"Amateur's Guide To Love" didn't air in Atlanta either, and for
the same reason; WAGA pre-empted CBS at 4 PM. I do remember
watching the show in Birmingham, where it came on at 3.
Silverman never really liked game shows; it practically took an
act of Congress to convince him to put "Family Feud" on ABC,
yet it turned out to be the biggest new game of the '70s. He
also achieved some notoriety for his changes on "To Tell The Truth"
in its last year (1967-68) on CBS: a new set, a new Score Productions
theme song, allowing the audience to vote on the person they thought
was telling the truth, and replacing Tom Poston with Bert Convy (he wanted
to replace Peggy Cass with Joanna Barnes and used Joanna every chance he
got, but Mark Goodson put his foot down on that one; the good cop-bad cop
chemistry between Kitty Carlisle (good cop) and Peggy (bad cop) was like that
of Arlene Francis and Dorothy Kilgallen on "What's My Line?", something that could
not be duplicated with just anybody--remember that Dorothy was never replaced
on a permanent basis after her death, while Joanna was used many times on syndicated
"Line" but never became a regular panelist).
And the person who's really responsible for putting games back on CBS's morning schedule
was B. Donald ("Bud") Grant, as Silverman was occupied with primetime, putting on such
winners as "All In The Family," "M*A*S*H," Mary Tyler Moore, Bob Newhart, "Maude,"
"Barnaby Jones, "Kojak," "The Waltons," and Sonny and Cher. What turned out to be
his albatross at CBS was his penchant for spinoffs: "Rhoda" and "Phylllis" from Mary Tyler
Moore, "The Jeffersons" from "All In The Family," "Good Times" from "Maude." That was
a factor in CBS's slip from number one, but yet he did some of the same things at ABC:
"Laverne & Shirley" from "Happy Days" (he wasn't involved with "Mork & Mindy" since he'd
signed with NBC when Garry Marshall brought the idea to ABC), "The Bionic Woman" from
"The Six Million Dollar Man." His true weakness surfaced at NBC and proved to be his
Waterloo: while he could find just the right timeslot for an existing show, and could find
the strengths in a character (think the Fonz), he could not build a schedule from scratch,
and that's exactly what Paul Klein had left for him, having turned over four nights a week
to mostly movies and specials. He did click with "Real People," "Diff'rent Strokes," and
"Facts Of Life" (another spinoff); he had a budding winner in Barbara Mandrell's show until
she gave it up, claiming burnout; "Hill Street Blues" didn't catch on until the Tinker-Tartikoff
era.
Anyone interested in Silverman's career as a programmer should read Sally Bedell's "Up The
Tube."