Mark Damon Passes On

Mark Damon, an actor who appeared in such films as House of Usher (1960) and Black Sabbath (1963) and later became a producer, died on May 12 2024 at the age of 91.

Mark Damon was born Alan Harris on April 22 1933 in Chicago. When he was very young his family moved to California. He attended Fairfax High School in Los Angeles and then UCLA. He trained in acting with Lee Strasberg and Sanford Meisner.

He made his television debut in 1952 in an episode of Gang Busters. In the Fifties he guest starred on the shows Meet Corliss Archer, Your Play Time, I Led Three Lives, Cavalcade of America, Alfred Hitchcock Presents, Matinee Theatre, The 20th Century Fox Hour, Men of Annapolis, Panic!, The Californians, The Silent Service, Tales of Wells Fargo, The Ann Sothern Show, The Lineup, Zorro, The DuPont Show with June Allyson, and National Velvet. He made his movie debut in 1956 in Inside Detroit. He appeared in the movies Screaming Eagles (1956), Between Heaven and Hell (1956), Young and Dangerous (1957), Life Begins at 17 (1958),The Party Crashers (1958), The Rebel Breed (1960), and House of Usher.

In the Sixties he guest starred on the shows Walt Disney Presents, Hawaiian Eye, and Lock Up. He appeared in the movies Peccati d'estate (1962), Beauty and the Beast (1962), The Longest Day (1962), The Young Racers (1963), Il giorno più corto (1963), Black Sabbath (1963), Sfida al re di Castiglia (1963), Wounds of Hunger (1963), I cento cavalieri (1964), Il figlio di Cleopatra (1964), Agente segreto 777 - Operazione Mistero (1965), Dio, come ti amo! (1966), Johnny Oro (1966), Johnny Yuma (1966), Requiescant (1967), La morte non conta i dollari (1967), Colpo doppio del camaleonte d'oro (1967), Un treno per Durango (1968), Nude... si muore  (1968), Kiedy milosc byla zbrodnia (1968), Tutto per tutto (1968), Lo sbarco di Anzio (1968), ¿Quién grita venganza? (1968), and Temptation (1969).

In the Seventies Mark Damon appeared in the movies L'arciere di fuoco (1971), La spada normanna (1971), Questa libertà di avere... le ali bagnate (1971), Posate le pistole, reverendo (1971), I leoni di Pietroburgo (1972), Monta in sella!! Figlio di... (1972), Byleth (Il demone dell'incesto) (1972), Lo chiamavano Verità (1972), Confessioni segrete di un convento di clausura (1972), Little Mother (1973), Il plenilunio delle vergini (1973), La tumba de la isla maldita (1973), Es knallt - und die Engel singen (1974), and There is No 13 (1974). He guest starred on the TV show The Protectors..

In 1983 he appeared in the movie Stuck on You!. He appeared in the movies Deceiver (1997). In 1991 he guest starred on the TV show Gabriel's Fire.

Mark Damon's first production credit was executive producer on Wounds of Hunger in 1963. In the Seventies he produced The Arena (1974) and The Choirboys (1977). In the Eighties he was a producer on Das Boot (1981), The Neverending Story (1984), The Clan of the Cave Bear (1986), Nine 1/2 Weeks (1986), 8 Million Ways to Die (1986), Short Circuit (1986), Flight of the Navigator (1986), The Lost Boys (1987), Bat*21 (1988), Mac and Me (1988), High Spirits (1988), Wild Orchid (1989), Dark Angel (1990), and Vietnam, Texas (1990).

In the Nineties he produced the movies Beastmaster 2: Through the Time Portal (1991), Inner Sanctum (1991), Diary of a Hitman (1991), Wild Orchid II: Two Shades of Blue (1991), Stalingrad (1993), The Jungle Book (1994), The Winner (1996), Loved (1997), The Second Jungle Book: Mowgli & Baloo (1997), The Blackout (1997), Deceiver (1997), Orgazmo (1997), A Dog of Flanders (1998), Grizzly Falls (1999), Eye of the Beholder (1999), and Love & Sex (2000). He was an executive producer on the TV movie Red Shoe Diaries.

In the Naughts he produced The Body (2001), The Musketeer (2001), Feardot.com (2002), Extreme Ops (2002), The United States of Leland (2003), 11:14 (2003), Monster (2003), The I Inside (2004), Beyond the Sea (2004), The Upside of Anger (2005), O Jersualem (2006), Captivity (2007), It's Alive (2009), Beyond a Reasonable Doubt (2009), and Universal Soldier: Regeneration (2009).

In the Teens and Twenties he produced The Ledge (2011), Flypaper (2011), Universal Soldier: Day of Reckoning (2012), 2 Guns (2013), Lone Survivor (2013), And So It Goes (2014), Blind (2016), The Hurricane Heist (2018), The Last Full Measure (2019), Willy's Wonderland (2021), Best Sellers (2021), 9 Bullets (2022), Fast Charlie (2023), and Rumble Through the Dark (2023).

Mark Damon was a remarkable actor. He did a memorable turn in the Alfred Hitchcock Presents  episode "Place of Shadows," on which he played a young man who insinuates his way into an monastery to kill a man who cheated him and ruined his life, a man being cared by the monastery. He was also memorable as a juvenile delinquent in the movie Young and Dangerous (1957). His most memorable role may well have been that of Philip Winthrop in House of Usher. In House of Usher Philip Winthrop is engaged to Madeline Usher (Myrna Fahey). Unfortunately, her brother Roderick Usher (Vincent Price) is none too happy with the two getting married. Mark Damon had considerable talent.

Turtles Drummer John Barbata Passes On

John Barbata, who played drums for The Turtles, Crosby Stills Nash & Young, and Jefferson Airplane, died on May 8 2024 at the age of 79.

John Barbata was born on Easter Day, April 1 1945, in Passaic, New Jersey. Growing up he lived in Sarnac Lake, New York and Nutley, New Jersey. He became interested in drumming after watching his older brother play drums in his school's marching band. His family moved to California when he was 16 years old. As a teenager he formed a band called The Ambassadors. He played drums with The Ambassadors for several months before being approached by surf rock band The Sentinels about becoming their drummer. He played drums on The Sentinels' singles, as well as their albums Big Surf, Surfer Girl, and Vegas Go Go.

In the spring of 1966 The Turtles were looking for a replacement for their drummer Don Murray. Gene Clark of The Byrds recommended John Barbata to them. He played drums on The Turtles' no. 1 hit "Happy Together" and remained with the band until they disbanded in 1970. That same year he replaced Crosby Stills Nash & Young's drummer Dallas Taylor. He went onto play drums on eight of CSN&Y's albums, as well as play drums on solo albums for Graham Nash, David Crosby, and Stephen Stills.

