Classic Nick Wed. –
Interview
with George James
Wednesday, July 23, 2014
As promised here is the long
awaited interview with Mr. George James who played “Jake” on Nickelodeon’s long
running show, Pinwheel.
A very special thank you goes
out to Mr. Andy Anderson who helped me with this interview by submitting his
own set of questions which were integrated into this inventive.
I would also like to send out
a very special and loving thank you to Mr. George “Jake” James for sending me
that very first email and for his time in answering these extensive interview
questions. Andy and I didn’t make it easy on him but he’s a very lovely man who
graciously gave us a bit of his precious time. Thank you Mr. James. :)
PSC: What were you doing before you became an actor?
GJ: From
as far back as I can remember I had certain passions. I say passions because my
interests were far from casual. These passions were music, nature, musical
theatre, theatre and horses and not necessarily in that order. I played the
trumpet as a youngster, listened to everything from Gershwin to Ray Charles to
Stravinsky, Tchaikovsky and Bernstein, as well as the pop and country music of
the day. My father was very theatrical having been a child actor on Broadway.
Although very shy, I had a fascination with reading and writing poetry and how
something well-crafted could evoke and express feelings. I usually had leading
roles in performances during my early years in school. My mother was a heavy influence
with frequent outings to the symphony, movies and theatre. Both parents were
very culturally minded.
AA: How did you become interested in performing and composing music? What is
your musical background?
GJ: As I
have mentioned I had great support and exposure from my parents when it came to
music and the performing arts. I started playing the trumpet at the age of 7
and took part in plays and reciting poetry at the same time. It was strange
because I was indeed very shy but almost compelled to express myself in these
ways. I remember seeing West Side Story and The King and I and being totally
fascinated and captivated by the power created by the marriage of music, words
and story. How these elements when artfully put together could make one laugh,
cry and feel something deeply universal to all who witnessed. It was magic!…and
something I wanted to do.
AA: What inspired you to get into acting?
GJ: Acting
is something that has always been somewhat illusive to me. I was a theatre
student at Hofstra University but acting wasn't my focus. The study of voice
and the part that music played in producing good theatre were more interesting
to me. Although I thoroughly enjoyed reciting Shakespeare and expressing myself
vocally, I wouldn't consider myself an actor in the classical sense. On
Pinwheel I was pretty much myself, just believing in the characters that I
interacted with. From time to time I would be a character that the writers
created like the Game Show Host or the Yeti but most of the time I was pretty
much myself.
PSC: How did you first hear about Pinwheel and what made you decide to
audition? Can you tell us what the auditioning process was like?
GJ: My
friend, noted music producer, John Simon, heard that Warner Communications was
looking for a person of some ethnicity to help develop a children's show for
their CUBE project which was the first attempt to create programming for the
network of cable companies across the country. They were looking for someone
who could act and write songs as well as produce the songs and music for the
show. He gave them my name and I received a call asking if I would like to
audition. For the audition they asked if I would write a song and come to their
offices at Rockefeller Plaza and perform the song that I had composed. I was
thrilled by the opportunity and wrote a series of songs called The Dream Songs.
About 5 songs with the same melody and different words about imagining that you
were different animals. They taped me singing these songs and I went home and waited.
After about two days I got a call asking If I would (come) one to their offices
to discuss being part of this project. They already had the name of the show,
Pinwheel, but nothing else. This was a happy day and the beginning of many
happy times.
PSC: Can you tell us about the development of Pinwheel? What sparked the idea
for it? Was it an individual or a group of people?
GJ: Well I believe that the idea for a young
children's show for the CUBE project came from Dr. Vivian Horner who was also
connected with Children's Television Workshop and the Electric Company. Dr.
Horner was the executive producer and Sandy Kavanaugh was the producer of the
yet undeveloped show. Andrea Cvirko and Gabi Lopez were also on board as
assistant producers. The talent, as we were called, on the development team
consisted of Brad Williams (puppet creator and art director) and myself. We
would meet at the Warner Communications offices about four times a week and
toss around ideas. This was the development team at the very early stages of
Pinwheel. The result of these meetings was the 1977 production of Pinwheel for
the CUBE project in Columbus Ohio. The later more developed productions were
done in New York a few years later. The New York productions are the ones most
people are familiar with.
