Television and Movies
In the mid-1950s, Troup was one of three regular panelists (along with Mel Blanc and Johnny Mercer) in the game show Musical Chairs, a Bill Leyden-hosted quiz program that aired locally on Los Angeles television for two years before NBC broadcast it in the summer of 1955. On the program, the viewing audience was encouraged to submit questions about music in an effort to stump the panel. The Troup Group provided much of the music in the game show. He also served as host of the ABC show Stars of Jazz featuring various jazz luminaries, particularly those working in Hollywood.
While he relied on songwriting royalties, Troup also worked as an actor, playing musician Tommy Dorsey in the film The Gene Krupa Story (1959). He played himself in the short-lived NBC television series Acapulco. Troup made several guest appearances on Perry Mason, and on two appearances, including "The Case of the Missing Melody," showed his musical talents. Later he had a memorable cameo as a disgruntled staff sergeant assigned to driving Hawkeye and Trapper John around in Japan in Robert Altman's 1970 masterpiece M*A*S*H. (His only line of dialogue is a repeated exasperation, "Goddamn army!", later modified to "Goddamn army jeep!") In 1972, Jack Webb, who had previously used Troup in a 1967 episode of the television series Dragnet, cast him opposite Julie London in the US TV series Emergency!.
Emergency! was created by Webb, who had recently starred in a revival of Dragnet and was producing NBC's popular Adam-12. London and Troup had remained on cordial terms with Webb, who had used Troup (and his daughter Ronne) in episodes of Adam-12 as well as the revived Dragnet. On Emergency! Troup played Dr. Joe Early, one of the two emergency room doctors featured on the series, while London played head nurse Dixie McCall. He also made a cameo on "The Hardy Boys/Nancy Drew Mysteries", singing at the piano.
Read more about this topic: Bobby Troup
Famous quotes containing the words television and/or movies:
“Television ... helps blur the distinction between framed and unframed reality. Whereas going to the movies necessarily entails leaving ones ordinary surroundings, soap operas are in fact spatially inseparable from the rest of ones life. In homes where television is on most of the time, they are also temporally integrated into ones real life and, unlike the experience of going out in the evening to see a show, may not even interrupt its regular flow.”
—Eviatar Zerubavel, U.S. sociologist, educator. The Fine Line: Making Distinctions in Everyday Life, ch. 5, University of Chicago Press (1991)
“All television ever did was shrink the demand for ordinary movies. The demand for extraordinary movies increased. If any one thing is wrong with the movie industry today, it is the unrelenting effort to astonish.”
—Clive James (b. 1939)