Kent McCord became a television icon as Officer Jim Reed on Adam-12, one of the most influential police dramas in television history. But long before Adam-12, Kent's life was already taking remarkable turns. In this episode of Still Here Hollywood, Kent shares never-before-heard stories about working with Jack Webb, the realism behind Adam-12, how the series became a training tool for police departments across America, and the surprising impact the show had on law enforcement. Kent also recalls his friendship with Rick Nelson, an unforgettable football game between teams organized by Rick Nelson and Elvis Presley, working on Elvis movies, being publicly recognized by Elvis in Las Vegas, and the heartbreaking days surrounding the deaths of both Elvis and Rick. It's a fascinating conversation about classic television, Hollywood history, friendship, luck, and a career that continues to resonate with audiences decades later. #Adam12, #KentMcCord, #JackWebb, #ElvisPresley, #RickNelson, #ClassicTV, #StillHereHollywood, #SteveKmetko, #HollywoodHistory, #Dragnet, #PoliceDrama, #TVLegends CHAPTERS 00:00 Intro 01:00 Why Everyone Called Him "Bucky" 01:39 Did Kent Know Adam-12 Would Become a Classic? 05:28 The Simple Formula That Made Adam-12 Work 07:04 Jack Webb and the Birth of Adam-12 08:15 Jack Webb's Famous Temper and Directing Style 15:52 Johnny Carson, Jack Webb and Comedy Gold 16:38 The Real Impact Adam-12 Had on Police Officers 18:14 Kent's Real-Life Encounters with Crime 20:13 Making Adam-12 Feel Authentic 23:28 Patreon Break 24:10 Becoming Friends with Rick Nelson 27:50 The Legendary Elvis Presley vs. Rick Nelson Football Game 33:43 What Elvis Presley Was Really Like 35:05 The Night Elvis Introduced Kent McCord in Las Vegas 37:16 Searching for Lost Elvis Footage 38:14 Life with Rick Nelson and Ozzie & Harriet 48:42 Luck, Persistence and Breaking Into Hollywood 50:04 The Day Elvis Presley Died 54:45 The Truth About Rick Nelson's Plane Crash 1:00:18 Did Adam-12 Show the Real Reality of Policing? 1:00:55 The Miranda Warning Story 1:02:20 Why Adam-12 Was Different From Every Other Cop Show 1:05:25 Looking Back on a Lifetime in Hollywood 1:06:30 The Day Ozzie Nelson Saved Kent's Life 1:08:55 Martin Milner and the Friendship Behind Adam-12 1:10:51 Why Adam-12 Still Airs Today 1:11:25 Closing Credits
Kent McCord became a television icon as Officer Jim Reed on Adam-12, one of the most influential police dramas in television history. But long before Adam-12, Kent's life was already taking remarkable turns.
In this episode of Still Here Hollywood, Kent shares never-before-heard stories about working with Jack Webb, the realism behind Adam-12, how the series became a training tool for police departments across America, and the surprising impact the show had on law enforcement.
Kent also recalls his friendship with Rick Nelson, an unforgettable football game between teams organized by Rick Nelson and Elvis Presley, working on Elvis movies, being publicly recognized by Elvis in Las Vegas, and the heartbreaking days surrounding the deaths of both Elvis and Rick.
It's a fascinating conversation about classic television, Hollywood history, friendship, luck, and a career that continues to resonate with audiences decades later.
#Adam12, #KentMcCord, #JackWebb, #ElvisPresley, #RickNelson, #ClassicTV, #StillHereHollywood, #SteveKmetko, #HollywoodHistory, #Dragnet, #PoliceDrama, #TVLegends
00:00 Intro
01:00 Why Everyone Called Him "Bucky"
01:39 Did Kent Know Adam-12 Would Become a Classic?
05:28 The Simple Formula That Made Adam-12 Work
07:04 Jack Webb and the Birth of Adam-12
08:15 Jack Webb's Famous Temper and Directing Style
15:52 Johnny Carson, Jack Webb and Comedy Gold
16:38 The Real Impact Adam-12 Had on Police Officers
18:14 Kent's Real-Life Encounters with Crime
20:13 Making Adam-12 Feel Authentic
23:28 Patreon Break
24:10 Becoming Friends with Rick Nelson
27:50 The Legendary Elvis Presley vs. Rick Nelson Football Game
33:43 What Elvis Presley Was Really Like
35:05 The Night Elvis Introduced Kent McCord in Las Vegas
37:16 Searching for Lost Elvis Footage
38:14 Life with Rick Nelson and Ozzie & Harriet
48:42 Luck, Persistence and Breaking Into Hollywood
50:04 The Day Elvis Presley Died
54:45 The Truth About Rick Nelson's Plane Crash
1:00:18 Did Adam-12 Show the Real Reality of Policing?
1:00:55 The Miranda Warning Story
1:02:20 Why Adam-12 Was Different From Every Other Cop Show
1:05:25 Looking Back on a Lifetime in Hollywood
1:06:30 The Day Ozzie Nelson Saved Kent's Life
1:08:55 Martin Milner and the Friendship Behind Adam-12
1:10:51 Why Adam-12 Still Airs Today
1:11:25 Closing Credits
Steve Kmetko
I'm still here, Hollywood, and coming up on today's episode. When television was defining what realism looked like, one series quietly changed everything. It didn't rely on over-the-top drama or flashy storytelling. It focused on authenticity, procedure, and the everyday lives of police officers on the streets of Los Angeles, week after week, audiences rode along and believed every moment. At the center of it all was a young officer, whose calm presence and grounded performance helped make the show iconic. And decades later, that legacy still resonates. This is Still Here, Hollywood. I'm Steve Kametko. Join me with today's guest from Adam 12, actor Kent McCord. I'd like to welcome our guest today. You may recognize him as Kent McCord, but he told me on the phone that he's always been known as Bucky. Bucky, welcome. Well,
Kent McCord
thank you.
Steve Kmetko
Where did Bucky come from?
Kent McCord
Bucky came from when I was a, when I was a baby. My mother used to sing me to sleep, to go to sleep my little buckaroo, and my name became Bucky up until I was in, I can't remember what grade, but I remember the teacher saying, 'You must have another name. I refuse to call you by that name that they use in the field in Kent, then began getting used, but everybody around my family and my friends growing up and everything, I was bucky
Steve Kmetko
when you look back. Did you have any sense while making Adam 12, which was a huge hit,
Kent McCord
that
Steve Kmetko
it would become such a defining show for its time.