PSC: Looking back we see that Pinwheel taught children simple life lessons,
was that the original intent of the writers or did it just turn out that way?
If intentional did the writers work with professional educators just as Bill Cosby
had done with the Fat Albert cartoon series?
GJ: I
think that it would be correct to say that it was the original intent for
Pinwheel to teach simple life lessons and to have a positive message in
general. We didn't have as strict a curriculum as Sesame Street where reading
and preschool academic skills along with life experiences were researched and
organized. We were more loosely pointed toward positive interpersonal
relationships, self-expression and conflict resolution. The direction of the
scripts and character development were overseen by the Producer and head
writer. The cast, staff and crew were comprised of people whose hearts and
minds were in a good place and that is basically what gave life and energy to
the show.
PSC: A lot of people compare Pinwheel to Sesame Street, is that a fair
assessment? If not, how was Pinwheel different from Seamy Street?
GJ: I
mostly answered this question in the last paragraph. Many of the people
involved in Pinwheel came from The Children's Television Workshop which
produced Sesame Street so naturally there are commonalities. The target
audience and ideals were also the same and with Sesame Street being such a
great invention and model we all wanted the same feelings of inclusion and
universality.
AA: Can you tell us about the character of “Jake”? Was he a set character or
did you help to develop him?
GJ: Jake
is actually my middle name and as I stated before he is basically me. I've
always thought that if you want an elephant don't get a giraffe to play one…get
an elephant to play one. I guess that's what happened here. Children's
television had always been a place that I wanted to go to. Children's
entertainment was also something that I had given quite a bit of thought to. I
really disliked any condescending elements in children's programing and saw
Jake and Pinwheel as an opportunity to present myself and the music with a
sense of respect and integrity of the audience. Being African American this
took on an even more special meaning.
PSC & AA: You wrote and performed many of the songs on the show, were there any
guidelines for composing the music and songs for Pinwheel?
GJ:
Everything was left up to me as far as the songs were concerned. I tried to
have everyone involved in the music with a special musical spot for each
character. I firmly believed that the music for such a young audience should be
totally appropriate for an older audience as well. Only the lyric content
should have certain considerations.
PSC: Was there ever a Pinwheel record album or songbook, for the general
public to purchase that is? If not, why not?
GJ:
There was a Pinwheel Songbook and I have no idea what happened to it.
Nickelodeon changed hands and companies many times and I think that many things
got lost in the shuffle.
PSC: Going off that last question, there are many (MANY) fans who would like
to know what happened to those songs? Do you still have them? Have you ever
thought about producing a Pinwheel CD of your own?
GJ: I do
have copies of a few but my thoughts are forward and I've been thinking of
writing new material to produce. We'll see what the future brings. There is a
song on YouTube which is performed by John Legend on Sesame Street that I
wrote. I really like this performance as well as the original version which was
performed by David and Olivia on Sesame Street many years ago. That version is
on YouTube also.
PSC & AA: We know that for the first two years Pinwheel was filmed in Columbus,
Ohio and aired on QUBE before Nickelodeon bought it. How did it come about that
they (Nickelodeon) bought the show? Were there any major changes made and if so
how did it affect the cast or the show in general.
GJ: Pinwheel
and the other shows which were produced in Columbus Ohio, only one season,
actually became Nickelodeon. After the CUBE project American Express joined
Warner Communications and became WarnerAmex and Nickelodeon was formed with
Pinwheel being one of the surviving shows from CUBE. The name Nickelodeon came
from Pinwheels producer Sandy Kavanaugh. When we moved to New York the cast,
staff and aspirations for the show grew. It was all for the better. The
Pinwheel most people know is the result of the New York production which lasted
for two seasons. I wish it had gone on longer to get more of a chance to grow
with it. Many characters, both human and puppet were added. Craig and Olga
Marin, both very talented performers and puppeteers were a great addition to
the show, adding many characters and depth to the cast. Sal and Smitty were
also added as was Kim. It was a much more professional full blown production
than the experiment in Ohio.
