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Chuck Barris Didn't Invent Schlock Television, He Weaponized It : Monkey See : NPR. Chuck Barris, television producer who created several game shows, including The Gong Show, died Tuesday at 8. In fairness: It was the '7.

Barris was a product of television. One of his first jobs was traveling the country trying to talk local stations into leasing the then- innovative technology Tele.

Promp. Ters. Trying, and failing — though he was the first to admit he never tried particularly hard. In a 2. 00. 3 interview he told The A.

V. Club: I would come to the station and dump the equipment there, and you know the engineers: They didn't have a whole lot to do, so they got a kick out of looking at this crap. Then they would look at it, and I'd take off. Like if I went to Louisville, I'd go the Louisville station and give them the Tele. Promp. Ter equipment and say, .

I'm not going to give you a sales pitch, it speaks for itself. I was fired a year later because I hadn't sold a single Tele. Promp. Ter. He then got a job as an NBC page at Rockefeller Center, and parlayed that into a gig backstage at ABC's American Bandstand — where his duties included shadowing Dick Clark to reassure the network that Clark was not taking part in a payola scheme (he wasn't). During this time, he began writing and producing music, most notably . Billboard charts. Barris wrote the 1. Barris felt confident he could come up with better ideas than those he was being pitched, and formed his own production company in 1.

He built his career on game shows, because, as he said in that same A. V. Club interview, . On the show, young, attractive contestants quizzed three prospective — but unseen — dates for the right to take them out to dinner.

It was a simple concept, and the contestant pool was stocked with toned, tanned, Southern- California wannabe actors, and the set was gloriously cheesy: a stucco wall splashed with a bright flower- power design scheme — think Rubbermaid daisies — separated the contestant from Bachelors Nos. The Dating Game was followed by The Newlywed Game, logically enough, on which newly married couples would guess how their spouses would answer a series of lightly risque questions. The show was responsible for hauling the phrase ? None of the three took off.)The 'Gong Show'Both The Dating Game and The Newlywed Game proved hugely successful for Barris. Not coincidentally, both came in for light criticism for lewdness, and a general lowest- common- demoninator approach to mass entertainment. And then came The Gong Show. Barris was fond of telling interviewers that The Gong Show was originally conceived as a sincere, straight- ahead showcase of amateur talent.

Barris could easily have continued to enjoy a long and successful career as a producer, behind the scenes of the television industry. But when he replaced original host John Barbour as the show's emcee, he became the public face of a kind of television loathed by critics, if not the public. Part of it was the show itself, of course: It was cheap (deliberately so), it was crass (exultantly so), and it traded on a specific species of casual mean- spiritedness that felt like bad taste — and that left one in the viewer's mouth. But there was also Barris's style, or lack of it. For a former Tele.

Promp. Ter salesman, he was famously uncomfortable in front of the camera, and it showed. He attempted to overcorrect by creating a goofy, grinning, amped- up persona partial to silly hats (that he could tilt over his eyes and thus avoid looking into the camera). Where you or I would fill pauses with an . It became a signature tic — audiences grew to anticipate this move, and frequently joined in. The Gong Show's premise: D- list celebrities sit in judgment of a series of amateur acts, who are given a few seconds to sing (or dance, or play the spoons, or spin plates) until they are summarily dismissed by the striking of a huge gong. Barris comes over to . But then again, I like rancid milk.

Producers always included a ringer — a recognizably talented act — among the gongers. This implicated the viewing audience. Instead of empathizing with the sing- their- guts- out strivers, we found our sympathies nestled firmly with the conventionally .

We told ourselves they must be too deluded or egotistical to understand the limits of their talents. We reassured ourselves it was thus OK to laugh at them. Had he not struck upon that formula, television today would look much different than it does. Download Toilet (2017) Online. Barris would go back to that well with The $1. Beauty Show, which was to beauty pageants what The Gong Show was to talent shows: something intended as a light spoof which only served to intensify — to weaponize — the ugliest aspects about the very thing they were ostensibly making fun of. The joke, on The $1. Beauty Show, was that women whose appearance did not conform to the calcified beauty standards of 1.

Southern California bikini- ready blondes) would dare to put themselves out there, alongside wannabe actress/spokesmodels, to be judged by the Jamie Farrs and Jaye P. Morgans of the world. The twist: On The $1. Beauty Show, the ringers always lost, because the winners were pre- selected.

The blonde models would be passed over, and the prize would instead go to a contestant of a certain age, and/or a certain size. The audience would, dependably, jeer.

Legacy. Put that in context: Other popular game shows at the time, like Match Game and The Hollywood Squares, exuded a wholly different sensibility. There was a low- wattage glamour to them, because of the relationship between their celebrities and their contestants. On those shows, their various C- list celebrities seemed like a pantheon of boozy, convivial Greek gods, eagerly inviting contestants to join them on their orange- shag- carpeted Olympus. It's just a party, they seemed to say. Come in. The relationship between celebrities and contestants on Barris's shows, despite his oft- cited fondness for . Figures who have achieved a modest level of fame exist as gatekeepers, using ridicule and crowd mentality to keep wannabes from entering.

How dare you, they seem to say. Stay out. Plenty of shows before and since The Gong Show have been dubbed schlock; a slightly smaller number have even deserved it. For every serious- minded cultural touchstone like Playhouse 9. I, Claudius in television history, there are 1. My Mother the Cars and The Bachelorettes.

Television needs both, and always has. Over his career, Barris dutifully supplied the medium with the kind of schlock that would get ratings — and that would encourage audiences to feel superior to the people onscreen. That legacy endures.

It's not pretty, or high- minded, or even, strictly speaking, decent. But we go to television, at different times, for different reasons. Sometimes it's to be uplifted by art, or to be informed by experts, or to bask in the light and warmth of human achievement.

Other times, after a bad day, we might just need to say: Geez, look at this guy. That ability to generate, and to run on, our collective disdain, or at least disbelief, later went on to fuel a spate of television talk shows like Jerry Springer, of course. But the feeling that animated The Gong Show — ? That someone put this on TV?