Kent McCord
Well, we kind of had a sense of it. See, I got to tell you, you know, when we were first of all, when we started doing the show, Jack Webb called Marty and me into his office, and he said, You guys are joining a very small fraternity, don't embarrass them, and don't embarrass yourselves. If something happens in relationship to law enforcement, buy whatever it is, because it'll go through this department like wildfire if you try to talk yourself out of a ticket or anything like that, and, and so Jack kind of talked about the influence that it was going to have in that sense, but we were, we were probably on the air for three four months, and we were shooting up in North Hollywood Park, and, uh, and two guys in black and white on duty pulled up and they walked over to where Marty and I were standing in between takes and they said we really like the show and one of the guys looked at me and he said but you're really making it rough on us and I said why is that he said we have to live up to your image and I said good you know, I mean, this is 1968 This is, you know, cops are pigs. Vietnam is going on. The front line of the establishment was uniform law enforcement. You'd had the Chicago police riot during the national convention, and and then another guy that always sticks in my mind. He was a motor officer, and he worked with us as, as crowd control and stuff. And Ron came up to us, and he said, you know, I can mark the difference pre Adam 12 and post atom 12. Post Adam 12, kids are talking to us, and when we were shooting, the show was contained on the back lot in the early part of the of the show, and then we were out on the street, you know, much more than than many other shows at this time, and we were always, of course, recognizable, because here's this film crew with this black and white, and and we would shoot during the summers, and we would have multitudes of kids, you know, around the production, and you got a sense that, you know, the kids love the show, and we never shot the show for kids, but it became a huge success with kids, so in that sense, you know, the fact that police officers looked at the show, and by the way, every day we shot, we had a technical advisor with us. He wasn't there to talk about the content of the show, he was there to say, when you get out of the car, put on your hat, which was a thing with Marty and me. We hated the hat, but put on your hat. You put in your baton when you're approaching this car, you would approach here, and Marty would approach on the driver's side, and in all of those technical aspects was what that technical advisor was there to do. And and as a result of that, Universal was bicycling 16 millimeter prints all over the country to police departments that were using the show for training, and and you know that that didn't happen with a lot of shows.
Steve Kmetko
No, that's got to be kind of gratifying.
Kent McCord
Yeah, it was absolutely
Steve Kmetko
tells you you're doing the right thing,
Kent McCord
yeah, yeah, yeah, and, and you know, the show had a moral to it, crime doesn't pay,
Steve Kmetko
still doesn't,
Kent McCord
still doesn't, you know, something trying to get away with it, you know, but, but you know, the simple premise of Adam 12, and a lot of people, a lot of people didn't quite get the simplicity of the show, Bob Senator, who created Adam 12 for Jack Webb's company, said the show is this: two police officers in a black and white in the streets of Los Angeles doing what two police officers in a black and white in the streets of Los Angeles would do in the, you know, and that's what we did, so consequently, when a writer would come in, they had a chart, 211 459 you know, whatever, the whole, we haven't had a liquor store hold up or a bank robbery in a number of episodes, and they would tell a writer, find something, and the writer would get assigned to a police officer and go out in the field and find stories like somebody had his lawn stolen, that was in the LA Times, and we arrive on the scene, and the guy's beating the hell out of the ground where his dichondro lawn had been stolen, simple stupid things like that, you know, but that was in the LA Times, and that's the way that the show was, basically, you know, it was, it wasn't a documentary, it was, you know, a lot of dramatic license, but you know, simple to the tragic, you know, lost kid that we find, lost kid that we don't find kind of thing.
Steve Kmetko
You mentioned Jack Webb doing this for his company. He, of course, was famous for Dragnet for so many years. How involved was he in the show?
Kent McCord
You know, the truth of the matter is Bob Senner took the premise to Jack, and Jack said, "Who in the hell be interested in two guys in black and white, and Bob said, "Trust me, this will work. And Bob was a genius, Bob Senator. He was also involved in emergency, and he was, you know, he did Julia over for Al Kanter, over with Diane Carroll, and Diane Carroll, a lot of things. Bob went back to running Red Skelton Studio when he owned A and M, which is now the Muppet Studio, you know, at La Brea,
Steve Kmetko
right,
Kent McCord
Sunset, and, and you know, Bob had done a lot of research, a lot of writing around, and, and I had, I had gone under contract to the studio in 1965 and Jack had done a pilot to bring Dragnet back, and I played a hotel clerk in that two hour of the movie week to bring Dragnet back, and then you know that that was it. Then I got hired to work on, I think it was third or fourth half hour once the show got picked up, and I played a uniformed police officer for the first time, and we were doing a doing a scene that was very difficult, and Jack, as a director, was very exacting. You did what he wanted to do, or you didn't work for him. He would give you line readings, he would tell you how to look, he'd say, 'Raise your arm here and point this way, or something like that, and, and I was this policeman working a detail down the street, and I have a scene where I walk and knock on a door where Jack and Harry are inside of a building looking at a box of dynamite, and, and I say, Sergeant Friday, and he says, Yeah, and I say, I'm Officer Martin, I'm working the detail, and he, he's walking to me during this period of time, and we had done that scene, I don't know how many times, 1011, times, and they couldn't get the head end of it, Jack was getting real antsy about it, and finally we get the scene in total. And then he asked the cameraman, was the kid on camera when he introduced himself, and of course I wasn't. And in the cameraman said no, and Jack said, Okay, this time when I, when you knock on the door and say, Sergeant Friday, wait till I walk over to you before you introduce yourself, then I can cut in and get a close-up of your mug, so your mother can see who you are. Never forget that moment. And so we go to do it again, and I do the same thing that we'd been doing for those 10 times, or whatever it was, and he cuts and he starts yelling. That, and at this point in time, I was under contract at Universal, but I was making more money bouncing in a bar than I was under contract at Universal, and Jack just, you know, I just kind of swallowed my pride in my young maleness, and I went, well, I better let him get a get away with this, and now we do the scene, and we get it, and we, we cut in for close-ups. Jack used teleprompters, and now somebody like you, with your background, you're trained in it, you know. Actors aren't trained in teleprompter, some are. Ozzie Nelson used teleprompters where I started, but he didn't make anybody else use them. They were there if you wanted them, but Jack insisted that other actors use teleprompters, and because it did what Jack's goal was, which was to kill performance, and Jack's favorite line, favorite direction to an actor was, "Don't act, just say that effing line, and he wanted that