Jackie Gleason

Jackie Gleason
as Minnesota Fats in The Hustler (1961)
Born	John Herbert Gleason (1916-02-26)February 26, 1916 Brooklyn, New York, United States
Died	June 24, 1987(1987-06-24) (aged 71) Lauderhill, Florida, United States
Cause of death	Colon cancer
Occupation	Actor, comedian, musician
Years active	1941–1986
Spouse(s)	Genevieve Halford (1936–1970; 2 children) Beverly McKittrick (1970–1975) Marilyn Taylor (1975–1987; his death)
Children	Geraldine Halford (b. 1940) Linda Halford (b. 1942)[1]

John Herbert "Jackie" Gleason (February 26, 1916 – June 24, 1987) was an American comedian, actor, and musician who developed a style and characters in his career from growing up in Brooklyn, New York. He was known for his brash visual and verbal comedy style, exemplified by his character Ralph Kramden in the television series The Honeymooners. By filming the episodes with Electronicam, Gleason later could release the series in syndication, building its popularity over the years with new audiences. He also developed The Jackie Gleason Show, which had the second-highest ratings in the country 1954-1955, and which he produced over the years in variations, including in the venue of Miami, Florida after moving there.

Among his notable film roles were Minnesota Fats in the Academy Award-winning 1961 drama The Hustler (co-starring with Paul Newman), and Buford T. Justice in the Smokey and the Bandit series from 1977 into the early 1980s, in which he co-starred with Burt Reynolds.

Early life

Gleason was born in 1916 at 364 Chauncey Street in the Bedford-Stuyvesant section of Brooklyn.^[2] He grew up at 328 Chauncey (an address he later used for Ralph and Alice Kramden on The Honeymooners).^[3] Originally named Herbert Walton Gleason Jr., he was baptized John Herbert Gleason.^[4] His parents were Mae "Maisie" (née Kelly), Farranree, Cork,^[5] Ireland, and Herbert Walton "Herb" Gleason, an Irish-American insurance auditor.^[5][6][7][8] Gleason was one of two children; his brother Clemence died of spinal meningitis at age 14.^[5]

He remembered his father as having "beautiful handwriting", and used to watch him work at the family's kitchen table to write policies in the evenings. On the night of December 14, 1925, Gleason's father disposed of any family photos in which he appeared; just after noon on December 15, he collected his hat, coat, and paycheck, and left the insurance company and his family permanently. When it was evident he was not coming back, Mae went to work as a subway attendant for the Brooklyn–Manhattan Transit Corporation (BMT).^[9]

After his father left, young Gleason began hanging around on the streets with a local gang and hustling pool.^[9] He attended elementary school at P.S. 73 in Brooklyn and attended (but did not graduate from) John Adams High School in Queens and Bushwick High School in Brooklyn. Gleason became interested in performing after being part of a class play; when he left school, he got a job as master of ceremonies at a theater that paid $4 per night. Other jobs he held included working in a pool hall, as a stunt driver, and as a carnival barker.^[9][10] Gleason and his friends made the rounds of the local theaters; he put an act together with one of his friends, and the pair performed on amateur night at the Halsey Theater (where Gleason replaced his friend Sammy Birch as master of ceremonies). He was also offered the same work two nights a week at the Folly Theater.^[9]

After his father's abandonment, Gleason was raised by his mother. When she died in 1935 of sepsis from a large neck carbuncle (which young Jackie had tried to lance), Gleason was 19,^[4] had nowhere to go and 36 cents to his name. The family of his first girlfriend, Julie Dennehy, offered to take him in; Gleason, however, was headstrong and insisted he was going into the heart of the city.^[9] His friend Sammy Birch made room for him in the hotel room he shared with another comedian. Birch also told him of a one-week job in Reading, Pennsylvania, that would pay $19, more money than Gleason could imagine. The booking agent advanced him bus fare for the trip against his salary. This was Gleason's first job as a professional comedian, and he had regular work in a number of small clubs after that.^[11]

Career

Gleason worked his way up to a job at New York's Club 18, where insulting its patrons was the order of the day. Gleason greeted noted skater Sonja Henie by handing her an ice cube and saying, "Okay, now do something."^[12] It was here that Jack L. Warner first saw Gleason, signing him to a film contract for $250 a week.^[9]

By age 24 Gleason was appearing in movies: first for Warner Brothers (as Jackie C. Gleason) in such films as Navy Blues (1941) with Ann Sheridan and Martha Raye and All Through the Night (1941) with Humphrey Bogart, for Columbia Pictures for the B military comedy Tramp, Tramp, Tramp (1942) and finally for Twentieth Century-Fox, where Gleason played Glenn Miller Orchestra bassist Ben Beck in Orchestra Wives (1942). He also had a small part as a soda shop clerk in Larceny, Inc., (1942) with Edward G. Robinson, and a modest part as an actor's agent in the 1942 Betty Grable–Harry James musical Springtime in the Rockies.

Gleason did not make a strong impression on Hollywood at first; at the time he developed a nightclub act that included comedy and music. At the end of 1942, Gleason and Lew Parker led a large cast of entertainers in the road show production of Olsen and Johnson's New 1943 Hellzapoppin.^[13][14][15] He also became known for hosting all-night parties in his hotel suite; the hotel soundproofed his suite out of consideration for its other guests.^[12] "Anyone who knew Jackie Gleason in the 1940s", wrote CBS historian Robert Metz, "would tell you The Fat Man would never make it. His pals at Lindy's watched him spend money as fast as he soaked up the booze."