In 1972, while Crosby Still Nash & Young were on hiatus, he joined Jefferson Airplane to record their final studio album of the Seventies, Long John Silver, and the live album Thirty Seconds Over Winterland. He remained with the band when they reformed as Jefferson Starship. He remained with Jefferson Starship until injuries from a car crash in October 1978 forced him to leave the band. Prior to the accident he had also recorded with Doctor John, The Everly Brothers, Joni Mitchell, Leon Russell, Linda Ronstadt, and yet others.

Following his accident, John Barbata left the music industry. He published a memoir, The Legendary Life of a Rock Star Drummer in 2005. He spent his final years in southern Oklahoma.

John Barbara was one of the most remarkable drummers of the Sixties and Seventies, and it seems likely his percussion was responsible for much of The Turtles' success. His style was utterly unique, with Mr. Barbata taking elements from other types of music. It is little wonder that he was very much demand (he reportedly turned down an offer to drum for Elvis Presley). It is also little wonder that he would have a lasting influence on other drummers. John Barbarta was a major talent, and that talent was in part responsible for the success of the bands with whom he played.

Godspeed Rudy Moreno, the Godfather of Latino Comedy

Rudy Moreno, the comedian and actor known as "the Godfather of Latino Comedy," died on May 11 2024 at the age of 66. The cause was complications from a stroke and sepsis.

Rudy Moreno was born on July 24 1957 in Lincoln Heights in Los Angeles. He entered show business when he was only 13 when he formed his first garage band. After graduating from high school he became a disc jockey and radio and also worked as a disc jockey at various Southern California nightclubs. He had worked for years as a DJ when Rudy Salas of the rock band Tierra asked him if he had ever considered doing stand-up comedy. Rudy Moreno then began opening for Tierra at their performances. His act proved to be so successful that he would go onto open for other artists, including Natalie Cole, Lynyrd Skynrd, Los Lobos, Smokey Robinson, The Tempations, and others.

During his career Rudy Moreno played at clubs throughout the United States. He had what may be the longest running show in Los Angeles County, playing for years at the Ice House Comedy  Club in Pasadena. He also opened the door for many young comics. Among them was Ken Jeong, perhaps best known as Ben Chang on the sitcom Community. He noted in his tweet paying tribute to Rudy Moreno that Mr. Moreno was the fist person to book him at the Ice House.

Rudy Moreno was a year into his career when television producer Jeff Valdez booked him for the TV show Comedy Compadres, which featured Latino comedians. It would be the first of many television appearances for Rudy Moreno. He appeared on such stand-up comedy shows as Comics Unleashed, Laugh Out Loud Comedy Festival, Gabriel Iglesias Presents Stand-Up Revolution, and StaannDUP!. He went on to make guest appearances on the TV shows Cybill, Pacific Blue, L.A. Doctors, Everybody Loves Raymond, ER, Luis, Judging Amy, The Shield, George Lopez, Monk, Criminal Minds, Arrested Development, American Vandal, Mom, and Dave. He appeared in the TV mini-series Kingpin. He also appeared in the movie Father Stu (2022).

Rudy Moreno and his family founded Komics for Kids, an event that assists inner city children. He also raised funds for a number of other charities. Mr. Moreno was also a talented guitarist.

Rudy Moreno was a brilliant comedian. When it came to Latino humour he was definitely a master, although his jokes were such that people of any ethnicity could appreciate them. He could certainly command an audience like no one else. He always came to the stage with wit and charm.

Beyond being a very talented comedian, Rudy Moreno was simply a very nice man. He promoted the careers of countless young comics and other artists. My dearest Vanessa Marquez knew Rudy Moreno and described him as "the sweetest man." In 2010 he even arranged a meeting for Vanessa with his agent to see if they would represent her. Throughout his life Rudy Moreno helped so many. He wasn't just a great comic. He was a true gentleman.

The Late Great Roger Corman

Roger Corman has been called "the King of the B's" and "the King of Schlock." By any nickname, he was a pioneer of independent cinema. And while many of the films he made were considered embarrassingly bad by critics, he also made a number of films considered classics, including The Little Shop of Horrors (1960), X-The Man with the X-Ray Eyes (1963), The Masque of the Red Death (1964), and The Trip (1967). Roger Corman died May 9 2024 at the age of 98.

Roger Corman was born on April 5 1926 in Detroit. It was in 1940 that his family moved to Beverly Hills. He attended Beverly Hills High School and afterwards studied industrial engineering at Stanford University. During World War II he served in the United States Navy. It was after he was discharged that he decided he was not interested in engineering. Having become fascinated by movies after his family had moved to California, he got a job as a messenger at 20th Century Fox and eventually became a story analyst. After he failed to receive credit for his work on The Gunfighter (1950), he left 20th Century Fox. He then went to England where he did graduate work in English Literature. He spent some time in Paris afterwards.

Once he returned to the United States he worked for a time as a literary agent and script reader. Noticing the low quality of many of the scripts he read, Roger Corman decided he could do better. He wrote the script House in the Sea and sold it to Allied Artists for $4000. It was retitled Highway Dragnet and released in 1954 and starred Joan Bennett and Richard Conte. He used the money from that script sale to finance his first film, Monster from the Ocean Floor (1954), directed by Wyott Ordung. He followed Monster from the Ocean Floor (1954) with the crime drama The Fast and the Furious (1954). The Fast and the Furious (1954) was distributed by a new company, American Releasing Corporation (ARC), founded by entertainment lawyer Samuel Z. Arkoff and sales manager James H. Nicholson. ARC would eventually be renamed American International Pictures (AIP), and Roger Corman would have a long relationship with the company.

Roger Corman's next film distributed by ARC would also mark his directorial debut, the Western Five Guns West (1955). In the late Fifties Roger Corman would direct the movies Apache Woman (1955), Day the World Ended (1955), Swamp Women (1955), The Oklahoma Woman (1955), Gunslinger (1956), It Conquered the World (1956), Naked Paradise (1957), Not of This Earth (1957), Attack of the Crab Monsters (1957), The Undead (1957), Rock All Night (1957), Teenage Doll (1957), Carnival Rock (1957), Sorority Girl (1957), The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957), War of the Satellites (1958), Machine-Gun Kelly (1958), Teenage Caveman (1958), She Gods of Shark Reef (1958), I Mobster (1959), The Wasp Woman (1959), A Bucket of Blood (1959), Ski Troop Attack (1960), House of Usher (1960), The Little Shop of Horrors (1960), and Last Woman on Earth (1960). Although Roger Corman's name is closely associated with American International Pictures, some of his well-known movies were released by Allied Artists, including Not of This Earth, and Attack of the Crab Monsters. He made movies for yet other companies.