flat delivery. So, anyway, we get the scene finally, the master, and now we're cutting in for close-ups, and Jack puts a teleprompter here for Harry and a teleprompter here for him, and he moves away around the other side, and now I do the thing, Sergeant Friday. Yeah, and my head goes this way. He goes, 'God damn it, cut. He said, 'Listen, I'm going to help you out, Harry, and I'll move around by the teleprompter, so we don't throw your look. And so now we're doing the scene, and I get into the thing, and Jack nudges Harry, and he says to Harry, fucking kid's real, isn't he? And I hear that, and I blow the line. He goes, 'Cut, god damn it, let's get this seat done. But that was the instant Jack Webb fell in love with me. I know it, because then he had a three character show written for me called The Interrogation, and there's a four minute what we came to call from Jack a Jesus speech in it of what is a cop that got read into the Congressional Record, and that was a speech to me, and during that time was when Bob Senator was researching Adam 12, and basically, at that point I was going to be the rookie cop in that show, so Jack, you know, it was his company, he directed the pilot, he filled in for half a day for a director who had a court date, he would show up at the beginning of production, and when we start a new season, come down sometimes for the Christmas break, sometimes for the end party, for those seven seasons, and so Jack's involvement wasn't, wasn't that hands on. He had other things going on at one time, he had five shows on network television that he was dealing with, and you know, but he was, he was such an interesting guy. He and I were polar opposites as far as politics were concerned, and, and you know, Jack loved big band music. He had a, he had a bar room in his house in Encino that was unbelievable, had a fantastic bar, had a 35 millimeter projector in
Steve Kmetko
it,
Kent McCord
and and had a music set up in the thing that I swear, handmade, handmade speakers that were about as large as a door on each side of this thing, and I remember buying the Beatles album, Let It Be, just to go over there and play that thing on that with a volume up, and you know, but he was a, he was a wonderful man, loyal to a whole group of performers, if you watch Jack Webb Productions. productions, you'll see the Olin Soules, the Stacey Harrises, the Virginia Grays, great character actors that go back to when Jack was at Warner Brothers and the original Dragnet, and the original Dragnet movie, which was the first television show to be made into a major motion picture, and you know, and he had that whole cast of characters around him his entire career, and basically it was because Jack didn't have to convince them, you know, that this is the way I want it, they knew what Jack wanted, and they could give it to him in a heartbeat, I mean, we shot, and I just found this script. It's an.. it's on onion skin. It is the interrogation show. It was three characters. It was 39 pages, and we did it in a day and a half. 39 pages, that's a lot. That's a lot. Know, we had, we did a master, we did a half a day of walking in and entering and exiting the interrogation room, getting to a position, and then the next day we ground out 39 pages, and Jackson, you know, when Jack sent me that onion skin with his writing on it, he said, he said, "Don't worry about it, kid, we got it on teleprompters, and that was that was no consolation. So we show up that first morning to do that, and Jack says, "I'm going to help you out here. We're going to do all the Harry's and my stuff first, so you'll have a chance to have gone through it all these times, you know. And that was, you know, I see that show every now and then. It was, you know, it's three people in a room talking for, for 26 minutes, or whatever it was. So,
Steve Kmetko
Jack was known for his delivery,
Kent McCord
yeah, yeah, very even, very, very dry, and, and he had that wonderful,
Steve Kmetko
no inflection, really.
Kent McCord
Yeah, and that's what the teleprompter did.
Steve Kmetko
Well, also I can recall him being spoofed on many shows. Yeah, he used to be on Carson, used to impersonate him all the time.
Kent McCord
Carson and Jack did that wonderful, you know, Claude Clapper from Cleveland, and his copper clappers, you know, hitting that whole spiel that went on forever and ever, and Carson, and he just pulling each other back from breaking up, you know, it's wonderful.
Steve Kmetko
Does anybody ever come up to you today and say one atom 12, one atom 12?
Kent McCord
You know, I've been out doing personal appearance to do the conventions and things like that, get an inordinate number of past, present, and future police officers come up to say hello, and that Adam 12 or Marty or me were the reason that they became police officers, and my general reply to them is, keep your sense of humor, you know, I mean, it's a tough job, I wouldn't want to be doing that job today, I'm sorry, but right today, in this, it's, it became worse and worse because of what's going on on a national level,
Steve Kmetko
more and more and more dangerous.
Kent McCord
Well, more and more dangerous, but the respect that had been built over decades, you know, just got thrown out the window because of an aggressive, I think unjust application of controlling our borders, and in people who have been here for decades, you know, whether they're DACA or whatever they are, you know, and I think that the way that that has been approached in a most unprofessional manner, and it reflects on all of law enforcement. It goes back to what Jack Webb said to Marty and me at the very first time, you know, you're joining a very small fraternity, don't embarrass them, you know, and when you have, you know, older women being taken off the street because they're at a food cart, you know, in front of a Home Depot or something, and stuff like that, it's not right, you know, it's not right.
Steve Kmetko
I did a couple of ride-alongs when I was a reporter for CBS out here, a general assignment reporter, and I remember this one time I got in the car and we went, you know, took off and went straight for the neighborhood I lived in. It was, it was a real eye opener. Yeah, because we were supposed to be doing, you know, drug stuff, drug bust of some kind, but I just remember, what are we doing in this neighborhood of all places?
Kent McCord
I've done a lot of ride-alongs at a point because of a burglary that had happened. Actually, it would have.. it was a robbery because my wife and my three children were home when it occurred, and I caught one of the guys in a foot race and turned him over to the police, and then we didn't know why they picked my house at that time, but when we were doing the show, the same thing happened. I mentioned to you earlier that that Rocky and I, my wife Rocky, and by the way, her nickname is Rocky, her real name
Steve Kmetko
Rocky, and Bullwinkle, Rocky and Bucky,
Kent McCord
Rocky and Bucky, and her name is Rocky, because when she was a baby, she'd get up on her haunches and rock back and forth, and every baby picture of her has Rocky written on it, up and you know, up and through, but, but anyway, when we were living at Harriet Nelson's mother's house, we got burglarized, and I found some of my burgled stuff. I went looking for it, and I found it, and I had to go into court, and it interrupted a day of shooting on Adam 12, and they said, "We got to get Kent up. Of those cars, because we're going to blow the shooting schedule if he gets involved in something really, you know, heavy,
Steve Kmetko
yeah,
Kent McCord
and as a witness to something, so they, they stopped me from riding around.
Steve Kmetko
What was the biggest challenge in making the show for Feel Real instead of TV Real?
Kent McCord
Well, you know, I'm not sure that I understand the distinction, you know.