Gleason's first significant recognition as an entertainer came on Broadway when he appeared in the hit musical Follow the Girls (1944). While working in films in California, Gleason also worked at former boxer Maxie Rosenbloom's nightclub (Slapsy Maxie's, on Wilshire Boulevard).^[9][16][17]

Early television

Gleason's big break occurred in 1949, when he landed the role of blunt but softhearted aircraft worker Chester A. Riley for the first television version of the radio comedy The Life of Riley. (William Bendix originated the role on radio but was initially unable to accept the television role because of film commitments.) Despite positive reviews, the show received modest ratings and was cancelled after one year. Bendix reprised the role in 1953 for a five-year series.^[18] The Life of Riley became a television hit for Bendix during the mid- to late 1950s.^[12] But long before this, Gleason's nightclub act had received attention from New York City's inner circle and the fledgling DuMont Television Network. He was working at Slapsy Maxie's when he was hired^[9] to host DuMont's Cavalcade of Stars variety hour in 1950, having been recommended by comedy writer Harry Crane, whom he knew from his days as a stand up comedian in New York.^[19] The program initially had rotating hosts; Gleason was first offered two weeks at $750 per week. When he responded it was not worth the train trip to New York, the offer was extended to four weeks. Gleason returned to New York for the show.^[9] He framed the acts with splashy dance numbers, developed sketch characters he would refine over the next decade, and became enough of a presence that CBS wooed him to its network in 1952.

Renamed The Jackie Gleason Show, the program became the country's second-highest-rated television show during the 1954–55 season.^[20] Gleason amplified the show with even splashier opening dance numbers, inspired by Busby Berkeley screen dance routines and featuring the precision-choreographed June Taylor Dancers. Following the dance performance, he would do an opening monologue. Then, accompanied by "a little travelin' music" ("That's a Plenty", a Dixieland classic from 1914), he would shuffle toward the wings, clapping his hands and shouting, "And awaaay we go!" The phrase became one of his trademarks, along with "How sweet it is!" (which he used in reaction to almost anything).^[20] Theona Bryant, a former Powers Girl, became Gleason's "And awaaay we go" girl. Ray Bloch was Gleason's first music director, followed by Sammy Spear, who stayed with Gleason through the 1960s; Gleason often kidded both men during his opening monologues. He continued developing comic characters, including

• Reginald Van Gleason III, a top-hatted millionaire with a taste for both the good life and fantasy
• Rudy the Repairman, boisterous and boorish
• Joe the Bartender, gregarious and with friendly words for the never-seen Mr. Dennehy (always first at the bar)
• The Poor Soul, a silent character who could (and often did) come to grief in the least-expected places (or demonstrated gratitude at such gifts as being allowed to share a newspaper on a subway)
• Rum Dum, a character with a brush-like mustache who often stumbled around as though drunk and confused
• Fenwick Babbitt, a friendly, addle-headed young man usually depicted working at various jobs and invariably failing
• Charlie Bratton, a loudmouth who frequently picked on the mild-mannered Clem Finch (portrayed by Art Carney, a future Honeymooners co-star)
• The Bachelor, a silent character (accompanied by the song "Somebody Loves Me") doing everyday things in an unusually lazy (or makeshift) way

In a 1985 interview, Gleason related some of his characters to his youth in Brooklyn. The Mr. Dennehy whom Joe the Bartender greets is a tribute to Gleason's first love, Julie Dennehy. The character of The Poor Soul was drawn from an assistant manager of an outdoor theater he frequented.^[9]

Gleason disliked rehearsing. With a photographic memory^[21] he read the script once, watched a rehearsal with his co-stars and stand-in, and shot the show later that day. When he made mistakes, he often blamed the cue cards.^[22]

The Honeymooners

By far Gleason's most popular character was blustery bus driver Ralph Kramden. Largely drawn from Gleason's harsh Brooklyn childhood, these sketches became known as The Honeymooners. The show was based on Ralph's many get-rich-quick schemes, his ambition, antics with his best friend and neighbor, scatterbrained sewer worker Ed Norton, and clashes with sensible wife Alice, who typically pulled Ralph's head down from the clouds.

Gleason developed catchphrases he used on The Honeymooners, such as threats to Alice: "One of these days, Alice, pow, right in the kisser" or "To the moon Alice, to the moon."

The Honeymooners originated from a sketch Gleason was developing with his show's writers. He said he had an idea he wanted to enlarge: a skit with a smart, quiet wife and her very vocal husband. He went on to describe that, while the couple had their fights, underneath it all they loved each other. Titles for the sketch were tossed around until someone came up with The Honeymooners.^[9]

The Honeymooners first was featured on Cavalcade of Stars on October 5, 1951, with Carney in a guest appearance as a cop (Norton did not appear until a few episodes later) and character actress Pert Kelton as Alice. Darker and fiercer than the milder later version with Audrey Meadows as Alice, the sketches proved popular with critics and viewers. As Kramden, Gleason played a frustrated bus driver with a battleaxe of a wife in harrowingly realistic arguments; when Meadows (who was 15 years younger than Kelton) took over the role after Kelton was blacklisted, the tone softened considerably. Modern critics accustomed to Meadows' Alice are shocked if they see Kelton's early sketches. .

When Gleason moved to CBS, Kelton was left behind; her name had been published in Red Channels, a book that listed and described reputed communists (and communist sympathizers) in television and radio, and the network did not want to hire her. Gleason reluctantly let her leave the cast, with a cover story for the media that she had "heart trouble". At first he turned down Meadows as Kelton's replacement. Meadows wrote in her memoir that she slipped back to audition again and frumped herself up to convince Gleason that she could handle the role of a frustrated (but loving) working-class wife. Rounding out the cast, Joyce Randolph played Trixie, Ed Norton's wife. Elaine Stritch had played the role as a tall and attractive blonde in the first sketch, but was quickly replaced by Randolph. Comedy writer Leonard Stern always felt The Honeymooners was more than sketch material and persuaded Gleason to make it into a full hour-long episode.

