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Children whose parents remain angry at them aftei
punishment grow up to be more anxious than those who ar«
restored to favor after punishment, according to a studj
reported in a recent issue of Mental Hygiene, quarterly
publication of the National Association of Mental Health.
It is a finding that typifies what is so often misleading to
us parents in psychological studies.
For, of course, It is not our continuing anger at a child
after punishment that makes him anxious. It is the suspense
of not knowing whether or not we ever intend to restore him
to favor that creates the anxiety—his fear that our continu
, such fear may indeed have harmful effects on
his self-confidence.
But if we tell him that we intend to recover from our
annoyance with him as soon as w« can manage it, he is
relieved of his suspense. He does not experience destructive
anxiety so long as he receives our promise to get done with
our anger at him.
point Yet in these coming psychologists their completely conclusion. ignore this essential
to So parents reading
about this finding could swallow it wholesale and produce a
false reconciliation with the child. This dishonesty would he
just eternal as confusing, disfavor. just as disturbing as the prospect of our
Sometimes we cannot recover from anger at a child merely
because we have punished him. If we love him very much,
for example, spanking him for running across a traffic-filled
street may not be enough to rid us of th e resentment we feel
at him for afflicting us with terror of his injury or death. The
more we love him, the harder it may be to come up with
forgiveness after that the spanking. T I see no reason if whatever
for pretending we have come up with it we have not
We’re entitled to take as much time as we need to recover
from the child: our experience of terror. Taking it, we should say to
i “You scared me so I can’t be nice to you yet. Don’t worry
about my still being mad at you because 1’Q get over it aftei
a bit But I need more time to get over it after such a scare
as you gave me."
6
After Punishing a Child,
Don't Let Anger Linger on
By MURIEL LAWRENCE
Newspaper Enterprise Ann.
Sal., Dee. SI, 1966 — Sun., Jan. 1, 1967
TV CAMEOS: Dan Curtit
Driving and Dreaming His Way to Success
THE WORLD of television,
like most others, Is replete
tales of failure and success.
Take the story of Dan Curtis,
who toils off camera in this
medium, and you’ll get an idea
of what we mean. He, to date,
has had more downs and ups
than a Coney Island roller
coaster. Fortunately for this
outspoken resident of Scarsdale,
N.Y., he is riding the latter
crest these days.
Husky, dark-haired Curtis
presently Is the successful pro
ducer of CBS-TV’s Emmy
award-winning Golf Classic and
ABC-TV’3 five - times - weekly
daytime suspense serial Dark
Shadows. In addition, he re
cently scored a TV coup by
securing the rights for video
presentation of 32 of famed
playwright Eugene O'Neill's
works, and next March begins
taping in London Robert Louis
Stevenson’s macabre classic Dr.
JekyU and Mr. Hyde for presen
tation on ABC-TV next fall as
a two-hour special. Signed for
the lead in the eerie thriller Is
celebrated actor Jason Robards.
How did It all come about?
No one is better qualified to
tell It than Dan himself. He sets
the key date back about 16
years ago.
a * *
“I graduated from Syracuse
University with a B.A. degree
in 1950. It just doesn’t seem
that long ago,” he related with
a wry smile recently in a mid
town New York office. “I spent
two years trying ‘to find my
self.’ After coming to New York
City, I sold air-conditioning in
Hie garment district — in the
winter. You know what the us
ual response was? ‘Get out of
my office, you bum !’"
After six months, Dan quit
and went off to play golf, which
was to become a prophetic
game in his life. To pay for his
greens fees, he took a job selling
men's clothes in a suburban
store. Next, he got a job pack
ing film reels. After marrying
his college sweetheart in 1952,
he went to work for NBC sell
ing video shows.
“I was assigned to the mid
west with a wide territory,” he
smiled. “I was glad it was wide
•—some of those were so awful,
I'd rush into town, make a sale,
and scoot out as fast as I
could.”
After three years, Dan re
turned to New York to head the
film sales division. Following a
dispute with an executive over
a m’USMTA
norms
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On the ml el ABC'e Dark Shadows, producer Don Curtis talks
with Jeon Bennett, one ef the stare ef the nqwwi serial.
some film properties the latter
wanted him to sell, he quit
NBC and went to work for a
big shew business packaging
concern. After a year or so, he
again quit in a policy dispute.
“I told my wife I just couldn’t
work for anyone else anymore,"
Curtis related, “and she told
me to try it on my own. I
rented an office for $75 a month
—well, a space at the back of a
studio. I had a telephone, a
broken-down choir and two
boards as a desk. After three
months I could no longer pay
the rent. My landlord, a rice
guy, let me have it for nothing.
I spent a year dying on the
streets trying to sell ideas for
shows. It was depressing as
hell.
* * •
“BY THIS time, my wife and
I had a house in Scarsdale, two
young daughters and some
$10,000 in small bills for gro
ceries, clothing, etc. We had
come to the conclusion that we
would have to get rid of the
house.”
Finally, in August, 1963, when
he thought the bottom had
dropped out of what little re
mained of his world, Dan sold
to CBS his idea for a golf show
featuring the country’s top proa
“They gave me an advance," he
said, “and that right my wife
and I paid every bill we owed.”
by JCinr Features
Today, the show, CBS Golj
Classic, which won an Emmy
award in 1965, is in its fourth
year on the network. Dan is ex
ecutive producer.
His other network show,
ABC’s Dark Shadows, stemmed
from a vivid dream he had ona
night. The following morning,
he told his wife about it and
she thought it eras great. Later,
diming a meeting with Leonard
Goldberg, ABC programming
executive, Dan told him of his
idea and he liked it
• • •
“I SCOURED the East Coast
looking for a ghost-like, shad
owy mansion,” he said, 'in
which the action was to take
place. I found it In Newport
RX We took a company there
and did location shooting. In
addition, we shot in Essex,
Conn., a typical New England
town, and in and about a car
riage house in Tarrytown, New
York. Our interior shooting is
done on permanent sets which
we constructed at a cost of
more than 650,000 in a former
lumber yard on New York’s'
west side.”
The five-times-weekly serial
went on th# ABC network late
last June and has been running
regularly ever since. “Now,”
said Dan smilingly, “I take a
notebook to bed with me every
night and make notes on all my
dreams.