Steve Kmetko
Well, you know,
Kent McCord
illusion of reality accidentally caught as the highest achievement of the form. Let's put it that way. So, when you're in make-believe, you know, you're always striving to create a reality, and, and Marty, I was assigned a guy from North Hollywood, a man named Mike Waters, and I rode around with Mike a lot. Marty had another guy named Lou Bobbitt that Marty rode around with a lot, so we soaked up a lot of that, that right along that you had, we did a lot of between the pilot of Adam 12 that was shot in September of 1967 and then those old days of the selling a show was you shoot pilots, they go back for the upfronts in in New York and all the studios and you know they have all the goods and the wares and all this stuff that they were trying to sell and you would probably get sold in February or March and then you start prepping the show and then we began shooting in in in July of 1968 so between that September of 67 and that July, Marty and I put a lot of time in the cars after we got, after we got the sale after that February, and then you know, so we got a chance to really absorb what the reality of it was, and you know, and we're just two guys in black and white, like Bob Senator set the premise to be, and that was the and then and then that technical advisor to give us that that sense of how to approach something and and you know there was another guy that came up to me and I'm recalling this that he came, he said, "I want to thank you, and I said, "For what? He said, "You probably saved my life. I said, "How did I do that? And he said, "The way I was doing the job, it was probably only a matter of time before somebody was going to blow me up, but I started emulating the way you do it, and you probably saved my life. I want to thank you, and it was things like that, you know, and that continues. I was just in Pittsburgh a couple weeks ago, and, and not there were probably three or four guys that made the trip from like Ohio or Minneapolis down to Pittsburgh to say hello to me, and I was the show, or Marty, were the reasons that he became a policeman, and these are guys with 3030 year careers that we had that conversation about how it's changed. We'll be back in a moment.
Steve Kmetko
If you'd like to be more involved with us at Still Here Hollywood, you definitely can. Just visit patreon.com/still Hear Hollywood. You can support us for as little as $3 a month. You can get our episodes a day before they post anywhere else. You can see what guests will be coming up and submit questions for them. You can even tell us what stars you want us to have on as guests. You'll see what goes on before and after the episode, plus exclusive behind the scenes info, pics, video, and more. Again, that's patreon.com/still Here Hollywood. You were also very good friends with Rick Nelson.
Kent McCord
Yes.
Steve Kmetko
How did you two come to meet?
Kent McCord
I was just finishing my freshman football season at Citrus Junior College in Azusa, Southern California, and my parents had moved away from our hometown when I was 15. I went to stay with my parents for in Hemet, about 100 miles from my hometown of Baldwin Park, California, and I worked with the Braceros that summer, picking apricots, some of the hardest work I'd ever done. I was probably 622 35 at 15, and I'm working with these Bracero. Arrows, and if people don't know what the Bracero program was, it was to bring up migrant workers into the into California during the picking seasons, and everything, and these people worked their butts off, and, and you know, it was some of the hardest work I did, climbing a ladder, picking apricots, and it was a thing where you could only pick an apricot that has started to turn kind of, you know, orange, and, and so you had to leave everything green up there, and I'm up there, I'm going like this into a like a five gallon drum with a leather strap over it, and I'm picking like this, and these guys are going, you know, and they're filling this, and they're down, and it was, I think, we were getting something like 75 cents a flat that you'd fill up a wooden box flat, and you'd pour these things, and then back up the ladder. Anyway, at the end of that summer, I said to my mother and father, I don't want to stay here. My friends are back, and, and they, they let me go, you know. It's one of the things I credit my parents for. They had enough trust in me. I had started working for my dad when I was 10 in his gas station, and so I already started working in a gas station when my dad's gas station went down because they put in the 10 freeway and didn't give him an off ramp. He lost that business. I then started working at an airport called Brackett Field, that's out near the LA County Fairgrounds in Pomona, and I worked in at Brackett all through high school, pumping gas and things, but I finished high school. I went to Citrus, because I didn't have grades to get into the four year institutions that were rushing me as a football player, and at this point I was living with a family. When I went back to Baldwin Park at 15, I lived with several different families, and I was living with a family. Their son was also a high school teammate of mine. We were captains on the football team, and he had gone to UCLA, and he pledged to be a Phi Sci fraternity, and one of his fraternity brothers was a really good friend of Ricky Nelson's man named Forest Stewart, who was a fabulous tennis player, and by the way, Ricky was one of the top ranked 16 year old honors in tennis. As an athlete, Ricky was very, very good. I knew none of this at this point. All I knew is that one day Mike, Mike Hafner was my friend's name, and I was living with his family, and Mike came home from UCLA. He had just finished his freshman season at UCLA, and he said, "We're going to play a touch football game coming up. Do you want to play? And I said, "Sure, who's going to play? And he said, well, we're going to play on a team that Ricky Nelson's putting together, and I said, "Oh, really, yeah, and he said, "And we're going to play a team that Elvis Presley has, and I went, "Oh, yeah, Mike, let me know when that happens. And so, a couple weeks later, Mike comes home, and he says, "You know, the game I told you about, we're going to play it tomorrow, but tonight we're driving into Hollywood to meet Rick, and we drove into Hollywood, and Ricky was living just off of Mulholland at that time, and we went to his house, and we talked about, you know, the game and plays that we could, could do, and, you know, there's basically sandlot stuff, but and the next day I drove into UCLA and we all congregated at the Fisai House, all the Ricky Gang team in Forest Stewart had helped put this together with Mike, and so now we've got me, I just finished my freshman season. We have Mike Hafner, who broke all of a famous UCLA football player named Paul Cameron. All of his freshman records in those days, freshmen couldn't play varsity football in college. You had to play a freshman season with it with freshmen, and and Mike had set all those records. We had wide receiver named Mel Profitt tailback that not a tailback, Mitch Demkitch was a blocking back on UCLA team. We had Ricky, we had Jim Stacy, who worked on Ozzie and Harriet, and was married to Connie Stevens, for those who remember who Jim was, and you know, and so now we caravan over to this little park called Deneve Park in Bel Air, and it's, it's not a big park, I mean. And we're there early in the morning, if I remember right, it was around 9o'clock in the morning when we started this. This was February in 1961 and pretty soon Cadillac and rolls with some Cadillacs following our Elvis and his guys show up and they come out and we start playing, and that game in the beginning was just us, you know, the players there, and then word of mouth started getting out, and more and more people started showing up.