In 1955 Gleason gambled on making it a separate series entirely. These are the "Classic 39" episodes, which finished 19th in the ratings for their only season.^[20] They were filmed with a new DuMont process, Electronicam; like kinescopes, it preserved a live performance on film but with higher quality, comparable to a motion picture.^[23] That turned out to be Gleason's most prescient move. A decade later, he aired the half-hour Honeymooners in syndicated reruns that began to build a loyal and growing audience, making the show a television icon. Its popularity was such that in 2000, a life-size statue of Jackie Gleason, in uniform as bus driver Ralph Kramden, was installed outside the Port Authority Bus Terminal in New York City.

Musical work

Throughout the 1950s and 1960s Gleason enjoyed a secondary music career, lending his name to a series of best-selling "mood music" albums with jazz overtones for Capitol Records. Gleason believed there was a ready market for romantic instrumentals. His goal was to make "musical wallpaper that should never be intrusive, but conducive".^[24] He recalled seeing Clark Gable play love scenes in movies; the romance was, in his words, "magnified a thousand percent" by background music. Gleason reasoned, "If Gable needs music, a guy in Brooklyn must be desperate!"^[9]

Gleason's first album, Music for Lovers Only, still holds the record for the album longest in the Billboard Top Ten Charts (153 weeks), and his first 10 albums sold over a million copies each.^[25] At one point, Gleason held the record for charting the most number-one albums on the Billboard 200 without charting any hits on the Top 40 of the Billboard Hot 100 singles chart.^[26]

Gleason could not read or write music; he was said to have conceived melodies in his head and described them vocally to assistants who transcribed them into musical notes.^[9] These included the well-remembered themes of both The Jackie Gleason Show ("Melancholy Serenade") and The Honeymooners ("You're My Greatest Love").^[10] There has been much debate over the years as to how much credit Gleason should have received for the finished products. Biographer William A. Henry III wrote in his 1992 book, The Great One: The Life and Legend of Jackie Gleason, that beyond the possible conceptualizing of many of the song melodies, Gleason had no direct involvement (such as conducting) in making the recordings. Red Nichols, a jazz great who had fallen on hard times and led one of the group's recordings, was not paid as session-leader. Cornetist and trumpeter Bobby Hackett soloed on the albums and was leader for seven of them. Asked late in life by musician–journalist Harry Currie in Toronto what Gleason really did at the recording sessions, Hackett replied, "He brought the cheques".

But years earlier Hackettt had told writer James Bacon:

"Jackie knows a lot more about music than people give him credit for. I have seen him conduct a 60-piece orchestra and detect one discordant note in the brass section. He would immediately stop the music and locate the wrong note. It always amazed the professional musicians how a guy who technically did not know one note from another could do that. And he was never wrong."^[27]

Nearly all of Gleason's albums are still available and have been re-released on compact disc.

Gleason had a lead role in the musical Take Me Along, which ran from 1959 to 1960. He won a Tony Award for Best Performance by a Leading Actor in a Musical.

Return to television

In 1956 Gleason revived his original variety hour (including The Honeymooners), winning a Peabody Award.^[28] He abandoned the show in 1957 when his ratings for the season came in at #29^[20] and the network "suggested" he needed a break.^[29] He returned in 1958 with a half-hour show featuring Buddy Hackett, which did not catch on.

One of the perks Gleason received from CBS was the network's picking up the tab for his Peekskill, New York "Round Rock Hill" mansion.^[30] Set atop a hill on six acres, the complex included a guest house and a round storage building. Gleason planned the design of the house for two years; it was completed in 1959,^[31] but Gleason sold the home when he relocated to Miami.^[32][33]

His next foray into television was the game show You're in the Picture, which survived its disastrous premiere episode only because of Gleason's^[34] humorous on-the-air apology the following week.^[10] For the rest of its scheduled run, the program was a talk show named The Jackie Gleason Show.

In 1962, Gleason resurrected his variety show with more splashiness and a new hook: a fictitious general-interest magazine called The American Scene Magazine, through which Gleason trotted out his old characters in new scenarios. He also added another catchphrase to the American vernacular, first uttered in the 1963 film Papa's Delicate Condition: "How sweet it is!" The Jackie Gleason Show: The American Scene Magazine was a hit, and continued for four seasons. Each show began with Gleason delivering a monologue and commenting on the attention-getting outfits of band leader Sammy Spear. Then the "magazine" features would be trotted out, from Hollywood gossip (reported by comedian Barbara Heller) to news flashes (played for laughs with a stock company of second bananas, chorus girls and dwarfs). Comedian Alice Ghostley occasionally appeared as a downtrodden tenement resident, sitting on her front step and listening to boorish boyfriend Gleason for several minutes. After the boyfriend took his leave, the smitten Ghostley would exclaim, "I'm the luckiest girl in the world!" Veteran comics Johnny Morgan, Sid Fields and Hank Ladd were occasionally seen opposite Gleason in comedy sketches. Helen Curtis played alongside him as a singer and actress, delighting audiences with her 'Madame Plumpadore' sketches with 'Reginald Van Gleason.'

The final sketch was always set in Joe the Bartender's saloon, with Joe singing "My Gal Sal" and greeting his regular customer, the unseen Mr. Dennehy (the TV audience, as Gleason spoke to the camera in this section). During the sketch, Joe would tell Dennehy about an article he had read in the fictitious "American Scene" magazine, holding a copy across the bar. It had two covers: one featured the New York skyline and the other palm trees (after the show moved to Florida in 1964). Joe would bring out Frank Fontaine as Crazy Guggenheim, who would regale Joe with the latest adventures of his neighborhood pals and sometimes show Joe his current Top Cat comic book. Joe usually asked Crazy to sing—almost always a sentimental ballad in his fine, lilting baritone.

