed in Nashville.

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Mary Lou Metzger, Gail Farrell - These two gals were the background singers on the show, often filling in whenever they were needed to complete a three-some or a four-some. Mary Lou Metzger had a flair for dancing and was put into a number of comedy skits. She rarely performed solo, unless she was backed by the Hotsy Tot Boys. Metzger is most famous for hosting the PBS introductions to the Welk re-runs every Saturday. Farrell was an accomplised singer as well as a pianist. When Sandi left the show, she brought in her husband Ron and his friend Michael and they formed a trio.

(Video) Lawrence Welk Show Musical Family Favorites from November 27, 1965 Lawrence Welk does the intros.

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Ava Barber- Barber was the resident country singer on the Welk show and whenever a Patsy Cline, Loretta Lynn, or Tammy Wynette tune needed a new rendition, Ava would oblige. The tall blonde joined the cast in 1974 and enjoyed playing in skits as well and was quite a versatile singer when she was given the chance. Today Barber tours with the Wunnerful Women of Welk shows.

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Sally and Sandy - Sally Flynn and Sandi Griffiths started singing together when they both attended Brigham Young University. They performed at Disneyland, Vietnam ( with the USO tour ) and as the opening act for Jack Jones at Harrah's in Lake Tahoe. This was their big break and Welk spotted them during these performances and asked them to appear on his show in 1968. When Sally left the group to marry Clay Hart, Sandi remained until 1980.

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There weren't all that many companies that were willing to gamble and put Welk's face on their products to sell their merchandise. After all, what child would humiliate himself among his school-friends carrying a Lawrence Welk lunchbox or a Lawrence Welk doll?

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Welk's show was a promotional tool in itself. Sponsors proudly hung their giant lettering on the curtains behind the orchestra. Dodge and Gerital were the most popular sponsors of the show and their companies catered to Welk's middle age audience members. Welk loved promoting his stars and just about all of them released albums of their "greatest hits" or "favorite hymns".

"Feel Stronger Fast...with Geritol!"

For those ardent Welkies who would like to collect some great fan memorabilia there are plenty ofparaphernaliaout there evenwithout the merchandise tie-in products. The members of the band were always hot publicity and Radio/TV Mirror, Photoplay and TV Star Parade frequently plastered them on their covers. Also, there are aplethoraof brochures, TV Guide covers ( Welk appeared on no less than ten! ), coloring books, Whitman story books, postcards, TV trays ( very clever ), photos, buttons,flyers, matchbook covers, and even paper dolls to collect....of the Lennon sisters of course. Alas, no paper doll company was bold enough to released an undie-clad Mr.Welk doll.

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When Welk and the musical family were finished preparing their performances for the season's program, they could be found on the road touring across the nation, or performing at one of Welk's wunnerful resorts in California. He certainly had plenty of them.

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Welk was quite a businessman and he had averitablemob working for him. He opened his own bank forhis band members to keep their money in, owned the hotel and apartments that they would stay at, and opened his own country club and resort. Welk's personal home was a sprawling mid-century modern Sinatra-style spread in Palm Springs.

Every summer the orchestra and the singers gathered at Harrah's on Lake Tahoe for a three-week engagement, and when they weren't here they were performing at the Palladium in Hollywood. Like a true stage-mother hen, Welk was always keeping a keen eye out for new performers that he could gather to his growing flock and often visited his resorts to listen to these new singers croon a few tunes.

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The Norma Zimmer Show - November 13, 1965

A loving tribute episode to the Champagne Lady, featuring some beautiful melodies from the orchestra as well as these tunes, sung by the performers : Lida Rose, Tammy, Latin Prayer and Pick Yourself Up.

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Country and Western Music - March 9, 1968

This fun episodes features the music of the west, and some grand music it was too! Zimmer sings The Wayward Wind, Steve Smith does a great rendition of Hear Comes Heaven and Dick Dale sings If I Could See the World Through the Eyes of a Child.

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Strike Up the Band - May 16, 1964

A medley of great band tunes could be heard in this episode, including This Could Be the Start of Something Big, The World is Waiting for the Sunrise. Joe Feeney does a beautiful rendition of Little Grey Home in the West.