In the Sixties Roger Corman directed Atlas (1961), Creature from the Haunted Sea (1961), Pit and the Pendulum (1961), The Premature Burial (1962), The Intruder (1962), Tales of Terror (1962), Tower of London (1962), The Raven (1963), The Young Racers (1963), The Terror (1963), X-The Man with the X-Ray Eyes (1963), The Haunted Palace (1963), The Masque of the Red Death (1964), The Secret Invasion (1964), and The Tomb of Ligeia (1964). It was in August 1965 that Roger Corman signed with United Artists to make two films over three years. It was also in the mid-Sixties that he signed a contract with Columbia. Ultimately, he made no projects for either studio and returned to making independent movies. He finished the Sixties directing The Wild Angels (1967), The St. Valentine's Day Massacre (1967), The Trip (1967), Target: Harry (1969), Bloody Mama (1970), and Gas! -Or- It Became Necessary to Destroy the World in Order to Save It (1970).

It was on July 8 1970 that Roger Corman founded New World Pictures with his brother Gene. In the Seventies Mr. Corman concentrated on producing movies, although he would still direct a few. A He directed Von Richthofen and Brown (1971) and did uncredited directing on  Deathsport (1978), and  Battle Beyond the Stars (1980). After the Seventies he would direct only one more movie, Frankenstein Unbound (1990).

Roger Corman was prolific as a producer of movies, producing many, many movies in addition to those he directed himself. On IMDB his credits as a producer number 493. In the Fifties he produced such films as Monster from the Ocean Floor (1954), The Fast and the Furious (1954), Night of the Blood Beast (1958), The Brain Eaters (1958), Hot Car Girl (1958), The Cry Baby Killer (1958), and Beast from Haunted Cave (1959). In the Sixties he produced such films as Dementia 13 (1964), Voyage to the Prehistoric Planet (1965), Queen of Blood (1966), Blood Bath (1966), The Shooting (1966), Devil's Angels (1967), Targets (1968), and The Dunwich Horror (1970).

In the Seventies he produced such movies as Boxcar Bertha (1972), Sweet Kill (1973), Caged Heat (1974), Cockfighter (1974), The Arena (1974), Death Race 2000 (1975), Eat My Dust! (1976), Fighting Mad (1976), Grand Theft Auto (1977), I Never Promised You a Rose Garden (1977), Piranha (1978), Rock 'n' Roll High School (1979), Battle Beyond the Stars (1980), Galaxy of Terror (1980), and Smokey Bites the Dust (1980).  In the Eighties he produced Forbidden World (1982), Space Raiders (1983), Suburbia (1984), Amazons (1986), Sweet Revenge (1987), Slumber Party Massacre II (1987), Munchies (1987), Andy Colby's Incredible Adventure (1988), Masque of the Red Death (1989), The Terror Within (1989), Naked Obsession (1990), and Slumber Party Massacre III (1990).

In the Nineties Roger Corman produced such movies as The Unborn (1991), Killer Instinct (1992), Munchie (1992), Carnosaur (1993), Dracula Rising (1993), The Skateboard Kid (1993), The Unborn 2 (1994), Angel of Destruction (1994), Hellfire (1994), The Fantastic Four (1994), Carnosaur 2 (1995), Carnosaur 3: Primal Species (1996), and The Shepherd (1999). In the Naughts he produced such films as Raptor (2001), Escape from Afghanistan (2002), Dinoroc (2004), The Hunt for Eagle One (2006), The Hunt for Eagle One: Crash Point (2006), and Supergator (2007). He was also executive producer on the TV series Black Scorpion. In the Teens he produced Attack of the 50 Foot Cheerleader (2012), Roger Corman's Operation Rogue (2014), Fist of the Dragon (2015), and Death Race 2050 (2017).

In addition to directing and producing, Roger Corman also acted in films, usually in bit parts or cameos. In the Fifties he appeared in the movies Monster from the Ocean Floor, The Fast and the Furious, Day the World Ended, Naked Paradise, War of the Satellites, The Cry Baby Killer, Hot Car Girl, The Wasp Woman, Ski Troop Attack, and Battle of Blood Island (1960). In the Sixties he appeared in the movies Atlas (1961), Blood Bath (1966), and Target: Harry (1969). In the Seventies he appeared in The Godfather Part II (1974) and Cannnoball! (1976). In the Eighties he appeared in The Howling (1981), Der Stand der Dinge (1982), Swing Shift (1984), Lords of the Deep (1989), and Hollywood Boulevard II (1990). In the Nineties he appeared in The Silence of the Lambs (1991), Philadelphia (1993), Apollo 13 (1995), Scream 3 (2000), and The Independent (2000). He appeared in the TV movies Body Bags (1993)  and The Second Civil War (1997), and guest starred on the shows Rebel Highway, Beverly Hills 90120, The Practice, and The Phantom Eye. In the Naughts he appeared on the movies Loony Tunes: Back in Action (2003), The Manchurian Candidate (2004), Searchers 2.0 (2007), and Rachel Getting Married (2008). He appeared in the TV movies Dinoshark (2010) and Sharktopus (2010). In 2012 he appeared in Attack of the 50 Foot Cheerleader. He was the voice or Prospero in the segment "The Masque of the Red Death" in the animated movie Extraordinary Tales (2013).

It may well be impossible to completely access Roger Corman's impact on cinema.  While he considered motion pictures to be "..the only truly modern art form," at the same time he recognized that it was a business. He made movies on extremely tight budgets and very brief shooting schedules. That many of his movies are now considered classics is perhaps a testament to his talent as a director. Little Shop of Horrors, the movies in the Corman/Poe Cycle (particularly House of Usher and The Masque of the Red Death), X: The Man with the X-Ray Eyes, The St. Valentine's Day Massacre, and others are highly regarded in some quarters. Even when Roger Corman directed the occasional misfire (of which there are quite a few), the movies made money. Much of this was due to the fact that he had a knack for noticing the latest trends. When there was a moral panic over juvenile delinquency in the Fifties, he made movies like The Cry Baby Killer and Hot Car Girl. When Hammer Film Productions revived the Gothic horror genre, he made the Edgar Allan Poe movies. In the Sixties he made biker movies.