Gleason revived The Honeymooners—first with Sue Ane Langdon as Alice and Patricia Wilson as Trixie for two episodes of The American Scene Magazine, then with Sheila MacRae as Alice and Jane Kean as Trixie for the 1966 series.^[10] By 1964 Gleason had moved the production from New York to Miami Beach, Florida, reportedly because he liked year-round access to the golf course at the nearby Inverrary Country Club in Lauderhill (where he built his final home). His closing line became, almost invariably, "As always, the Miami Beach audience is the greatest audience in the world!" In 1966, he abandoned the American Scene Magazine format and converted the show into a standard variety hour with guest performers.

Gleason kicked off the 1966–1967 season with new, color episodes of The Honeymooners. Carney returned as Ed Norton, with MacRae as Alice and Kean as Trixie. The sketches were remakes of the 1957 world-tour episodes, in which Kramden and Norton win a slogan contest and take their wives to international destinations. Each of the nine episodes was a full-scale musical comedy, with Gleason and company performing original songs by Lyn Duddy and Jerry Bresler. Occasionally Gleason would devote the show to musicals with a single theme, such as college comedy or political satire, with the stars abandoning their Honeymooners roles for different character roles. This was the show's format until its cancellation in 1970. (The exception was the 1968–1969 season, which had no hour-long Honeymooners episodes; that season, The Honeymooners was presented only in short sketches). The musicals pushed Gleason back into the top five in ratings, but audiences soon began to decline. By its final season, Gleason's show was no longer in the top 25. In the last original Honeymooners episode aired on CBS ("Operation Protest"), Ralph encounters the youth-protest movement of the late 1960s, a sign of changing times in both television and society.

Gleason (who had signed a deal in the 1950s that included a guaranteed $100,000 annual payment for 20 years even if he never went on the air) wanted The Honeymooners to be just a portion of his format, but CBS wanted another season of only The Honeymooners. The network had cancelled a mainstay variety show hosted by Red Skelton and would cancel The Ed Sullivan Show in 1971 because they had become too expensive to produce and attracted, in the executives' opinion, too old an audience. Gleason simply stopped doing the show in 1970, and left CBS when his contract expired.

Honeymooners revival

Gleason did two Jackie Gleason Show specials for CBS after giving up his regular show in the 1970s, including Honeymooners segments and a Reginald Van Gleason III sketch in which the gregarious millionaire was portrayed as an alcoholic. When the CBS deal expired, Gleason signed with NBC. He later did a series of Honeymooners specials for ABC. Gleason hosted four ABC specials during the mid-1970s. Gleason and Carney also made a television movie, Izzy and Moe (1985), about an unusual pair of historic Federal prohibition agents in New York City who achieved an unbeatable arrest record with highly successful techniques including impersonsations and humor, which aired on CBS in 1985.

In April 1974, Gleason revived several of his classic characters (including Ralph Kramden, Joe the Bartender and Reginald Van Gleason III) in a television special with Julie Andrews. In a song-and-dance routine, the two performed "Take Me Along" from Gleason's Broadway musical.

In 1985, three decades after the "Classic 39" began filming, Gleason revealed he had carefully preserved kinescopes of his live 1950s programs in a vault for future use (including Honeymooners sketches with Pert Kelton as Alice). These "lost episodes" (as they came to be called) were initially previewed at the Museum of Television and Radio in New York City, aired on the Showtime cable network in 1985, and later added to the Honeymooners syndication package. Some of them include earlier versions of plot lines later used in the 'classic 39' episodes. One (a Christmas episode duplicated several years later with Meadows as Alice) had all Gleason's best-known characters (Ralph Kramden, the Poor Soul, Rudy the Repairman, Reginald Van Gleason, Fenwick Babbitt and Joe the Bartender) featured in and out of the Kramden apartment. The storyline involved a wild Christmas party hosted by Reginald Van Gleason up the block from the Kramdens' building at Joe the Bartender's place.

Film roles

Gleason did not restrict his acting to comedic roles. He had also earned acclaim for live television drama performances in The Laugh Maker (1953) on CBS's Studio One and William Saroyan's The Time of Your Life (1958), which was produced as an episode of Playhouse 90 (a television anthology series).

He was nominated for a Best Supporting Actor Academy Award for his portrayal of pool shark Minnesota Fats in The Hustler (1961), starring Paul Newman. Gleason made all his own trick pool shots.^[35] (In his 1985 appearance on The Tonight Show, Gleason told Johnny Carson that he had played pool frequently since childhood, and drew from those experiences in The Hustler.) He was extremely well-received as a beleaguered boxing manager in the movie version of Rod Serling's Requiem for a Heavyweight (1962). Gleason played a world-weary army sergeant in Soldier in the Rain (1963), in which he received top billing over Steve McQueen.

Gleason wrote, produced and starred in Gigot (1962), in which he played a poor, mute janitor who befriended and rescued a prostitute and her small daughter. It was a box office flop. But the film's script was adapted and produced as the television film The Wool Cap (2004), starring William H. Macy in the role of the mute janitor; the television film received modestly good reviews.

Gleason played the lead in the Otto Preminger-directed Skidoo (1968), considered an all-star failure. In 1969 William Friedkin wanted to cast Gleason as "Popeye" Doyle in The French Connection (1971), but because of the poor reception of Gigot and Skidoo, the studio refused to offer Gleason the lead; he wanted it. Instead, Gleason wound up in How to Commit Marriage (1969) with Bob Hope, as well as the movie version of Woody Allen's play Don't Drink the Water (1969). Both were unsuccessful.

Eight years passed before Gleason had another hit film. This role was the cantankerous and cursing but comically inept Texas sheriff Buford T. Justice in the films Smokey and the Bandit (1977), Smokey and the Bandit II (1980) and Smokey and the Bandit Part 3 (1983). He co-starred with Burt Reynolds as the Bandit, Sally Field as Carrie (the Bandit's love interest), and Jerry Reed as Cledus "Snowman" Snow, the Bandit's truck-driving partner. Former NFL linebacker Mike Henry played his dimwitted son, Junior Justice. Gleason's gruff and frustrated demeanor and lines such as "I'm gonna barbecue yo' ass in molasses!" made the first Bandit movie a hit.