PSC: Why were those changes necessary?
GJ: CUBE
wasn't a full commitment to programming for cable. At that time there was no
programming for cable. Cable was only a way to get broadcast television to
outlying areas. So this was a really revolutionary idea at the time and sort of
an venture into the unknown. With the positive results in Ohio Warner
Communications and other entertainment companies made more of a commitment to programming
for cable so the next season of Pinwheel were approached with bigger budget and
grander dreams. It was a good thing, the beginning of Nickelodeon and on a
bigger scale the beginning of major programming for cable television.
PSC: Again going off the previous two questions. I found this link and of
course I recognize you, Brad Williams, Ebenezer and very fuzzy headed Plus
& Minus, but I have no idea who the other people and characters are. Can
you please tell us who these people and other characters are?
http://www.qube-tv.com/qube-tv/PINWHEEL.html
GJ: The
top picture is of the Wonkels, some of the first puppets on the CUBE version of
Pinwheel. Then there are early versions of Plus and Minus with the brilliant
creator Brad Williams with the red hair and producer Sandy Kavanaugh on the
left. Brad also created Ebenezer Squint and Aurelia. Next is director Andy
Furgerson formerly of the Electric Company (he also taught me to play tennis
after shoots). I don't know who the next gentleman is. In the next photo with
the frizzy hair is Robert Morton producer of How Do You Like Your Eggs, who went
on to produce the tonight show with David Letterman. Andy and Me.
PSC: Could you please, officially, tell us who took over the role of “Coco
the Mime” when C.C. Loveheart left? Why did she leave and did the character
change any when the other actress took over the role?
GJ: Lindanell
Rivira filled the spot left open by CC Loveheart leaving the show. I don't know
why she left.
AA: Do you believe that having Jake (an African-American) and Kim (an
Asian-American) as the main characters on the show was a revolutionary step for
Pinwheel? Were issues such as race and diversity discussed on a children's show
such as Pinwheel?
GJ: I
think that the thoughts of race and diversity on Pinwheel and all quality
children's shows of the time were expressed by example. With very young
children there are no issues, only people.
PSC: As with “Jake” and “Kim,” can you give us the backstory on “Sal and
Smitty?” They were older characters, were they meant to represent parents or
grandparents and the wisdom that comes from age?
GJ: They
certainly represented older folks but more than that was the care and love with
which they interacted with each other.
AA: Pinwheel was originally a live show that was broadcast to children in
Columbus, Ohio, on the QUBE system for twelve hours a day. How did it stay on
air for that long?
GJ: Pinwheel
was never live.
AA: What was the typical shooting/production schedule on the set of
Pinwheel?
GJ: Arrive
at 8am…makeup and wardrobe at 8:30…shooting at 9:30…lunch from 12-1… wrap at 5pm.
AA: Do you remember the first time Pinwheel ever went on air?
GJ: No.
AA: What was it like touring on the road for the Pinwheel roadshow? Did you
enjoy meeting any Pinwheel fans across the country, or was it too hectic for
you?
GJ: Touring
with the Road Show and meeting the many Pinwheel fans is one of the great
adventures of my life. To meet the many people who wanted to see you, take a
picture with you and get your autograph
was an incomparable joy and honor. To see that what you were doing was bringing
happiness into so many lives is something I could never tire of. I could go on
and on about the Road Show.
AA: Could you tell us how you got involved with Hocus Focus and how you came
to compose the music for the show? Do you have any insight into the creation
and development of Hocus Focus?
GJ: I
was asked by Andrea Cvirko, the producer, to compose the theme music for Hocus
Focus.
AA: What fond memories do you have working on those two shows? Were there
any interesting behind-the-scenes stories?
GJ: **For some reason this question was left unanswered. My
guess is that it was a simple mistake.**
AA: Do you think Pinwheel still has an impact on the children who grew up
watching it? How popular was it at the time?