Steve Kmetko
No kidding,
Kent McCord
and and I often think about, you know, the funny thing about that game is I have never seen a still photograph from it. The only thing is word of mouth, me talking about it, Red West, who was Elvis's best friend, talking about it, Sonny Red's cousin, you know, we could all talk about it, but if it had occurred today, by the time we ended that game, I bet there were five, 600 people surrounding this little park, but I remember Pat Boone was there with Shirley and the girls, I met Jody McCray that day, all these people who showed up to watch this this football game, and we played until it got too dark. They sent out for soft drinks.
Steve Kmetko
That's a long game. If it started at nine in the morning,
Kent McCord
morning, remember, it was, it was summer, it was winter time, so the sun went down about five, 530 and and they didn't want to quit, and and Red West and I became friends in Red and Sonny, Sonny and I studied in the same acting class together, and in Red and I worked together on a movie that I did down in Memphis called A Woman's Story in 1998 or nine, but Red and I stayed in touch, and Red called me, and it was maybe.. and I didn't know Red was in physical trouble at the time, but he called me, and he said, I want to, I want to know about that football game, and I said, what about it? Red, we won. He said, yeah, but it wasn't by much. And I said, no, but we won. And he said, were there Rams playing on that on that team? And I said, no, we didn't have any Rams. Ricky was rooming with a man named Charlie Britt, who I still talk with, and Charlie was a defensive back with the Los Angeles Rams, and his season had ended, and he had gone back to Georgia, so there were no Rams, and I said, but we did have Mel Profit, we did have Mitch Dem Kitch, we did have me, we did have Mike, you know, and we had a pretty good team, and there's a couple accounts of it, and in Sunny West's book, he's got a good account of it, and you know, and so that was the beginning of my friendship with Rick, and Ricky invited me over to the set, and I went over, I was, I had a three day class schedule, then I wasn't married yet, I was 18, I didn't get married till 19, and I had a three day class schedule, so on Tuesday and Thursdays I'd go over, and then Oz started putting me to work, and and that's the way that it all triggered. Then I wound up standing in for Ricky and doing a role as Kent, one of the fraternity guys on for five seasons, you know, I worked on that show
Steve Kmetko
on Ozzie and Harriet,
Kent McCord
Ozzie and Harriet.
Steve Kmetko
Before we go further, what were your impressions of Elvis?
Kent McCord
I thought, you know, Elvis, I got a chance to work, not only meet Elvis there, in that was really, we didn't show him around or anything that day, but then I picked up, I think it may have been Viva Las Vegas. Was the first location I ever went on to Vegas, and I did Viva Las Vegas, I did Roust About, I did Kissing Cousins, I did Frankie and Johnny, I did Girl Happy, and Elvis was just a guy, and you know, I think one of the things about Elvis, what.. what happened were a lot of us guys who had been ballplayers wound up on all the films, and I think Elvis really enjoyed being around the guys, his guys, as well as those guys who didn't care that he was Elvis, you know, who he would throw the ball around and things like that, and that was, that was, I think, the way that, you know, that he just wanted it. Be he didn't want to be the center of attention at that I know that closing night in Vegas I had seen Elvis, he was shooting change of habit at Universal and I was doing Adam 12 and for those people who know Elvis's affinity for law enforcement and badges and things and guns, I wind up on a show called Adam 12, playing a policeman, and so my wife and I went up closing night of his first stay at the International in Vegas, and it's closing night, and it's the drinks only performance. The earlier is the dinner show, the last show of the night is the drinks only. Neither my wife and I drink, and but we, we had like it was like two splits of champagne or something that they put on, you know, two two glasses of champagne for each, and we're at the end of the stages over here, and we're at the end of the long table facing the stage, and Elvis gets to the part in the in the show where he introduces the band and he introduces the people who are out in the audience and then he introduced me and he talked about this young guy who had worked on his movies and was now doing a television show called Adam 12 and ladies and gentlemen, Kent McCord, and I wish I hadn't had a sip of that wine, so I could have enjoyed it better, but you know it was, it was a wonderful moment, you know, that to get that acknowledgement in that room, that big showroom
Steve Kmetko
from that man, from
Kent McCord
that man, yeah, yeah, and then we went to the after party and everything, I met Priscilla that night for the first, for the first time. I don't think she would remember it, but you know it was, it was, you know, really a neat thing to have happen.
Steve Kmetko
Yeah, it's a nice memory to have too.
Kent McCord
Yeah, it is. Yeah,
Steve Kmetko
and,
Kent McCord
and by the way, again, you know, there's so much that has been done. There's a guy that wrote a has written a lot about Elvis, an author named Bill Brown, and, and I said to Bill, you know, they're they play these things on, on Sirius, on the Elvis. I said, see if you can find, did anybody record that? And he put the word out, but nobody's come up with it, but I'm doing Elvis week in August this year. They've invited me back, and so I'm going to again dig and see if there is that sitting around somewhere, because I would love to have.. I don't think there would be a video of it. There may be, you know, that Brad Slurman just found, you know, all those hours in a salt mine, and in Kansas,
Steve Kmetko
right.
Kent McCord
And so it would be fun to have if it's there.