Years later, when interviewed by Larry King, Reynolds said he agreed to do the movie only if the studio hired Jackie Gleason to play the part of Sheriff Buford T. Justice (the name of a real Florida highway patrolman, who knew Reynolds' father). Reynolds said that director Hal Needham gave Gleason free rein to ad-lib a great deal of his dialog and make suggestions for the film; the scene at the "Choke and Puke" was Gleason's idea. Reynolds and Needham knew Gleason's comic talent would help make the film a success, and Gleason's characterization of Sheriff Justice strengthened the film's appeal to blue-collar audiences.

During the 1980s, Gleason earned positive reviews playing opposite Laurence Olivier in the HBO dramatic two-man special, Mr. Halpern and Mr. Johnson (1983). He also gave a memorable performance as wealthy businessman U.S. Bates in the comedy The Toy (1982) opposite Richard Pryor. Although the movie was critically panned, Gleason and Pryor's performances were praised. His last film performance was opposite Tom Hanks in the Garry Marshall-directed Nothing in Common (1986), a success both critically and financially.

Personal life

Marriages and family

Gleason met dancer Genevieve Halford when they were working in vaudeville, and they started to date. Halford wanted to marry but Gleason was not ready to settle down. She said she would see other men if they did not marry. One evening when Gleason went onstage at the Club Miami in Newark, New Jersey, he saw Halford in the front row with a date. At the end of his show, Gleason went to the table and proposed to Halford in front of her date. They were married on September 20, 1936.^[11][36][37]

Halford wanted a quiet home life but Gleason fell back into spending his nights out.^[11] Separated for the first time in 1941 and reconciled in 1948,^[12] the couple had two daughters (Geraldine and Linda).^[38] Gleason and his wife informally separated again in 1951.^[37]

In early 1954, Gleason suffered a broken leg and ankle on-air during his television show. His injuries sidelined him for several weeks.^[39][40] Halford visited him while Gleason was hospitalized, finding dancer Marilyn Taylor there from his television show. Halford filed for a legal separation in April 1954.^[38] A devout Catholic, Halford did not grant Gleason a divorce until 1970.^[41][42]

Gleason met his second wife, Beverly McKittrick, at a country club in 1968, where she worked as a secretary. Ten days after his divorce from Genevieve was final, Gleason and McKittrick were married in a registry ceremony in Ashford, England on July 4, 1970.^[43]

In 1974 Marilyn Taylor encountered Gleason again when she moved to the Miami area to be near her sister June, whose dancers were part of Gleason's shows for many years. She had been out of show business for nearly 20 years. In September 1974 Gleason filed for divorce from McKittrick (who contested, asking for a reconciliation).^[44] The divorce was granted on November 19, 1975.^[45] As a widow with a young son, Marilyn Taylor married Gleason on December 16, 1975; the marriage lasted until his death in 1987.^{[46][47][48][49]}

Gleason's daughter Linda became an actress and married actor-playwright Jason Miller. Their son, Gleason's grandson, is actor Jason Patric.^[36]

Fear of flying

For many years, Gleason would travel only by train; his fear of flying arose from an incident in his early movie career. Gleason would fly back and forth to Los Angeles for relatively minor movie work. After finishing one movie, the comedian boarded a plane for New York. When two of the plane's engines cut out in the middle of the flight, the pilot had to make an emergency landing in Tulsa, Oklahoma.^[50]

Although another plane was prepared for the passengers, Gleason had had enough of flying. He went into downtown Tulsa, walked into a hardware store, and asked its owner to lend him $200 for the train trip to New York. The owner asked Gleason why he thought anyone would lend a stranger so much money. Gleason identified himself and explained his situation. The store owner said he would lend the money if the local theater had a photo of Gleason in his latest film. But the publicity shots showed only the principal stars. Gleason proposed to buy two tickets to the movie and take the store owner; he would be able to see the actor in action. The two men watched the movie for an hour before Gleason appeared on screen. The owner gave Gleason the loan, and he took the next train to New York. There he borrowed $200 to repay his benefactor.^[50]

Interest in the paranormal

Gleason was greatly interested in the paranormal , buying and reading numerous books on the topic, as well as on parapsychology and UFOs.^{[47][51][52][53]} During the 1950s he was a semi-regular guest on a paranormal-themed overnight radio show hosted by John Nebel, and wrote the introduction to Donald Bain's biography of Nebel.^[54] After his death, his large book collection was donated to the library of the University of Miami.^[55] A complete listing of the holdings of Gleason's library has been issued by the online cataloging service LibraryThing.^[56]

According to writer Larry Holcombe, Gleason's known interest in UFOs allegedly prompted President Richard Nixon to share some information with him and to disclose some UFO data publicly.^[57]

Illness and death

Gleason smoked four packs of cigarettes a day.^[58] While touring in the lead role of Larry Gelbart's play Sly Fox in 1978 he suffered chest pains, forcing him to leave the show in Chicago and undergo triple-bypass surgery. Gleason initially went to the hospital for chest pains but was treated and released. After he suffered another bout the following week, it was determined that heart surgery was necessary.^[58][59][60]

Gleason delivered a critically acclaimed performance as an infirm, acerbic, and somewhat Archie Bunker–like character in the Tom Hanks comedy–drama Nothing in Common (1986). This was Gleason's final film role. During production he was suffering from terminal colon cancer, which had metastasized to his liver. "I won't be around much longer", he told his daughter at dinner one evening after a day of filming. Gleason kept his medical problems private, although there were rumors that he was seriously ill.^[61] A year later, on June 24, 1987, Gleason died at his Florida home.^[62]

After a funeral mass at the Cathedral of Saint Mary in Miami, Gleason was entombed in a sarcophagus in a private outdoor mausoleum at Our Lady of Mercy Catholic Cemetery in Miami.^[48] Gleason's sister-in-law, June Taylor, is buried to the left of the mausoleum, next to her husband, Sol Lerner.