GJ: I
certainly hope that Pinwheel has had some positive impact on its viewers.
That's why I am communicating with you, because you seem to have an
appreciation and interest in the heart of the matter.
PSC & AA: Do you ever have fans just come up to you on the street and recognize
you? What is that like after all these years?
GJ: Many
years ago being recognized was a common occurrence but so much time has gone by
and the viewers have grown so I don't think that Jake or Pinwheel are in their
consciousness these days.
PSC: Has anyone ever sent you any fan art or a fan fiction about Pinwheel?
GJ: During
Pinwheels hey day…yes!
PSC: How do you feel about the two Nickelodeon books that have come out on the
market for the last few years? Namely “Nickelodeon Nation: The History, Politics,
and Economics of America's Only TV Channel for Kids” by Heather Hendershot, and
“SLIMED!: An Oral History of Nickelodeon's Golden Age’ by Mathew Klickstein?
GJ: Before
I read this question I had never heard of them. I doubt if I'm mentioned.
AA: Do you still have any Pinwheel or Hocus Focus memorabilia?
GJ: A
few pictures and fan mail for old times’ sake.
PSC: Do you have any direct, or indirect, knowledge as to why Nickelodeon
canceled both Pinwheel and Hocus Focus?
GJ: Not
really. After producing two seasons in the early 80's they would flip flop the
seasons on the rational that new audiences emerged each year. Economics is my
guess.
PSC: Is there any truth to the rumor that Pinwheel was actually canceled in
1982 but Nickelodeon kept airing reruns of it until 1990?
GJ: They
stopped production after 84 I think and then showed reruns…yes.
AA: Some sources say that Nickelodeon started under the name of Pinwheel in
1977, while others say that Pinwheel was just a show that was on Nickelodeon,
which began in April 1979. Can you clear up this dispute?
GJ:
Pinwheel was the flagship pre-school show on Nickelodeon. Nickelodeon was
comprised of many shows…not that many.
PSC: There have been many rumors as to why Nickelodeon has never put Pinwheel,
or Hocus Focus, on DVD. Do you think they will ever will released it? Why or
why not?
GJ: I
really don't know.
PSC: For those fans who collect Classic Nickelodeon videos/DVDs and other
memorabilia, do you have any insights as to where we can find copies of these
programs? For privet use – not to be distributed; at least I (PSC) would never
distribute them.
GJ: I'll
give this some thought.
AA: How does it feel to know that there are so many fans out there who have
such wonderful memories of both Pinwheel and Hocus Focus?
GJ: Very
Gratifying…are there many?
AA: Did you have any involvement with the young channel of Nickelodeon? If
so what was the full extent of this?
GJ: No.
AA: Many early Nickelodeon viewers remember the, "Put Another Nickel In
(The Nickelodeon)" segments which featured a mime. Do you know who the
mime was or how those were produced?
GJ: I
recorded the music for these promos but had no involvement in the production
and I have no idea who that mime was.
AA: What acting, or music, projects have you done since Pinwheel?
GJ: I
have produced several records, written for Sesame Street, performed with Twyla
Tharp's stage production of Hair and have produced and directed many audio
books.
PSC: Internet Movie Data Base has you listed as being in a Dukes of Hazard
episode entitled “Granny Annie.” I’ve seen that episode a few times and that
gentlemen is not you. So were you on the show and if so which episode was it?
GJ: Not
me…
PSC: Do you have a website or Facebook page where fans can keep up with your
career or send you a message?
GJ: I
don't have either…I'm a bit of a recluse when it comes to social media, but
maybe I should lighten up a bit.
PSC: Our final question isn’t a question at all, it’s a message from an old
friend of yours. Craig Marin sent me a message to pass on to you:
"Please tell Jake that Molly O'Mole sends him "worm
regards.""
GJ: They
don't come any better than Molly or Craig and Olga for that matter. Three of
the most talented people I have ever met!
All the Best,
George Jacob James