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We hope you've enjoyed our spotlight of The Lawrence Welk Show. Until we see you again, keep a song in your heart!

" Good night, sleep tight and pleasant dreams to you. Here's a wish and a prayer that every dream comes true. And now, till we meet again...Adios, Au Revoir, Auf Wiedersehen, Good Night! "

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It may or may not be true that Lawrence Welk is the most popular easy listening artist of all time, but it's difficult to think of anyone who is more prominently associated with the genre. Welk's long-running TV variety show was a huge success in its time, and remains an enduring favorite in reruns. And while Welk recorded prolifically, his ...

It may or may not be true that Lawrence Welk is the most popular easy listening artist of all time, but it's difficult to think of anyone who is more prominently associated with the genre. Welk's long-running TV variety show was a huge success in its time, and remains an enduring favorite in reruns. And while Welk recorded prolifically, his true musical legacy was built through the doggedly innocuous, wholesome aesthetic of his show. He was an unlikely television star -- his thick German accent and on-camera stiffness would have been crippling liabilities for many other hosts. Yet Welk was beloved in spite of -- or, perhaps, because of -- those limitations, mainly because he knew his audience and paid close attention to what it wanted. In the process, he created a stable of familiar performers whose regular appearances were eagerly ...
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lawrence welk show 1965 (53)

The Lawrence Welk Show is a series that is currently running and has 1 seasons (22 episodes). The series first aired on June 17, 1960. Where to Watch The Lawrence Welk Show The Lawrence Welk Show is available for streaming on the American Pop Classics website, both …

The Lawrence Welk Show is a true classic in the history of television programming. The show includes the best in the tradition of variety programming: big band music, ethnic numbers, as well as popular tunes. The performers and their music are presented without either condescension or flattery. The Master of Ceremonies, Lawrence Welk, is passionate about music and brings out the best in the musicians.

The show has enjoyed the support of devoted fans for decades, the entertainment never seems to date itself or become repetitive. Throughout its history, its' wide reaching popularity permitted it to occupy a premium time slot in the network schedule. This advantage presented the opportunity for families to gather together to view and enjoy entertainment that is sufficiently diverse to appeal to all ages and interests.

The program served as a platform to launch the performing careers of many talented artists who went on to acquire a measure of fame. In addition, established performers often appeared on the show, a testimony to the consistent quality and integrity of the program over time. Viewers could expect to see familiar faces and see fresh talent every time the show aired.

However it was Mr. Welk himself who was the main attraction. Without the advantage of packaging required by many celebrities, his personal appeal endured the test of time as well as the glare of the spotlight. Television viewers were personally welcomed by Lawrence Welk; becoming part of the studio audience, or better, admitted as members of the family. No wonder that the show became television's version of comfort food for the national audience.

Subsequent musical programming owes a substantial debt to the Lawrence Welk Show, not only for bringing the best in American music tradition but introducing audiences to lesser known influences as well. Mr. Welk has a long list of music available in audio format and has

The Lawrence Welk Show is a series that is currently running and has 1 seasons (22 episodes). The series first aired on June 17, 1960.

Where to Watch The Lawrence Welk Show

The Lawrence Welk Show is available for streaming on the American Pop Classics website, both individual episodes and full seasons. You can also watch The Lawrence Welk Show on demand at Amazon Prime.

(Video) The Lawrence Welk Show (1963)

Videos

1. Lawrence Welk Show - "Gypsies" - 1965
(Lawrence Welk Show Fans)
2. Lawrence Welk Show - "Christmas" - 1966
(Lawrence Welk Show Fans)
3. Lawrence Welk 1965 Travel Show [b/w]
(Nostalgic Need)
4. Lawrence Welk Show - "Can't Help Singing" - 1966 - Complete HD
(Lawrence Welk Show Fans)
5. The Lawrence Welk Show 1966 June Night Show
(Nostalgic Need)
6. Lawrence Welk Show - "Step In Time" - March 6, 1965
(Lawrence Welk Show Fans)

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