Legacy and honors

• Miami Beach in 1987 renamed the Miami Beach Auditorium as the Jackie Gleason Theater of the Performing Arts. As of May 2010, the theater was scheduled to be razed as part of a convention-center remodeling project and replaced by a hotel.^[63][64]

The demolition did not take place and The Fillmore Miami Beach is still in operation as of January 2015.

• Gleason was inducted in 1986 into the Academy of Television Arts & Sciences Television Hall of Fame. In 2000 a statue of him as Ralph Kramden in "And away we go!" pose was installed at the Hall of Fame.
• New York's Omni Park Hotel, where Gleason maintained a suite from 1953 to 1957, named it the "Jackie Gleason Suite" shortly after his death.^[65]
• On June 30, 1988 the Sunset Park Bus Depot in Brooklyn was renamed the Jackie Gleason Depot in honor of the native Brooklynite.^[66]
• A statue of Gleason as Ralph Kramden in his bus driver's uniform was dedicated in August 2000 in New York City in Manhattan at the 40th Street entrance of the Port Authority Bus Terminal (PABT). The statue was shown briefly in the film World Trade Center (2006).
• A city park in Lauderhill, Florida was named as "Jackie Gleason Park" in his honor; it is near his former home and features racquetball and basketball courts and a children's playground.

Representation in popular culture

• Signs on the Brooklyn Bridge advising drivers they are entering Brooklyn have the Gleason phrase "How Sweet It Is!"
• In the film Back to the Future (1985) when Marty McFly watches television with his (future) grandparents and mother, they see Gleason in the 1955 The Man from Space episode.

On television

• A television movie called Gleason was aired by CBS on October 13, 2002, exploring Gleason's life. It was thought to take liberties with some of the Gleason story, but was significant for showing his troubled home life (a private side of Gleason which he had protected from common knowledge). The film showed backstage scenes from his best-known work. Brad Garrett of Everybody Loves Raymond portrayed Gleason in his prime.
• Sean Cullen played a small role as Gleason in the 2002 made-for-TV movie Martin and Lewis.
• In 2003, after an absence of more than 30 years, the color musical versions of The Honeymooners from the 1960s Jackie Gleason Show in Miami Beach were shown on the GoodLife TV (now ALN) cable network.
• In 2005, a movie version of The Honeymooners was released, featuring a primarily African-American cast, headed by Cedric the Entertainer. This version bore only a passing resemblance to Gleason's original series and was panned by critics.
• Late in his life actor-playwright Jason Miller, Gleason's former son-in-law, was writing a screenplay based on Gleason's life. He died before it was completed. Gleason's daughter, Linda Miller, was also an actress.^[36]

Career accomplishments

Television

1949–1959

1960–1986

Stage productions

Filmography

Singles discography

Year	Title	Label and Number
1951	"What Is a Girl?"/"What Is a Boy?" (spoken by Gleason)	Decca 27684
1952	"Melancholy Serenade"/"You're Getting to Be a Habit"	Capitol F2361
1953	"Alone Together"/"Body & Soul"	Capitol F2437
1953	"My Funny Valentine"/"Love Is Here to Stay"	Capitol F2438
1953	"But Not for Me"/"Love"	Capitol F2439
1953	"I'm in the Mood for Love"/"I Only Have Eyes for You"	Capitol F2440
1953	"Terry's Theme from Limelight"/"Peg O' My Heart"	Capitol F2507
1953	"White House Serenade"/"The President's Lady"	Capitol F2515
1953	"Mystery Street"/"Golden Violins"	Capitol F2659
1955	"The Band Played On"/"In the Good Old Summertime"	Capitol F3144
1955	"Autumn Leaves"/"Oo! What You Do to Me"	Capitol F3223
1956	"Capri in May"/"You're My Greatest Love"	Capitol F3337
1957	"What Is a Girl?"/"What Is a Boy?" (spoken by Gleason)	Capitol EAP871
1958	"Where Is She Now?"/"Just Only Yesterday"	Capitol F4062
1962	"Allo 'Allo 'Allo"/"Joi De Vivre" (soundtrack)	Capitol F4800
1963	"La La La La"/"It's Such A Happy Day "	Capitol F4933

Unreleased songs

The following songs were recorded for various LP albums, but not included in the final product. However, when the albums were released on CD, these songs were included as extras.

Sources for unreleased songs data

• Romantic Moods of Jackie Gleason CD, 1996
• And Awaaay We Go! CD, 1996
• Lover's Rhapsody CD, 2001
• Music to Remember Her CD, 2001
• Romantic Jazz CD, 2002
• Night Winds CD, 2005