Roger Corman was also known for giving young talent their start in movies. The number of directors who began their careers with Mr. Corman is not a short one. It includes Francis Ford Coppola, Peter Bogdanovich, Martin Scorsese, Jonathan Demme, Ron Howard, Joe Dante, and yet others. They were all graduates of "the Roger Corman School of Filmmaking," which involved making due with shoestring budgets and limited resources. Roger Corman fostered many young actors as well, most notably Jack Nicholson, but also Peter Fonda, Robert De Niro, Bruce Dern, Ellen Burstyn, Dennis Hopper, David Carradine, and yet others.

For all his fame as a director and producer, from all reports Roger Corman was also a total gentleman. Many who knew him noted both his kindness and generosity. Those who worked with him have been effusive in their praise for him. Those who met him have also had praise for him. Regardless of what anyone might think of him as a filmmaker, he appears to have been a genuinely good human being.

One should make no mistake about it. Roger Corman made his share of bad movies. He was known as the King of Schlock with good reason. Regardless, his movies were always profitable and more often than not entertaining. What is more, than were many gems to be found alongside the dross. True, he directed Teenage Caveman and Bloody Mama, but he also directed The Intruder and The Pit and the Pendulum. Roger Corman's goal was to entertain audiences, and in doing so he revolutionized the film industry and created a few classics along the way.

"Buddy Holly" by Weezer

It was thirty years ago today that Weezer's self-titled debut album, also known as the Blue Album, was released. Weezer had only formed a little over two years earlier, on February 14 1992, in Los Angeles. In those early days Weezer often found themselves playing to small audiences, their style being grunge, the dominant sound of the time. Fortunately, the band did attract the interest of recording executives. They recorded a demo tape, The Kitchen Tape, in August 1992. The tape led to the band being signed by Geffen Records.

Many of the songs that appeared on The Kitchen Tape also appeared on the Blue Album, including their hits "Undone--the Sweater Song." The album was produced by Ric Ocasek, formerly of The Cars. The debut single from the album was "Undone--the Sweater Song," which went to no. 6 on the Billboard Modern Rock chart. Their second single, "Buddy Holly," would perform even better. It went to no. 2 on the Modern Rock chart. The third single from the album, "Say It Ain't So," also did well. It went to no. 7 on the chart. As to the Blue Album itself, it went to no. 47 on the Billboard album chart.

My favourite song from the Blue Album (my favourite song by Weezer, for that matter) has always been "Buddy Holly." The song very nearly did not make it onto the album. Rivers Cuomo thought the song was "cheesy" and did not necessarily represent the direction Weezer's sound was taking. Producer Ric Ocasek championed the song, and persuaded the band to include the song on the album. It turned out to be one of their biggest hits.

Of course, "Buddy Holly" is well known for its music video directed by Spike Jonze. The video portrays Weezer performing the song at Arnold's Drive-In from Happy Days, complete with the various characters from the sitcom. What is remarkable about the video utilized no CGI. Instead the video for "Buddy Holly" using clips from the show combined with some inventive editing and camerawork, as well as a cameo by Al Molinaro as Al (whose appearance hadn't really changed since Happy Days had gone off the air 1984). The illusion of the Fonz dancing to Weezer was done through combing footage of Fozie from Happy Days with a body double. The video proved to be popular, and it won Best Alternative Video, Breakthrough Video, Best Direction and Best Editing at the 1995 MTV Video Music Awards. It had been nominated for Video of the Year

Without further ado, here is "Buddy Holly" by Weezer.

Instagram Should Change the Way It Handles Video

A while back I uploaded a video to an Instagram account I handle. The video was a three minute television news story from 2010. I tried uploading it as a Reel, but ran into two problems. First, because the video has an aspect radio of 16:1 (it's a television news story after all), I had to edit it to fit. Second, Instagram limits Reels to 90 seconds (a fact of which I was not aware of at the time), so it chopped off the majority of the story.

I then tried uploading the video as a Post. This too presented problems. While I could upload the whole three minutes, Instagram insisted on reducing the aspect ratio, so that the whole picture wasn't on the screen. Worse yet, when one uploads a video as a Post to Instagram, you don't have any video editing tools. In other words, I couldn't correct the problem. Ultimately, I had to load the video into Canva and format it as an Instagram Story. I then saved it and uploaded it as a Post. That finally did the trick.

At any rate, I feel like I should not have to had gone through all of this. I should have been able to upload all three minutes of the video in its original aspect ratio. I seem to recall that in the past Instagram allowed for longer videos and for videos that have an aspect ratio of 16:1. Apparently, that has changed and I don't think the change was for the best.

Of course, I know why Instagram may have made the change. It was in 2020 that Instagram introduced Reels in an effort to compete with TikTok. Reels are pretty much like TikTook videos. Short (under ninety seconds) videos, generally with an aspect ratio of 1:16 (pretty much the size of a smart phone screen when held vertically). For some time Instagram has encouraged the creation of Reels, even when some users (like myself) show no interest in watching them or creating them. I suspect Instagram made changes in the way video is handled in an effort to force people to create Reels instead of longer videos in different aspect ratios.

At any rate, I do think this is foolish. First, ninety seconds is not enough time for someone to relay a good deal of information. I can understand Instagram not wanting people to upload really long videos to the platform (I don't think anyone wants to watch a feature film there), but I don' think three to five minutes is that long. Indeed, many news stories on local stations are longer than ninety seconds and run anywhere from one to three minutes. Second, it seems to me that if Instagram wants to compete with TikTok, then it would be better to offer things TikTok doesn't. Allowing people to upload longer videos in different aspect ratios might encourage people to turn to Instagram for uploading videos rather than going to TikTok.

Anyway, I do hope Instagram changes this so that one can edit an upload videos in different aspect ratios. Not only do I think it would make a lot of users happy, but I think it would also be advantageous for Instagram to do so. As I said, it would be something that TikTok doesn't have.

Alpha Media Kills Radio Stations KWIX and KRES

A post card from the Sixties of the KWIX Building

Yesterday residents of Randolph County, Missouri heard news that the entire programming staff of local radio stations KWIX and KRES in Moberly were terminated without notice (and apparently through a conference call at that). While both radio stations will remain on the air, there will no longer be any local news, weather, and sports coverage. Instead, there will be syndicated content. To make matters worse, apparently all other stations in Missouri owned by Alpha Media will suffer the same fate.