Steve Kmetko
We'll be right back. Where does Ricky fit into all this
Kent McCord
in
Steve Kmetko
you? because I, I'm having trouble wrapping my head around Elvis Presley, you, Rick Nelson on a football field together. Yeah, and then Rick Nelson was a huge heartthrob, yeah, as was Elvis, as were you, all those leaders. all sit on one football field,
Kent McCord
yeah, you know, and
Steve Kmetko
there wasn't a competition,
Kent McCord
no, there wasn't a competition, you know, at that, at that point, my, I finished my freshman season, I was around 240 you know, I was looking at football, I wind up getting the bet, there's some funny things that we do on Ozzie and Harriet, because I'm still playing football and picking up Jim Stacy, like, and with the guy who played Wally, Skip Young, funny, funny, funny man, and, and you know, and I walk into this situation where the show, at that point, was in its 10th season in this well-oiled machine at stage five over at General Services Studio at 1040 North Las Palmas is the address of that studio, and it's just this whole home atmosphere that basically spoiled me, because you saw what, how wonderful a work situation can be, and, and, and we basically, Marty and I basically had that on Adam 12, that atmosphere, because he, when all the work that Marty had done. In his life, starting at 13 with Life with Father, and the films that he had done, from Sands of Iwo Jima to, you know, Sweet Smell of Success, to the great film career that Marty had in the series, groundbreaking series Route 66 that he had done, Marty knew what a well-oiled crew and harmonious crew was like, and I certainly had that, you know, with those years influencing me on Ozzie and Harriet, but I had, I had traveled with Rick on the road, Ricky had an ex-UCLA All-American LA Ram, a man named Jack Elena traveled with Ricky as security, and I kind of took over for Jack. Problem was, I was only 18, and Jack was an adult. Jack was, I think, probably 30 or something like that. I know. When Rick went to Japan, Ozzie said we're going to let Jack go to Japan, and, and, but you know, so I started, you know, with Rick, and for a short period of time, Rick and Charlie and I roomed together. My wife was at the University of Santa Barbara for her freshman year, and I knew that she and I were going to get married. I had gone in 1962 to the University of Utah on a football scholarship, and it didn't exactly work out for me. It's real tough to take a California kid out of California, put him in an environment where our first red white inner squad game gets snowed out in April in Utah at 5000 feet, and and so at the end of spring of 1962 I went to the coaches, and I said to the to the coach, I said, Listen, we don't shoot Ozzie and Harriet during the summertime, can you get me a job? And they said, We can't do anything for you in California, but we can get you a job in the Kennecott Copper Mine, and the Kennecott Copper Mine in Utah is the biggest open pit mine in the world, and it's one of those things where they'd have tractor wheels that would go up to the ceiling and they bring up this ore winding around this massive hole in the ground, and for a buck 75 an hour working at 5000 feet in the summertime, in heat, I went.. I don't think so. And I came home knowing that I wasn't going to go back to Utah, and I went over and met with a coach who had been an assistant coach and had been my contact guy when I was in high school at USC, a man named John McKay, legendary coach, right, and I met with Coach McKay on a Saturday, and I met him over at the university in his office, and I walked in, and he said, before you say anything, you have to be sure about what we're going to talk about, because I've got to report it to Ray Dale, the head coach at Utah, and to the NCAA, that we had this contact, and I said, 'No, Coach, I made a mistake going to Utah. This is where I've always wanted to be, which was true. And, and he said, 'Okay, go back to junior college, play, and you'll come in here as a, as a junior. Well, I went back to junior college, I got my degree. USC won the national championship. McCabe basically never talked to me again. So I walked on for spring of 63 at USC, and anyhow, Rocky and I had been married in july 14 of 1962 so we've got 64 years coming up in a couple months, and and so I was doing the show when I could, I was going to school, we were managing the apartment building that I, that I, that we lived in, Rocky was taking care of the laundry room, and I was mowing the lawn and painting the interiors if they needed it, when somebody would move out, and we were collecting the rent, and that was an apartment building at 62nd and Crenshaw and on 10th Avenue, and and so we were there, and basically living rent free, and when the spring ended, and it didn't go the way that I wanted, I went. I'm going to make a decision here, and I think I'm going to stop chasing football, and I lost like 70 pounds from my football weight, and I walked into Universal Extra Casting one morning, and a man named Bob Thompson, who went on to direct, and everything. He directed a thing called the Paper Chase, and Bob was a wonderful man. And then I walk into the extra casting window, Universal, and I go, Bob had his back turned, and Kent, Bob, and he turned, and he looked at me. He said, "Can't who? And my real name is McWhorter, you know that. And I said, "McWord, our asshole. He said, "Can't what have you done? I said, "Well, I'm not chasing football anymore. He said, "Listen, I'm moving up into new casting here, into new talent. Would you consider putting a scene together to screen test here. I said absolutely, so that then opened that door, and I got to screen test, and they signed me to one of those long-term seven year contracts, and like I said, during that period of time, I was bouncing in a bar, making more money than I was under contract at Universal, and you know, but through that whole period of time, I was doing The Adventures of Ozzie and Harriet, Ricky married Chris, and it was Chris Harmon, Mark Harmon's sister, and, and you know, from a very famous family, Tom Harmon, Heisman Trophy winner, newscaster, and and Elise Knox was her mother, and who had been an actor, and so all of that whole thing was going on, Ricky, when he married Chris, decided to step out of the off the road, because he, they were going to have Tracy,
Steve Kmetko
right,
Kent McCord
and he wanted to be a family man, I mean, he'd worked all of his life, from the time he was eight years old, radio to the television to the performances and everything, and, and then you know, Rick, at a point, decided to get things going again, and, and put together the Stone Canyon Band, did a performance at the Troubadour, which kind of opened the legitimized the Troubadour again, that had just been doing, you know, a lot of folky stuff, but to have Ricky Nelson come into the Troubadour and play, I think Rick played about a week, and I remember during that, during that performance, his, his band guy, which is what I used to do, if a string broke on a guitar, you know, get, get it back up into the dressing, put the string on, get it, you know, and get it back down. I set in one night during that performance, doing that again, you know, and I had already been doing Adam 12 by that time, so, but yeah, you know, there was this, this whole mix, you know, the fact that you know Oz one day just gives me a line, you know, say puts me in his, in a scene, and you know, says, "Here's your line, who's Rick? First things I ever said in pictures.
Steve Kmetko
What's the lesson to be learned from this?
Kent McCord
You know, a lot of luck, but I also started training to learn what I knew, what I didn't know, and I knew that I had to learn it, you know, and I got very lucky in that when I was signed to do a test at Universal, that they put me with a director and teacher named Peyton Price, who was over here in the valley, and Peyton, you know, made sense of everything that you kind of think about that you may be right, but when somebody validates it through creating a technique, you know, you know anybody can do something once, it's how do you do it twice, and it's your technique that allows you to do it twice, it's your technique that allows you to make it look real in that moment, even though it's the 10th time you've done it, you know. And you know, I think persistence, but also, you know, I can't deny that I've had a. Whole lot of good luck in my life, so
Steve Kmetko
tell me, Elvis died tragically young. What kind of an impact did that have on you? Rick died tragically young too.
Kent McCord
Yeah, he did,
Steve Kmetko
in a plane crash.