LP record discography

#	Year	Title	Label and Number	U.S. Billboard 200 Chart
1	1952	Music for Lovers Only	Capitol H352 (10")	# 1 (153 total weeks within the Billboard Top Ten)[67]
2	1953	Lover's Rhapsody	Capitol H366 (10")	No. 1
3	1953	Music to Make You Misty	Capitol H455 (10")	No. 1
4	1954	Tawny	Capitol L471 (10")	No. 8
5	1954	And Awaaay We Go!	Capitol H511 (10")	No. 35
6	1954	Music, Martinis and Memories	Capitol W509	No. 1
7	1954	Melancholy Serenade	Capitol E532 (EP)	-
8	1955	Lonesome Echo	Capitol H627 (10")	No. 1
9	1955	Music for Lovers Only	Capitol W352	No. 7
10	1955	Music to Make You Misty	Capitol W455	No. 11
11	1955	And Awaaay We Go!	Capitol W511	No. 85
12	1955	Romantic Jazz	Capitol W568	No. 2
13	1955	Music to Remember Her	Capitol W570	No. 5
14	1955	Lonesome Echo	Capitol W627	No. 1
15	1956	Captain Gleason's Garden Band	Capitol E646 (EP)	-
16	1956	Music to Change Her Mind	Capitol W632	No. 8
17	1956	Night Winds	Capitol W717	No. 10
18	1956	Merry Christmas	Capitol W758	No. 16
19	1957	Music for the Love Hours	Capitol W816	No. 13
20	1957	Velvet Brass	Capitol SW/W859	No. 16
21	1957	Jackie Gleason Presents "Oooo!"	Capitol SW/W905	No. 14
22	1958	The Torch with the Blue Flame	Capitol SW/W961	# 2
23	1958	Riff Jazz	Capitol SW/W1020	No. 27
24	1959	Rebound	Capitol SW/W1075	No. 18
25	1959	That Moment	Capitol SW/W1147	No. 36
26	1959	Take Me Along (original cast)	RCA Victor LSO1050	-
27	1960	Aphrodisia	Capitol SW/W1250	No. 49
28	1960	The Actor's Prayer (spoken by Gleason)	The Marsalin Institute	-
29	1960	Opiate D'Amour	Capitol SW/W1314	No. 53
30	1961	Lazy Lively Love	Capitol SW/W1439	No. 57
31	1961	The Gentle Touch	Capitol SW/W1519	No. 62
32	1962	A Lover's Portfolio (two records in a "briefcase")	Capitol SWBO/SBO1619	No. 135
33	1962	Love Embers and Flame	Capitol SW/W1689	No. 103
34	1963	Gigot (soundtrack)	Capitol SW/W1754	-
35	1963	Champagne, Candlelight and Kisses	Capitol SW/W1830	No. 97
36	1963	Movie Themes – For Lovers Only	Capitol SW/W1877	No. 82
37	1963	Today's Romantic Hits – For Lovers Only	Capitol SW/W1978	No. 115
38	1964	Lover's Portfolio Vol. 1 (Music for Sippin' – Music for Dancin')	Capitol SW/W1979	No. 128
39	1964	Lover's Portfolio Vol. 2 (Music for Listenin' – Music for Lovin')	Capitol SW/W1980	No. 137
40	1964	Today's Romantic Hits – For Lovers Only Vol. 2	Capitol SW/W2056	No. 82
41	1965	Last Dance – For Lover's Only	Capitol SW/W2144	No. 131
42	1965	Silk 'n' Brass	Capitol SW/W2409	No. 141
43	1966	Music from Around the World – For Lovers Only	Capitol SW/W2471	No. 102
44	1966	How Sweet It Is for Lovers	Capitol SW/W2582	No. 71
45	1967	A Taste of Brass – For Lovers Only	Capitol SW/W2684	No. 200
46	1967	'Tis the Season	Capitol ST/T2791	No. 37
47	1967	The Best of Jackie Gleason	Capitol SW/W2796	-
48	1967	The Best of Jackie Gleason	Capitol Record Club SWAO-90601	-
49	1968	Doublin' in Brass	Capitol SW/W2880	No. 165
50	1969	The Best of Jackie Gleason, vol. 2	Capitol SKAO-146	-
51	1969	The Now Sound	Capitol SW/W2935	No. 200
52	1969	Irving Berlin's Music – For Lovers Only	Capitol SW106	-
53	1969	Close Up	Capitol SW255	No. 192
54	1969	All I Want for Christmas	Capitol ST346	No. 13
55	1970	Softly	Capitol SL6664	-
56	1970	Romeo and Juliet – A Theme for Lovers	Capitol ST398	-
57	1971	Come Saturday Morning	Capitol ST480	-
58	1972	Words of Love	Capitol ST693	-

• Discography courtesy of Tom Lowery (from his personal collection).

Compact disc discography

Year	Title	Label
1984	Lush Moods	Pair
1987	Music, Martinis and Memories	Capitol
1990	Merry Christmas	Capitol
1991	Night Winds / Music to Make You Misty	Capitol
1993	The Best of Jackie Gleason	Curb
1994	Shangri-La	Pair
1994	Intimate Music for Lovers	CEMA Special Markets
1995	Merry Christmas	Razor & Tie
1995	Body & Soul	Pair
1995	22 Melancholy Serenades	CEMA Special Markets
1996	And Awaaay We Go	Scamp
1996	How Sweet It Is! The Velvet Brass Collection	Razor & Tie
1996	Romantic Moods of Jackie Gleason (Two Disc Set)	EMI Capitol
1996	Thinking of You	CEMA Special Markets
1996	‘Tis the Season	Capitol
1996	The Best of Jackie Gleason	Collectibles
1999	Music for Lovers Only / Music to Make You Misty	Collector's Choice
2000	Best of Jackie Gleason	EMI Special Products
2000	Tawny / Music, Martinis and Memories	Collector's Choice
2000	Music, Moonlight and Memories (Three Disc Set)	Reader's Digest
2001	Lonesome Echo	Collector's Choice
2001	Music to Remember Her	Collector's Choice
2001	Lover's Rhapsody / And Awaaay We Go	Collector's Choice
2001	Snowfall	EMI
2002	For Lovers Only: 36 All Time Greatest Hits (Three disc set)	Timeless Media Group
2003	Plays Romantic Jazz	Collector's Choice
2004	Music to Change Her Mind	Collector's Choice
2005	Night Winds	Collector's Choice
2006	A Taste of Brass & Doublin' in Brass	Capitol
2007	Complete Bobby Hackett Sessions (Four Disc Set)	Fine & Mellow
2009	Take Me Along (1959 Original Broadway Cast)	DRG
2009	‘Tis the Season	Capitol
2011	That Moment / Opiate D'Amour	Dutton Vocalion
2011	The Torch with the Blue Flame / The Best of 'Oooo!'	Dutton Vocalion
2012	Movie Themes - For Lovers Only / The Last Dance - For Lovers Only	Dutton Vocalion
2012	Romeo and Juliet - A Theme for Lovers / Music Around the World - For Lovers Only	Dutton Vocalion
2012	Gigot	Dutton Vocalion
2012	Champagne, Candlelight and Kisses / Love Embers and Flame	Dutton Vocalion
2012	‘Tis the Season / Merry Christmas	Relayer Records

References

Sources

• Joel Whitburn Presents the Billboard Albums, 6th edition, ISBN 0-89820-166-7
• Whitburn, Joel (1991), The Billboard Book of Top 40 Albums (Revised and enlarged 2nd ed.), Billboard Books, ISBN 0-8230-7534-6 
• Additional information obtained can be verified within Billboard's online archive services and print editions of the magazine.