To say Randolph Countians are upset would be an understatement. Social media has been filled with posts from Randolph Countians expressing their disappointment, grief, and even outrage at Alpha Media's actions. Many are emailing Alpha Media CEO Bob Proffitt and calling Alpha Media to express their anger.  And, speaking as a native Randolph Countian myself, I can fully understand why. KWIX and KRES have long been a part of people's lives here. KWIX first went on the air as KNCM on June 17 1950. It was in 1964 that KNCM was reassigned the call letters KWIX, the station's founder Jerrell Shepherd feeling that KNCM was too hard to say. It was on November 22 1966 that AM radio station KWIX was joined on the air by its sister station, the FM station KRES. 

In the 22 years that KWIX has been on the air and the 58 years that KRES has been on the air, the two radio stations became very much a part of Randolph Countians' lives. For many the radio stations were their primary source for local news. KWIX had a half-hour newscast, aired more than once a day, in which they covered everything from local events to accidents to deaths. I remember my father would come in from the fields just so he could listen to the KWIX noon news. The two stations were well-known for their weather coverage, and many tuned into the stations in times of severe weather, preferring them to the television stations in the Columbia/Jefferson City market. They were also well known for their sports coverage and would air the local schools' games live. Every Friday night during football season, they had a post-game show called Endzone. What is more, KWIX and KRES were not simply important to Randolph County. People as far away as Hannibal and Quincy listened to the stations.

Beyond news, weather, and sports, KWIX aired other sorts of programming as well. When I was growing up, they played traditional pop by day. At night they had the Big Beat show, during which they played rock music and R&B. Of an evening they had a Big Band show. KWIX also had a program called Party Line, during which people could ask questions and have them answered, and a program Trading Post, during which people could call in with goods or services they had for sale KWIX would eventually shift towards a talk radio format, but their local programming remained. KWIX and KRES were very prominent in the community, supporting many local organizations and events.

Given how intertwined KWIX and KRES were with people's lives and how much Randolph County depended upon them, taking away local programming from both stations is then very nearly catastrophic for the area. Many have lost their primary source for news, weather, and sports. What is more many are worried about the economic repercussions this could have for the immediate area. It is then very understandable why the entire county seems to be upset.

As it is, I think Alpha Media may have made a grave mistake in firing the programming staff of KWIX and KRES and doing away with local programming on the two stations. The local programming was the primary reason most people listened to the two stations. Take that away and it is very likely both stations will lose the vast majority of their listeners. Furthermore, radio depends upon advertising. Without local programming, many local advertisers may well stop advertising on the stations. Indeed, I already know of one major local advertiser who has said that effective immediately, he will no longer advertise on KWIX and KRES. Now I don't think this will mean Alpha Media will lose so much money they will have to close both stations, but I do think they will lose money nonetheless. Quite simply, any money they sought to save by removing local programming will be dwarfed by the loss of advertising dollars.

Despite the fact that the community is outraged, despite the fact that local advertisers will probably stop advertising on KWIX and KRES, I doubt Alpha Media will reverse their decision. Corporations can be stubborn and often act in ways that are very much against their best interests. Regardless, it is a sad day for Randolph County. Many have lost their primary source of local news, sports, and weather, and the area has lost a large part of its history.

The Late Great Stuntwoman Jeannie Epper

Jeannie Epper, the famed stuntwoman who performed stunts on such shows as Wonder Woman and Charlie's Angels and such movies as Our Man Flint (1966) and Blazing Saddles (1974), died on May 5 2024 at the age of 83.

Jeannie Epper was born on January 27 1941 in Glendale, California to a family of stunt performers. She grew up in North Hollywood. Her father was stuntman John Epper, who performed stunts in movies from The Charge of the Light Brigade (1936) to The Great Bank Robbery (1969). She performed her first stunt when she was only nine years old, riding a horse down a cliff in the movie Elopement (1951). When she was 13 years old she went off to finishing school in Switzerland for two and a half years.

Her first credit was for the movie Cheyenne Autumn in 1964. She spent much of the latter Sixties as a stunt double on the television Western series The Big Valley. During the decade she performed stunts in the movies The Hallelujah Trail (1965), Our Man Flint (1966), Mackenna's Gold (1969), Hello, Dolly! (1969), and Little Big Man (1970).

In the Seventies she was Lynda Carter's stunt double on Wonder Woman. She also served as a stunt double on the shows The Bionic Woman and Charlie's Angels. She performed stunts for individual episodes of the shows Emergency! and Laverne & Shirley. She worked on such movies as Play Misty for Me (1971), The Poseidon Adventure (1972), Soylent Green (1973), Coffy (1973), The Don is Dead (1974), Blazing Saddles (1974), Mame (1974), Foxy Brown (1974), Earthquake (1974), The Towering Inferno (1974), The Day of the Locust (1975), Logan's Run (1976), Eaten Alive (1976), Silver Streak (1976), Bound for Glory (1976), Black Sunday (1977), Close Encounters of the Third Kind (1977), Avalanche Express (1979), The Silent Scream (1979), 1941 (1979), The Ninth Configuration (1980), The Blues Brothers (1980), Used Cars (1980), Smokey and the Bandit II (1980), and Melvin and Howard.

In the Eighties Miss Epper was a stunt double on the TV series Dynasty. She performed stunts in the Tales from the Crypt episode "All Through the House." She performed stunts in the movies Charlie Chan and the Curse of the Dragon Queen (1981), Caveman (1981), The Cannonball Run (1981), Deathtrap (1982), The Sword and the Sorcerer (1982), Poltergeist (1982), Blade Runner (1982), The Beastmaster (1982), The Man with Two Brains (1983), The Final Terror (1983), Term of Endearment (1983), Romancing the Stone (1984), Ghost Warrior (1984), Private Resort (1985), Fletch (1985), Clue (1985), The Naked Cage (1986), Murphy's Law (1986), Legal Eagles (1986), Vamp (1986), Extremities (1986), Vendetta (1986), Outrageous Fortune (1987), Retribution (1987), Million Dollar Mystery (1987), RoboCop (1987), Flowers in the Attic (1987), Off the Mark (1987), Patty Hearst (1988), Elvira: Mistress of the Dark (1988), The Naked Gun: From the Files of Police Squad! (1988), All's Fair (1989), K-9 (1989), Road House (1989), The Package (1989), National Lampoon's Christmas Vacation (1989), Come See the Paradise (1990), Total Recall (1990), and The Rookie (1990).

