Table Of ContentTim&Tom
Tim&Tom
AN AMERICAN COMEDY IN BLACK AND WHITE
Tim Reid and Tom Dreesen
with Ron Rapoport
The University of Chicago Press | Chicago and London
The University of Chicago Press, Chicago 60637
The University of Chicago Press, Ltd., London
© 2008 by The University of Chicago
All rights reserved. Published 2008
Printed in the United States of America
17 16 15 14 13 12 11 10 09 08 1 2 3 4 5
ISBN- 13: 978- 0- 226- 70900- 0 (cloth)
ISBN- 10: 0- 226- 70900- 0 (cloth)
Library of Congress Cataloging-in-Publication Data
Reid, Tim, 1944–
Tim and Tom : an American comedy in black and white / Tim
Reid and Tom Dreesen, with Ron Rapoport.
p. cm.
ISBN-13: 978-0-226-70900-0 (cloth : alk. paper)
ISBN-10: 0-226-70900-0 (cloth : alk. paper) 1. Reid, Tim,
1944– 2. Dreesen, Tom. 3. Tim and Tom. 4. Comedians—United
States—Biography. I. Dreesen, Tom. II. Rapoport, Ron. III. Title.
PN2287.R38A3 2008
792.702'80922—dc22
[B]
2008015674
o The paper used in this publication meets the minimum
requirements of the American National Standard for Information
Sciences—Permanence of Paper for Printed Library Materials, ANSI
Z39.48- 1992.
To Rita, for the greatest blessings in my life:
Tim II and Tori
To Amy, Jennifer, and Tom Jr.,
who paid the dues right along with me
Introduction
At the end of the quiet block in the San Fernando Valley, a
street begins its rise over a hill that leads down into the land of
dreams. Once Tim Reid and Tom Dreesen traveled that road in
fear and trepidation. Today they make the journey in comfort
and serenity. They have prospered in show business for more
than three decades now—no mean feat, ask anyone who has
tried—and they have done it on their own terms.
Reid has been an actor, producer, and director, on television
and in the movies. If there is a living human being who has ap-
peared in more television series than he has, Reid would like
to meet him. Walking down the street, he will still hear the oc-
casional shout of “Hey, Venus!” from someone who remembers
him as Venus Flytrap, the preternaturally hip overnight disc
jockey in WKRP in Cincinnati, one of the most beloved sit-c oms
from that genre’s golden age.
Reid also has the satisfaction, bittersweet as it is, of know-
ing that as the star and executive producer of Frank’s Place, he
helped create a show whose hilarious and loving depiction of
black life in New Orleans is as fondly remembered by its pas-
sionate fans as its untimely demise is regretted. Today, Reid
makes fi lms and documentaries at his own production studio
in Virginia where he chooses the historical and cultural themes
2 Tim and Tom
that mean the most to him. That is, he thinks, the only kind of
show business success that really matters.
Dreesen does exactly what he likes, too, just as he did when
he traveled the world with Frank Sinatra as the legendary sing-
er’s opening act during the last fourteen years of his career. He
hones his s tand-u p routines at comedy clubs in Hollywood,
then takes them on the road, often back home to Chicago. He
appears regularly on David Letterman’s late- night television
show, although their warmest conversations, about the days
when they were struggling young comedians, take place when
the cameras have been turned off.
Dreesen performs in clubs, at corporate functions, and be-
fore so many charitable groups that Jim Murray, the late sports
columnist for the Los Angeles Times, once wrote, “If you count
the benefi ts he has performed without a fee, he has contributed
more to charity than the Rockefellers.” He is a low- handicap
member of the celebrity golf tour, which features some of the
top entertainers and athletes in the country. “I tell jokes and I
play golf,” Dreesen says. “Life is good.”
Life is so good for both Dreesen and Reid that for years they
resisted the idea of revisiting the time when it was not. They
had an idea then—a sure-fi re, can’t-m iss idea that was certain
to make them rich and famous, to make them kings in the land
of dreams. Now, however, as they sit in Dreesen’s condominium
near the road that leads over the hill to Hollywood, they have
begun to look back, to try to come to terms with what went
wrong, and to wonder. Were they ever that young? Were they
ever that naïve? Did they really quit good jobs, abandon their
families, throw away all they had accomplished in overcoming
childhoods that would have strained the credulity of Charles
Dickens to form an i nter- racial comedy act?
“Do you remember what was going on in America then?”
Dreesen asks. “Vietnam. Race riots. Cities burning. Protests in
the streets. About the time we were getting our fi rst gigs in Chi-
cago, for instance, Fred Hampton was killed in an FBI raid on
Black Panther headquarters and police were using tear gas to
An American Comedy in Black and White 3
break up a race riot at my own high school. And here we were
thinking we could make a difference by telling jokes. We must
have been crazy.”
“It wasn’t going to happen,” Reid agrees. “We took on the
country’s hatreds and fears in many ways. There was just so
much pain in those days.”
But there was laughter and adventure, too. And there were
appreciative crowds, enough of them to keep Dreesen and Reid
coming back for more, to keep them chasing the one big break
they knew was just around the corner, to keep them from fac-
ing reality for almost fi ve years. It all seems so distant now, so
removed from who they are today. But as they remember the
struggle and the danger of those days, and the fun and the ex-
citement, they realize how much it has to say about where they
are now, and perhaps where their country is as well.
Here, then, is the story of Tim and Tom, the fi rst black and
white comedy team in the history of show business. And the
last.