Further reading

• Bishop, Jim. The Golden Ham (Simon & Schuster, 1956).
• Metz, Robert. CBS: Reflections in a Bloodshot Eye. (New York, 1975).
• Bacon, James. How Sweet It Is: Jackie Gleason. (New York, St. Martin's Press, 1985).
• Weatherby, W.J. Jackie Gleason: An Intimate Portrait of the Great One. (Pharos Books, 1992).
• Henry III, William A. The Great One: The Life and Legend of Jackie Gleason. (New York: Doubleday, 1992).
• Meadows, Audrey. Love, Alice. (New York, Crown Publishers, 1994).

External links

Wikimedia Commons has media related to Jackie Gleason.

• Jackie Gleason at the Internet Movie Database
• Jackie Gleason at the Internet Broadway Database
• Jackie Gleason Discography at Space Age Pop Music
• Honeymooners at The Fifties Web
• Cavalcade of Stars 1950 episode at Internet Archive
• Jackie Gleason at Find a Grave

National Board of Review Award for Best Supporting Actor John Williams (1954) Charles Bickford (1955) Richard Basehart (1956) Sessue Hayakawa (1957) Albert Salmi (1958) Hugh Griffith (1959) George Peppard (1960) Jackie Gleason (1961) Burgess Meredith (1962) Melvyn Douglas (1963) Martin Balsam (1964) Harry Andrews (1965) Robert Shaw (1966) Paul Ford (1967) Leo McKern (1968) Philippe Noiret (1969) Frank Langella (1970) Ben Johnson (1971) Joel Grey / Al Pacino (1972) John Houseman (1973) Holger Löwenadler (1974) Charles Durning (1975) Jason Robards (1976) Tom Skerritt (1977) Richard Farnsworth (1978) Paul Dooley (1979) Joe Pesci (1980) Jack Nicholson (1981) Robert Preston (1982) Jack Nicholson (1983) John Malkovich (1984) Klaus Maria Brandauer (1985) Daniel Day-Lewis (1986) Sean Connery (1987) River Phoenix (1988) Alan Alda (1989) Joe Pesci (1990) Anthony Hopkins (1991) Jack Nicholson (1992) Leonardo DiCaprio (1993) Gary Sinise (1994) Kevin Spacey (1995) Edward Norton (1996) Greg Kinnear (1997) Ed Harris (1998) Philip Seymour Hoffman (1999) Joaquin Phoenix (2000) Jim Broadbent (2001) Chris Cooper (2002) Alec Baldwin (2003) Thomas Haden Church (2004) Jake Gyllenhaal (2005) Djimon Hounsou (2006) Casey Affleck (2007) Josh Brolin (2008) Woody Harrelson (2009) Christian Bale (2010) Christopher Plummer (2011) Leonardo DiCaprio (2012) Will Forte (2013) Edward Norton (2014) Sylvester Stallone (2015)

Tony Award for Best Performance by a Leading Actor in a Musical 1948–1975 Paul Hartman (1948) Ray Bolger (1949) Ezio Pinza (1950) Robert Alda (1951) Phil Silvers (1952) Thomas Mitchell (1953) Alfred Drake (1954) Walter Slezak (1955) Ray Walston (1956) Rex Harrison (1957) Robert Preston (1958) Richard Kiley (1959) Jackie Gleason (1960) Richard Burton (1961) Robert Morse (1962) Zero Mostel (1963) Bert Lahr (1964) Zero Mostel (1965) Richard Kiley (1966) Robert Preston (1967) Robert Goulet (1968) Jerry Orbach (1969) Cleavon Little (1970) Hal Linden (1971) Phil Silvers (1972) Ben Vereen (1973) Christopher Plummer (1974) John Cullum (1975) 1976–2000 George Rose (1976) Barry Bostwick (1977) John Cullum (1978) Len Cariou (1979) Jim Dale (1980) Kevin Kline (1981) Ben Harney (1982) Tommy Tune (1983) George Hearn (1984) No award (1985) George Rose (1986) Robert Lindsay (1987) Michael Crawford (1988) Jason Alexander (1989) James Naughton (1990) Jonathan Pryce (1991) Gregory Hines (1992) Brent Carver (1993) Boyd Gaines (1994) Matthew Broderick (1995) Nathan Lane (1996) James Naughton (1997) Alan Cumming (1998) Martin Short (1999) Brian Stokes Mitchell (2000) 2001–present Nathan Lane (2001) John Lithgow (2002) Harvey Fierstein (2003) Hugh Jackman (2004) Norbert Leo Butz (2005) John Lloyd Young (2006) David Hyde Pierce (2007) Paulo Szot (2008) David Álvarez, Trent Kowalik and Kiril Kulish (2009) Douglas Hodge (2010) Norbert Leo Butz (2011) Steve Kazee (2012) Billy Porter (2013) Neil Patrick Harris (2014) Michael Cerveris (2015)

Television Hall of Fame Class of 1986 Steve Allen Fred Coe Walt Disney Jackie Gleason Mary Tyler Moore Frank Stanton Burr Tillstrom

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