In the Nineties she performed stunts on the television reunion mini-series Dynasty: The Return. She also performed stunts on an episode of the show L.A. Heat.  She worked on such movies as Switch (1991), Mobsters (1991), Dead Again (1991), Article 99 (1992), Midnight's Child (1992), Honey, I Blew Up the Kid (1992), The Mighty Ducks (1992), Innocent Blood (1992), Extreme Justice (1993), Dreamrider (1993), The Fugitive (1993), Demolition Man (1993), Josh and S.A.M. (1993), Beverly Hills Cop III (1994), Blown Away (1994), Night of the Running Man (1995), Die Hard with a Vengeance (1995), Separate Lives (1995), Money Train (1995), Guns and Lipstick (1995), Sgt. Bilko (1996), Spy Hard (1996), Kazaam (1996), A Very Brady Sequel (1996), High School High (1996), Set It Off (1996), Metro (1997), Vegas Vacation (1997), Con Air (1997), Steel (1997), Fire Down Below (1997), Armageddon (1998), Blade (1998), Soldier (1998), Wild Wild West (1999), Mystery Men (1999), Whatever It Takes (2000), and Submerged (2000).

In the Naughts Jeannie Epper performed stunts on the movies Rush Hour 2 (2001), The Princess Diaries (2001), Jay and Silent Bob Strike Back (2001), Orange County (2002), The Sweetest Thing (2002), Minority Report (2002), Catch Me if You Can (2002), The Italian Job (2003), 2 Fast 2 Furious (2003), Bad Boys II (2003), Freaky Friday (2003), November (2004), Kill Bill: Vol 2 (2004), Criminal (2004), Elizabethtown (2005), Poseidon (2006), The Fast and the Furious: Tokyo Drift (2006), American Son (2008), The Happening (2008), State of Play (2009), Table for Three (2009), The Book of Eli (2010), The Back-up Plan (2010), and Nothing Special (2010).

From the Teens into the Naughts Jeannie Epper worked on such films as Cedar Rapids (2011), The Amazing Spider-Man (2011), After (2012), and Flight (2012), Hot Pursuit (2015).

In addition to TV shows and movies, Jeannie Epper also performed stunts for video games, including Ground Zero Texas. She also appeared in bits parts in movies such as Cheyenne Autumn, Soylent Green, Earthquake, and Spider-Man. She had larger roles in the movies Foxy Brown and Quarantine (2008) and episodes of the TV shows Tales from the Crypt, Monk, Supernatural, and The Rookie.

Jeannie Cooper's sisters Margo and Stephanie were also stuntwomen. All three sisters would work together, most notably in The Life and Times of Judge Roy Bean in which they played prostitutes who beat up the lead character (played by Paul Newman). Multiple members of her family, brothers and sisters, performed stunts in the bar fight scene in 1941.

When it came to stunt performers Jeannie Epper was a true pioneer. As hard as it may be to believe now, as late as the 1970s it was not unusual for men to double for female actors. Talking to the TV Academy Foundation in 2014, she said, "It wasn’t until sexy ladies like Linda Evans and Lynda Carter said we didn’t want hairy-legged boys doubling for us anymore," She was a founding member of the Stuntmen's Association of Motion Pictures. She was certainly good at her job. She performed such stunts as the mudslide scene in Romancing the Stone. Among other things, she was a skilled horsewoman. Jeannie also had a long career. She received her last credit when she was eighty years old. Jeannie Epper was a true pioneer and a truly great stunt performer.

Korean American Film Pioneer Philip Ahn

Chances are good that most viewers would not recognize the name "Philip Ahn," although they might well recognize his face. Today he is probably best known for playing Master Kan on the Seventies television show Kung Fu, but he played many roles throughout his long career. Among the things that set Philip Ahn apart from other East Asian Americans of his era was that he was Korean American, rather than Chinese American or Japanese American, although he often found himself cast in Chinese or Japanese roles.

Philip Ahn was born on March 29 1905 in Highland Park, Los Angeles. His father, Doan Ahn Chang-ho, was an educator as well as an activist for Korean independence during the Japanese occupation of that country. Doan Ahn Chang-ho and his wife,  Helen Lee,  moved to the United States in 1902 to seek more opportunities in education. His sister, Susan Ahn Cuddy, served in the United States Navy during World War II and reached the rank of lieutenant. She later worked for the National Security Agency in Washington DC. His brother Philson Ahn also became an actor, and may be best known for playing Prince Tallen in the 1939 serial Buck Rogers. His youngest brother, Ralph Ahn, became an actor as well, and may be familiar to viewers as Tran on the sitcom New Girl. Philip Ahn's name is an Anglicized version of his Korean name, "Pi Lip."

Philip Ahn grew up in the same neighbourhood as future screen legend Ann May Wong, and they even attended the same school . She had a small part in The Thief of Bagdad (1924). Philip Ahn drove her to the set one day and while he was waiting for her on the set Douglas Fairbanks offered him a screen test. Philip Ahn had to turn down the role as his mother was strongly opposed to it.  After graduating from high school, he worked as  a labourer in rice fields, an elevator operator, and a truck driver. By 1934 he had saved up enough money to attend college, and he enrolled at the University of Souther California in Los Angles,. He majored in foreign commerce and speech. The siren song of acting still called to Philip Ahn, and it was while he was still attending college that he toured with a production of Merrily We Roll Along. He completed his sophomore year at USC and then threw himself into a film career.

His first role was not a big one. It was an uncredited role as a Chinese waiter in the movie Desirable (1934). It would not be long before he started receiving credited roles, and in 1937 he played his first of only two lead roles in his career, that of FBI agent Kim Lee in Daughter of Shanghai opposite Anna May Wong. He would only have one other lead role in his career. He played lawyer Robert Li in King of Chinatown (1939), once more opposite Anna May Wong. Both movies would mark the first time in the Sound Era a romantic couple in a Hollywood film was played by East Asian American actors.

Although Philip Ahn was Korean in descent, he only played a few Korean roles in his lifetime. In the movie China Sky (1945) he played Dr. Kim, marking one of the first times a Korean character was portrayed in an American film. He also played Korean characters in movies that grew out of the Korean War,  Battle Zone (1952), Battle Circus (1953), and Battle Hymn (1956). He made three guest appearances on the television series M*A*S*H, on which he also played Korean characters.

More often than not, Philip Ahn played Chinese and Japanese characters. During World War II he found himself playing Japanese military officers and Japanese spies. This led some to believe he actually was Japanese, and as a result he received death threats. Philip Ahn remarked of his roles as Japanese villains, "True, I hated the Japanese, but I told myself that if I was going to play the enemy, I was going to play him as viciously as I could. In Back to Bataan (1945) I slapped little children and went so far as to hang a teacher from an American flag pole. I took pride in being the most evil man alive." While hardly politically correct by today's standards, Phillip Ahn's comment is understandable given Korea was occupied by the Japanese Empire at the time. During World War II Mr. Ahn also served in the Untied States Army for a time.

