Thelma HopkinsOkay, okay, it’s true that Telma Hopkins was not born in Detroit. The actress/singer, one of the most familiar faces on television, actually made her entrance into the world in Louisville, Kentucky. However, she spent enough years in Detroit for the Motor City to justifiably claim her as its own.
Indeed, there are Detroiters, particularly within the music industry and among hard-core music buffs, who know Telma Hopkins from way back in the day — that is, the 1960s, a very exciting decade for Detroit. She worked regularly as a background singer, both in the studio and on stage, often with Motown artists such as Marvin Gaye, the Four Tops and Stevie Wonder.
“If you lived in Detroit and you didn’t work for GM, Ford and Chrysler, you worked for Motown,” recalled Hopkins.
Also during that era, Hopkins sang with a female group called the Debonaires. Some people remember the group’s mild hit, “How’s Your New Love Treating You?” It was recorded for one of the several Detroit-based record companies that were inspired by the success of Motown, and in some cases became rivals. (To block the success of one of these companies, Golden World, Motown actually purchased the label. That is how Edwin Starr became a Motown artist.)
Among the non-Motown artists Hopkins sang with was Isaac Hayes, in the early 1970s appearing on his most famous album, “Shaft,” which earned him an Academy Award. No one could ever forget the part of the title song when Hayes says, “…But I’m talkin’ about Shaft,” to which Hopkins and the other ladies coo, “And we can dig it!”
BUT BETTER things were yet to come, and they started in a strange way.
Tony Orlando, after having a couple of Top 40 hits in 1961 (“Halfway to Paradise” and “Bless You”), found himself unable to sustain his career as a recording artist and performer. While working at a music publishing firm, he discovered a song titled “Candida.” He agreed to record it, but not with his real name on the label. The artist, Orlando with female accompaniment, was identified as “Dawn,” to save Orlando embarrassment if the single flopped. It didn’t.
It reached No. 3 on the national Pop charts, followed by a No. 1 hit, “Knock Three Times.” So there two big hits, but no visible group, which also made it possible for fake “Dawn” groups to do shows. Bell Records badly wanted a real-life act, so Telma Hopkins and Joyce Vincent Wilson were approached. They said yes.
In 1973, the new trio, now called Dawn featuring Tony Orlando — soon renamed Tony Orlando & Dawn — had a monster hit that became an anthem, “Tie a Yellow Ribbon ’Round the Ole Oak Tree.” This success, coupled with the group’s visual appeal, landed Tony Orlando & Dawn their own network variety television show, which was a ratings success from 1974 to 1976.
Hopkins’ comedic acting skills became evident in the “Moreen and Lueffie” skits she and Wilson would do every week on the show, although some people felt the characters were a bit too “ethnic.” However, the ladies countered with, “Some Black people do talk like that!”
SINGING WAS not enough for Telma Hopkins. She once said, “I want to do everything under the rainbow, from singing to acting, comedy and drama.” That said, it came as no surprise when she announced on national television that she had been signed by a major network for series development.
That of course, does not necessarily mean anything, but in Hopkins’ case it ended up meaning a lot, and things happened fast. Talent, ambition, preparation, timing and blessings were paying off big.She has landed one hit TV show after another.
The first was “Bosom Buddies,” from 1980 to 1982, portraying Isabelle Hammond, alongside Peter Scolari and future two-time Oscar winner Tom Hanks.
When that show came to the end of its road, Hopkins didn’t miss a beat, making appearances on an array of shows, including “The New Odd Couple” (1982, 1983), “Fantasy Island” (1984), “The Love Boat” (four episodes, 1979-1985), “Gimme a Break!” starring Nell Carter (many episodes, the show ran from 1981 to 1987) and “Amen” (1988).
In 1989, she was selected for the plum role of Rachel Crawford on “Family Matters,” which ran until 1997, meaning Hopkins did 96 episodes. This was, of course, also the show that introduced the world to the nerdy Steve Urkel. In a 1993 interview, she noted that the Rachel character was closer to who she really was than any role she had played previously.
“She’s a single parent like me,” she said. “She’s very earthy, very worldly. I love kids and Rachel has a lot of kid in her, and more than a little bit of comedienne.”
When “Family Matters” ended its long run, once again Telma Hopkins stayed busy. With an ever-lengthening resumé, she was hired for guest spots on, among others, “ER” (1998), “Suddenly Susan” (2000) and “The Hughleys” (1999 through 2001).
HOPKINS has, in fact, done so many shows that sometimes they slip her mind when certain shows are recalled by fans. She joked, “I have to stop and think about it. Did I really do that?”
The most recent series with Telma Hopkins in a starring role was the delightful comedy “Half & Half” (2002-2006), which is still popular in reruns, airing weekdays on Channel 20 from 5 to 6 p.m. (two episodes each night). She portrays the earthy, wisecracking Phyllis Thorne. Her nemesis is the snooty Dee Dee Thorne (portrayed by Valarie Pettiford) who is married to Phyllis’ ex. Their hilarious barb exchanges are a highlight of the show.
Hopkins has appeared in several films as well.
Does she still sing? Yes, but not on a regular basis. She loves them both, but prefers staying focused on acting.
“The lifestyle is more normal than being on the road,” she said. “I like going home every day. I need that stability.”
(John Angel contributed to this story.)