Kent McCord
Interestingly, I was doing a movie of the week in Las Vegas in August of 1977 and it was called Telethon, and it was with red buttons, and Jill St. John, John Marley, actor named David Selby, me really, really good cast, and we were up shooting on location in Vegas, and I had driven my car up. I had a Corvette, and I had driven my car to Vegas because I didn't want to be stranded up there, and I had like five days off, and I got up early the morning of this was the 17th, I think. I don't remember for sure. In Vegas, I was driving home, and I was running a CB radio, and I'm hearing these truckers talk, and they're going, yeah, man, I mean, I can't believe it, yeah, but they found him in the bathroom. It's unbelievable that he could be gone, yeah, man. The guy says, "I can't believe the king is dead, Elvis Presley is dead. And the next thing I remember, I was pulled over by the California Highway Patrol, and the guy walked up to the window, and he said, "I can see your driver's license registration, and I got my driver's license, and got the registry, and I said, "What was I doing? He said, "I got you at 105 miles an hour, and I said, "Jeez, I'm sorry. I said, "I just heard on the radio that a friend of mine died. He said, Who was that? I said, Elvis Presley. He handed me back a license, registration. He said, slow it down, so you get home safely, you know. Then I got to thermal, or wherever it was, and I'm not thermal, I can't remember what I got off, and this is way before, you know, the cell phone, and I called home to let my wife know what had happened, you know, and there was that, you know, so yeah, it was Rick, and I had talked about going to Memphis, and we heard that another person that Elvis really liked had tried to get through to him and was kind of pushed away, and I think there's enough written, you know, through the books that have been produced, the, you know, that it's pretty well validated that he had not done, you know, done himself any good in what he was pursuing, you know. I would see Elvis, I'd go over and see him, and he knew that I had dumped all, you know, of course he saw me when I was bigger and everything, and I'd still play football, you know, and he always fought weight, and and I can remember, you know, he always wanted to, how Ricky was, and he'd always, how much you weighing now. He says, I lost 20 for this movie or something. He'd do something like that, and you know, but yeah, that, that, whether or not you know, we just heard, I can remember, I can see it in my mind's eye, the conversation Rick and I had about doing that, and Ricky's saying, I understand that so and so, leave the name out, I know the name, but he said he tried to get through to him and wasn't able to, so and when we're, and when Rick passed, that was on a New Year's Eve, I believe, yeah, that was that was Ricky had done the Universal Amphitheater in August, and we went to see that performance, and and Rick and I talked on the phone, and he was, he was touring a lot at that point. Ricky was doing something like 200 nights, and and I had heard that he bought a plane, and Rick was never a comfortable flyer, but in the back, you know, after the performance and everything, we caught up on what was going on, and he said a plane. I said, yeah, I heard that, and he said, yeah, it's a DC three, and I said, yeah, I heard that too, he said. It's old and it's slow, but if anything ever happens, it'll glide forever, and it did. I mean, the truth of the matter is it did, and you know, so I was down at Fairfax High School with my son, New Year's Eve, Michael was 10, and we went down to play basketball on the outdoor courts at Fairfax High School, and interestingly, just across the street from a recording studio called Masters that was right out of the athletic fields there at Fairfax on Fairfax, where Ricky had cut all of the early stuff, and the first time that I went to Masters with Rick, I had met Glenn Campbell and Jerry Fuller and Dave Burgess, and you know, and then the guys, you know, there, and and so in my head, you know, we're there in that vicinity where Michael and I finish up, and we're driving back to our house on Fairfax, and Michael says to me, "Is that Ricky behind us, Dad? You know, a guy in a red Pantera. Ricky had a Ford Pantera, red, and I looked back and I said, not unless he's grown a mustache, and that's.. and so I went home, and we were going to be at the Rose Parade for the as the guests of KTTV Channel 11, here, and so I went back, and I went upstairs, and I lay down on our bed, and I was kind of half asleep when I heard my wife scream, I so that was the way I found out, and you know, I ran downstairs to see what happened, and that was all over the news, so still, still hits you You know, and, and I just had a conversation with somebody, I said, you know, the, the Rick would have taken it all, the worst thing to Ricky would have been that anybody else died in that, in that plane, you know, and certainly, you know, the rumors in all the, all the stuff that swirled around about drugs and drugs, and all that crap, you know, the plane had had a had a repair that was an airplane with a gas, gasoline fed heater in a line went down the wing down the belly of the fuselage into a gasoline fed heater in the baggage compartment, and they had had some problems with it, and evidently it had a I don't know how many year old connected rubber connected thing, if I remember right, in reading the NTSB, National Traffic Safety Board's report on the on what had occurred, had they were famous for drying up and cracking, and evidently gas had been dripping down the belly of the airplane, they were flying from Arkansas into Dallas to do that night's performance, and it was cold, and they, the guy who was Ricky's bass player, was calling ahead to get all the men at the airport to get everything picked up, and said, can you light the get the heater going, and you know, for those of you who are interested, I'm not going to go into it here, but read the NTSB report on the whole thing. The heater got lit in an instant, flames were not flames, but smoke started filling the plane, and they put out a May Day, and were given a location too far to get to, and the pilot, who was piloting the plane, was a man named Brad Rank, brought the plane down into a field, landed it, and it rolled into some trees, and the wings came off. The plane landed. It didn't crash. The plane landed, and it was what Ricky had said to me. You know, something happens, it'll, it'll glide forever. But you know, even to this day, you know, the BS, it's, it's just. Uh, you know, something that you know it's.. it's the old thing, you know, what is it? The truth takes forever, but a while travel around the world, and you know, I don't know the saying, but that sounds right, something about that.
Steve Kmetko
And we'll be right back with Adam 12 looking back, do you think the show showed the full reality of policing or just one side of
Kent McCord
it? Well, it wasn't. It wasn't really a one side. The emphasis wasn't on the cops as bad guys. The emphasis was on cops doing a job, and we did, we did show where Marty roughs up a guy and gets days off from it. We did a show that a veteran cop comes back onto the onto the job and can't handle the differences between having to give Miranda now, and you know you have the right to remain silent, the right to remain silent, by the way, which was a very, very funny thing. I first time I have to give Miranda, I go home and I run this thing with my wife a million times, and I, you have the right to remain silent if you give up the right to remain silent. Anything you say can will be held against you in a court of law. You have the right to speak with an attorney, and to have an attorney president before questioning if you so desire. If you cannot afford one, an attorney will be appointed to you for no charge. What you know, so I learned that.
Steve Kmetko
Not bad, Kent.
Kent McCord
You know, I learned that 60 years or whatever it is ago, and we go to do that, and I start to do the thing, and the technical advisor says, "Excuse me, can we cut? And the director says, "Cut, what's the problem? He says he has to read that off of his off of his field interrogation book.
Steve Kmetko
You didn't have to memorize it.