Much as he had in movies, Philip Ahn continued to play Chinese and Japanese parts on television. In all three of his guest appearances on Bonanza, he played Chinese characters. He played Japanese characters on The Man From U.N.C.L.E. and The Time Tunnel. On the Seventies TV series Kung Fu he played Master Chen Ming Kan, a Shaolin monk and one of the teachers of the lead character  Kwai Chang Caine (played by Radames Pera ).

In addition to acting, Philip Ahn also had a Chinese restaurant. It was on June 17 1954 that he and his sister Soorah opened Phi Ahn's Moongate in Panorama City in Los Angeles in the San Fernando Valley. Phil Ahn's Moongate proved to be a success and remained open until 1990. For twenty years Phililp Ahn was the honorary mayor of Panorama City.

Sadly, Philip Ahn died on February 28 1978 of complications following surgery for lung cancer. It was on 1984 that he was posthumously awarded a star on the Hollywood Walk of Fame. Then Los Angeles Mayor Tom Bradley declared the November 14 1984 to be Philip Ahn Day in the actor's honour. Philip Ahn was the first Korean actor to receive a star on the Hollywood Walk of Fame.

Philip Ahn was a true pioneer as one of the earliest, if not the earliest, Korean American actors in Hollywood and one of the first to play Korean characters on screen. It would through his work that Americans became more aware of Korea, which was not well-known to many Americans in the 1940s and often regarded little more as an occupied territory of Japan. While Philip Ahn would play his share of stereotypes in his career, he also played characters who broke with those stereotypes. Kim Lee in Daughter of Shanghai and Robert Li in King of Chinatown were both groundbreaking roles. Philip Ahn also spoke out against the systemic racism in Hollywood, and was among the Asian American actors who signed an open letter ran in the October 19 1976 issue of Variety that denounced the racist casting in Hollywood. Philip Ahn paved the way for other East Asian American actors and particularly Korean American actors in the United States.

Vanessa Marquez and R2-D2

Happy Star Wars Day! May the 4th be with you. Given what today is, I thought I would make a post with a Star Wars theme. My dearest Vanessa Marquez was the biggest Star Wars fan I ever knew, and she had an extensive collection of Star Wars merchandise. Quite naturally, she was then one of the people who contributed to the Kickstarter for the Star Wars fan film Return of Pink Five. She would get a cameo at the end of the film, and she was billed as"Pink Squadron Pilot." As Vanessa's many friends knew, her favourite colour was pink.

Anyway, while Return of Pink Five was filming at Long Beach Comic Con, Vanessa got to interact with R2-D2 (not the actual R2-D2 from the Star Wars movies, but a very convincing replica). If you knew Vanessa Marquez, you also know that her all-time favourite character was R2-D2. In fact,  I used to tease her about R2 being my rival. Here's a short video of Vanessa and her all-time favourite Star Wars character (or as she called him, "my guy").

The Late Great Duane Eddy

Legendary guitarist Duane Eddy died on April 30 2024 at the age of 86. The cause was cancer. He was known for such hits as "Rebel Rouser" and "Peter Gunn."

Duane Eddy was born on April 26 1938 in Corning, New York. He grew up in Phoenix. He started playing guitar by the time he was five years old. It was while he was playing at Arizona radio station KCKY that he met disc jockey Lee Hazlewood. Lee Hazlewood produced Duane Eddy's first single, "I Want Some Lovin'"/"Soda Fountain Girl," which was released locally in Phoenix.

It was in 1958 that Duane Eddy signed with Jamie Records. His first single on the label, "Movin' and Groovin'," reached no. 72 on the Billboard chart. His second single on the label, "Rebel Rouser," proved to be a hit. It reached no. 6 on the Billboard chart. His success with "Rebel Rouser" would be followed by several hit singles, including "Ramrod," "Cannonball," "The Lonely One," "Forty Miles of Bad Road," and "Because They're Young." His albums also did well. His debut album, Have "Twangy" Guitar Will Travel, went to no. 5 on the Billboard album chart. His second album, Especially for You, peaked at no. 18. In the course of his career, Duane Eddy recorded more than 50 albums.

Duane Eddy's stream of hits ceased in 1964 with the British Invasion. Despite this, he continued to release singles and albums throughout the Sixties. He released only a few records in the Seventies, although he produced records for such artists as Phil Everly and Waylon Jennings. He also played guitar on records from P.F. Sloan and Phil Everly. In the Eighties he recorded a new version of "Peter Gunn" with The Art of Noise" that reached no. 50 on the Billboard Hot 100. His first album since the Sixties, Duane Eddy & The Rebels, was released in 1987. His last album, Road Trip, was released in 2011.

Duane Eddy dabbled in acting. He appeared in the movies A Thunder of Drums (1961), The Wild Westerners (1962), Savage Seven (1968), and Kona Coast (1968). He guest starred on two episodes of Have Gun--Will Travel. He also wrote the themes for such movies as  Because They’re Young (1960), Pepe (1960) and Gidget Goes Hawaiian (1961)

In 1986 Duane Eddy told the Associated Press, "I had a distinctive sound that people could recognize, and I stuck pretty much with that. I’m not one of the best technical players by any means; I just sell the best." While there are many who disagree with Mr. Eddy about his technical skill as a guitarist, there can be no doubt that he was a great stylist. Duane Eddy created his "twangy" sound by playing lead on the bass strings of his guitar.The sound was further developed by Mr. Eddy and producer Lee Hazlewood (who would later use it on his song "These Boots Are Made for Walkin'" by Nancy Sinstra). The "twang" gave Duane Eddy an utterly unique sound that was both highly appealing and highly adaptable. He could use it on a jazz composition such as "Peter Gunn," a traditional song such as "The House of the Rising Sun," or outright rock 'n' roll compositions such as "Rebel Rouser." He would certainly have lasting impact, influencing artists from The Ventures to The Beatles to Jimi Hendrix to John Fogerty.

The Art of Artifice on TCM Tuesday Nights in May 2024

A scene from Jason and the Argonauts (1964)

Tuesday nights in May on Turner Classic Movies are devoted to the special theme The Art of Artifice, in which TCM celebrates production design, special effects, and the various techniques used to make the fictional worlds of movies seem real to viewers. Over the four Tuesdays of May, Turner Classic Movies will be showing 24 movies that are remarkable for making the unreal seem real.

