And by "the whiteness of this show" (no need for use of upper-case to stress "whiteness" or "show," by the way) I assume you mean because "Leave it to Beaver" features characters who are Caucasian. And to this one may ask "So what is wrong with that?"

Elvis Presley released a fair amount of good rockabilly tunes in the 1950s ("Heartbreak Hotel," a cover of "Big Mama" Thornton's "Hound Dog," "Mystery Train," "That's All Right Mama," and "Too Much" to name some), and even a few good records in the 1960s, including "Return to Sender" and his last #1 single (originally…

I know what you mean. Rusty Hamer in "The Danny Thomas Show"/"Make Room for Daddy" had that shrillness of voice, especially in the first few years of that sitcom. But not Billy Gray in "Father Knows Best, " nor Jerry Mathers in "Leave it to Beaver," or Paul Petersen in "The Donna Reed Show." They were all amazingly…

When Frankie Boy's ex-, Ava Gardner, learned of Sinatra's marriage to 19
year-old actress Mia Farrow (then sporting an extremely short "pixie"
hairstyle), Gardner is purported to have said "FINALLY, Frank has gotten
what he's always wanted—he's married A Boy!"

Good one, "Scoop!"

Eric Carmen's version of his own song was "too much."

Very valid point. And as with "New York, New York," it is goddaughter Liza Minnelli's version that is the definitive of a tune she and godfather Frank Sinatra both recorded. This only makes sense, as the tune was in the soundtrack of the film with Minnelli's Oscar-winning performance, Bob Fosse's "Cabaret." But…