It was later produced as Archie Bunker's Place, a continuation series, which picked up where All in the Family ended and ran for four seasons through April 4, 1983.

Based on the British sitcom Till Death Us Do Part,[1][2] All in the Family was produced by Norman Lear and Bud Yorkin.

It broke ground by introducing challenging and complex issues into mainstream network television comedy: racism, antisemitism, infidelity, homosexuality,[3] women's liberation, rape, religion, miscarriage, abortion, breast cancer, the Vietnam War, menopause, and impotence.

The series became arguably one of television's most influential comedic programs, as it injected the sitcom format with more dramatic moments and realistic, topical conflicts.

"[14] Their one child, Gloria (Sally Struthers), is generally kind and good-natured like her mother but displays traces of her father's stubbornness and temper.

For much of the series, the Stivics live in the Bunkers' home to save money, providing abundant opportunity for the family members to irritate one another.

The show is set in the Astoria section of Queens, with the vast majority of scenes taking place in the Bunkers' home at 704 Hauser Street.

Occasional scenes take place in other locations, especially during later seasons, such as Kelsey's Bar, a neighborhood tavern that Archie spends a good deal of time at and eventually purchases, and the Stivics' home after Mike and Gloria move out.

Supporting characters represent the changing demographics of the neighborhood, especially the Jeffersons, a Black family, who live in the house next door in the early seasons and then leave the area for the higher-end Upper East Side of Manhattan after George (the husband) makes a fortune through his dry cleaning business.

Lear said the idea for All in the Family came to him after read an article in Variety magazine on the successful British sitcom Till Death Us Do Part.

After stations' and viewers' complaints caused ABC to cancel Turn-On (a sketch comedy series developed by Laugh-In's George Schlatter) after only one episode in February 1969, the network became uneasy about airing a show with a "foul-mouthed, bigoted lead" character, and rejected the series[28][29] at about the time Richard Dreyfuss sought the role of Michael.

Rival network CBS was eager to update its image and was looking to replace much of its then popular "rural" programming (Mayberry R.F.D., The Beverly Hillbillies, Petticoat Junction and Green Acres) with more "urban", contemporary series and was interested in Lear's project; by this point, Gleason was no longer under contract to CBS (his own show was among those eliminated), allowing Lear to keep Carroll O'Connor on as the lead.

Due to the success of All in the Family, videotaping sitcoms in front of an audience became a common format for the genre during the 1970s, onward, until the advent of digital HD.

The song is a simple, pentatonic melody, that can be played exclusively with black keys on a piano, in which Archie and Edith were nostalgic for the simpler days of the past.

The additional lyrics in this longer version lend the song a greater sense of sadness and make poignant reference to social changes taking place in the 1960s and early 1970s.

Carroll O'Connor's pronunciation of "welfare state" added more of Archie's trademark whining enunciation, and the closing lyrics (especially "Gee, our old LaSalle ran great") were sung with increasingly deliberate articulation, as viewers had complained that they could not understand the words.

In addition to O'Connor and Stapleton singing, footage is also shown beginning with aerial shots of Manhattan, and continuing to Queens, progressively zooming in, culminating with a still shot of a lower middle-class semidetached home, presumably representing the Bunkers' house in Astoria, suggesting that the visit to the Bunkers' home has begun.

The house shown in the opening credits is actually located at 89–70 Cooper Avenue in the Glendale section of Queens, New York.

When the series aired two years later, the Trade Center towers, although under construction, had still not yet risen high enough to become a prominent feature on the Manhattan skyline.

In the final version of the opening for the series' ninth season, Archie is seen wearing a gray sweater-jacket over his white shirt.

After completion of the pilot episode, the budget would not allow an elaborate scene to serve as the sequence played during the show's opening credits.

In July 1986, vocalist Helen Merrill's contrastingly jazz-flavored rendition, accompanied by a Kellaway-led trio and introduced by O'Connor, was featured on The Merv Griffin Show.

[37] The exterior of the house shown at the show closing is a home located at 89-70 Cooper Avenue, Glendale, Queens, New York, across from St. John Cemetery (40°42′45″N 73°51′39″W / 40.712492°N 73.860784°W / 40.712492; -73.860784).

Carroll O'Connor, a Queens native from Forest Hills, said in an interview with the Archive of American Television that he suggested to the writers many of the locations to give the series authenticity.

Actual residents of the Bunkers' age continued using exchange names into the early 1980s, which is referred to in the 1979 episode "The Appendectomy", in which Edith gets confused between the two versions of a number she is dialing.

"Sammy's Visit", first broadcast in February 1972, is a particularly notable episode, whose famous episode-ending scene produced the longest sustained audience laughter in the history of the show.

)[39] During the show's sixth season, starting on December 1, 1975, CBS began airing reruns on weekdays at 3 p.m. (EST), replacing long-running soap opera The Edge of Night, which moved to ABC.

[53] The latter was Lear's return to TV series producing after a seven-year absence, and was canceled after the six-week tryout run due to being poorly received by audiences.

Popular T-shirts, buttons, and bumper stickers showing O'Connor's image and farcically promoting "Archie Bunker for President" appeared around the time of the 1972 presidential election.

[68] The originals had been purchased by the show's set designer for a few dollars at a local Goodwill thrift store and were given to the Smithsonian (for an exhibit on American television history) in 1978.