Kent McCord
I didn't have to memorize, and I said, why is that, and he said, well, police have to do that, so that if you're in court and the defense attorney says, did you read my, my client his rights, and you say yes, and did you give them to him correctly, and you say yes, well, how do you know you gave them to him correctly, because I read them off of this card, not in your mind, and so I learned that damn thing, and I can, I can on most days say it correctly, completely. So, so you know, the, the show, the point of view of the show wasn't to expose it wasn't ball for Jim Bowden's ball for about baseball, you know, and we got into a thing when other shows started coming on, and Adam 12, you know, was was the uniform cop show, remember Car 54 was the only time uniform cops had ever been looked at, and now comes this thing, and there was another aspect to the show that people didn't quite get. There wasn't the call comes out, go to the apartment, and there's three dead bodies, and now you're going to investigate, and you're going to look for evidence, and you're then going to go back, and you're going to analyze it, and then you're going to go do this. It was the call comes out, we open the door, we see three dead bodies. We call detectives. Detectives come, they see the three. Thank you, you've done your job. Goodbye. And, and Reed, the young rookie goes, 'The hell, why did we have to give it to them, you know, that kind of thing, and, and so the point of view of the show was from, I don't think there was ever a scene where one of us wasn't present, and, and so that was one thing you could do the other, and it was done a lot, and people looked at the other cop shows that came on after us that did those kind of things, but that wasn't Adam 12, you know? I always said we weren't there to solve the social ills of the world, we were there to show what two guys in black and white, do, and, and I fought for that, you know. We had a few things that got into some things, and I said, that's just, you know, it's not the show, you know, and, and you know, anyhow, you know, I had the support of Marty in most of the stuff at that time, I would go over the scripts, you know, front and back, and suggest things, and Bob Senator had such great trust in his ability to either convince you that what he had, what was written was correct, or he would change it, okay. You know, he'd say, "Well, you can do this and that, and you'd say, "Still, don't buy it, Bob. He said, "Okay, tell me what you want. Okay, we'll do that. And we were always six or seven strips ahead in that, something unheard of a little later in some of the things that I got involved in. Later on, again, got spoiled on Austin Harriet, got spoiled on Adam 12.
Steve Kmetko
At the end of the day, when you sit down and think about your career, what's the first thing that comes to mind?
Kent McCord
Yeah, hell of a lot of fun, you know. I mean, I can't imagine doing anything else in my life, you know. And I look at it, you know, I was a gas jockey, pumping gas for my dad when I was 10, I was pumping gas in an airport when I was 13, I was, you know, a high school football player, played, you know, college, you know, for one season of football, wind up getting into this business, working background, working I you know, the background stuff is something we really haven't talked about a lot, but you know, the look at the end of seven days in May, I handed, I hand Frederick March the resignations of the Joint Chiefs of Staff in at the end of seven days in May, you know, the background stuff, working on the Presley films. I'm my wife, and I'll see something on Turner Classic Movies, and I'll say, "See me back there. And I was watching something the other day. It was really funny. The first time that Marty and I ever worked together, and very.. and I really don't think I've ever told anybody about this, but I was working background on Sally Fields Gidget, and Marty was doing an episode playing the big Kahuna, and so that was on the other day, it's on Prime or something, and we watched that, and I said, I said to Rocky, you see your little boy back there, I'm holding a surfboard, and you know, and you know, and that was the first time that that Marty and I worked together, but I'd never, I didn't talk to him. First time I worked with Marty, again, very lucky, you know, I'm very lucky, and I want to jump back to something on Ozzie and Harry very quickly. Ozzie one day saved my life in Laguna Beach, and we were, we were renting a house in Laguna at this time. My oldest girl is about seven. My middle daughter, Megan, is in my wife's arms and standing on the beach, and a friend of mine, who ran Indy Car raced, he was driver grew up in Downey, and we're in the water in Laguna, and a riptide catches Bruce Walkup, Bruce Walken is his name, ran two Indy five hundreds, and a lot, a lot of indie indie races and things, and Bruce is getting swept out by this riptide, and I'm on the beach, and I look out there, and I see him, and his eyes are about that big around, and he's mouthing help, and I didn't say anything to anybody. Rocky was with Megan and talking to David Nelson on the beach, and we're in front of Rick and Chris's house down there, and and I just jump in the water and go to Bruce, and I swim out to him, and I say, "Just relax, and I put my arm out, and he grabbed me, and he climbed up my arm, and we went down, and now I fight my way back up, and I look up, and I see my wife holding Megan, I see my daughter Kristen frolicking around on the beach, and David, and I'm going, "Oh God, I don't want to die this way. And out of nowhere comes Ozzie Nelson, doing his daily routine of going in at this beach where they lived, and going out about 100 yards and swimming the whole length of this beach and back in he's doing that leg of it, the front leg of it, at the time Bruce and I are fighting for our lives, and he comes out and he kicks Bruce away from me and and I go over on my back and start breathing, he starts kicking Bruce into some some rocks, and we get him up on the beach, and, and get the water out of him, and without Ozzy showing up that day, I'm not sure I'd be sitting here, you know. So, it was, you know, there was that thing, and then my, the second thing that I really want everybody to understand is what a wonderful man Martin Conor was, you know, in the talking about first meetings that first time working, where we didn't talk, but when we were going to do the pilot, Marty was in New York doing a play called The 90 Day Mistress with Diane Cannon, Cary Grant's wife, and and Jack. Talks him into coming to Hollywood for the week to do the pilot to this show, Adam 12th, and the first day we're going to shoot on location, Marty and I are standing in a parking lot at Universal to be picked up to be taken to the location, and Marty gave out this great big yawn, and he said, God, I can never sleep before one of these things, and in that instant I relaxed, because I hadn't slept the night before either, and Martin Milner, with all of this experience and everything, you know, the fact in that he was so open, and we became great friends, our families were, you know great friends, and you know, again, luck, that's
Steve Kmetko
nice to hear,
Kent McCord
yeah, yeah,
Steve Kmetko
luck and timing,
Kent McCord
timing, you know, so
Steve Kmetko
okay,
Kent McCord
but you know that to wrap it up today, Adam 12 is on about 14 times a week on two different outlets on me TV and FE TV, and it just continues to roll all these years later.
Steve Kmetko
You have staying power.
Kent McCord
Well, it does. You know, I'm still trying to fool them.
Steve Kmetko
Thanks, Kent. I appreciate you coming in and being so open.
Kent McCord
Oh, you're welcome.
Steve Kmetko
I really enjoyed this.
Kent McCord
Well, thank you. Thank you very much.
Steve Kmetko
Still Here Hollywood is a production of the Still Here Network, all things technical, run by Justin Zangerly, theme using by Brian Sannashin, and executive producer is Jim Lichtenstein.