While period pieces, science fiction movies, and fantasy films might spring to mind when one thinks of production design to create a whole new world, TCM is showing a wide variety of movies on Tuesdays this month. There is everything from Hitchcock's thriller North to Northwest (1959) to the teen comedy Beach Party (1964) to Dr. Seuss's musical fantasy The 5,000 Fingers of Dr. T (1953). What is more there are some truly great films being shown this month in addition to the ones I just named. Forbidden Planet (1956), Citizen Kane (1941),  The Red Shoes (1948), and The Thief of Bagdad (1940) number among the movies they are showing. Tuesday, May 28 may be one of the best nights ever in TCM's 30 year history. That night they are showing Jason and the Argonauts (1964), King Kong (1933), Metropolis (1926), and Eraserhead (1977).

Below is the schedule for the Art of Artifice. All times are Central.

Tuesday, May 7:
7:00 PM North by Northwest (1959)
9:30 A Matter of Life and Death (1957)
11:30 PM Forbidden Planet (1956)

Wednesday, May 8:
1:15 AM Citizen Kane (1941)
3:30 AM The Fountainhead (1949)

Tuesday, May 14:
7:00 PM Rancho Notorious (1952)
8:45 PM Beach Party (1964)
10:30 PM Breathless (1983)

Wednesday, May 15:
12:30 AM Two Weeks in Another Town (1962)
2:30 AM Querelle (1982)
4:30 AM The Boy Friend (1971)

Tuesday, May 21:
7:00 PM The 5,000 Fingers of Dr. T (1953)
8:45 PM The Red Shoes (1948)
11:15 PM Donkey Skin (1970)

Wednesday, May 22:
1:00 AM The Glass Slipper (1955)
2:45 AM Brigadoon (1954)
4:45 AM The Thief of Bagdad (1940)

Tuesday, May 28:
7:00 PM Jason and the Argonauts (1964)
9:00 PM King Kong (1933)
11:00 PM Metropolis (1926)

Wednesday, May 29:
1:45 AM Eraserhead (1977)

For the First Time Ever, Blood In Blood Out (1993) is on Streaming

As of today, May 1 2024, Blood In Blood Out (1993) is available for streaming on Hulu. For many movies this would not be big news, but in the case of Blood In Blood Out it marks the first time it is available for streaming. In many ways, it is remarkable that the movie is available for streaming at all given it history. Indeed, many of the film's fans have accused Disney of burying it (Disney owned Hollywood Pictures, under which it was released).

Quite simply, Blood In Blood Out was not released under the best circumstances. The riots in Los Angeles that erupted on late April and early May of 1992 following the acquittal of the police officers who had beaten Rodney King made Disney CEO Michael Eisner concerned that the film could generate bad press for the studio. Its release was then delayed. On February 5 1993, test screenings were held in Rochester, New York, Tucson, Arizona, and Las Vegas, Nevada. A fist fight broke out at the screening in Las Vegas, convinced Michael Eisner that the film could lead to violence, even though no one had been injured in the fight.

Ultimately Blood in Blood Out would be released, but under the less provocative title Bound by Honor. It was released to thirty cities on April 30 1993. Unfortunately, it would prove to be a box office disappointment. Prior to the test screenings in February 1993, Disney had projected Blood In Blood Out to make  $40 million. Instead as Bound by Honor, only made a meagre $4.5 million. It should come as no surprise that it disappeared quickly from theatres.

While Blood In Blood Out  (under the title Bound by Honor), it would find its audience through home video and premium cable channels. The movie was released under the title Blood In Blood Out: Bound by Honor on VHS on January 5 1994. It began airing on such premium channels as Showtime and The Movie Channel in 1995 under that same title. It was on January 13 2000 that Blood In Blood Out was released on DVD. It is because of home video and its airings on various premium cable channels that it developed a cult following particularly among Chicanos. Despite this, it would remain unavailable on streaming services other than unauthorized, poor quality copies popping up on YouTube.

For myself, Blood In Blood Out is significant as it features an early performance by my dearest Vanessa Marquez, who plays the daughter of Montana, the leader of the gang La Onda in the movie.

At any rate, the fact that Blood In Blood Out is now available on streaming is a testament to its fans' tenacity in campaigning on the film's behalf. Although it has long been available on DVD and Blu-ray, it has not been shown on premium channels for years. Being available on Hulu then gives many greatest access to the film than they have had in years.

Agnes Moorehead in Dark Passage (1947)

(This post is part of the Third Agnes Moorehead Blogathon hosted by In the Good Old Days of Classic Hollywood)

There can be no doubt that Agnes Moorehead was one of the greatest character actresses of all time. While she is best known today as Endora on the classic television show Bewitched, throughout her career she played a wide variety of roles. Among her most remarkable roles was that of Madge Rapf in Dark Passage (1947), who was a far cry from Endora.

Dark Passage centres on Vincent Parry, a man falsely accused of killing his wife who escapes from San Quentin. Parry takes refuge with a young woman, Irene Jansen (Lauren Bacall), whose father had also been falsely accused of a crime. Unfortunately, among Irene's friends is Madge Rapf (Agnes Moorehead), a woman that Parry had spurned and who falsely claimed at Parry's trial that his wife had identified him as her killer out of spite. Even once Parry has plastic surgery to change his appearance and begins trying to clear his name, he still faces the danger of being discovered.

For the first hour of Dark Passage, the viewer sees things through Parry's eyes. It is after his plastic surgery that viewers finally get to see what Parry looks like. This technique was not exactly new when used in Dark Passage. It had been used as early as 1927 in Abel Gance's Napoleon and in the first five minutes of the classic Dr. Jekyll and Mr. Hyde (1931). It had been used in the previous year for the entirety of Robert Montgomery's Lady in the Lake (1946), in which nearly the whole film is seen through the eyes of its hero, Philip Marlowe.

Dark Passage was based on the novel of the 1946 novel of the same name, Dark Passage by David Goodis. The novel had been serialized in The Saturday Evening Post from July 20 to September 7 1946, and was afterwards published as a book. Among those who had read the book was Humphrey Bogart, who wanted to make a film version of the novel with himself in the lead role.

Dark Passage was the third movie to star Humphrey Bogart and Lauren Bacall, but the star attraction in the film is really Agnes Moorehead. The role of Madge Rapf is a sharp break from many of the roles Miss Moorehead played during the Golden Age of Hollywood. Madge Rapf is no dowdy governess or plainly dressed matron. Instead she is a wealthy woman dressed to the nines, making Madge one of Agnes Moorehead's most glamorous roles in her days before she was cast as Endora.

Unfortunately for the film's protagonist, Vincent Parry, Madge is not only glamorous, but venomous as well. Madge is clearly a woman who usually gets what she wants, and can be very vindicative when she doesn't. Indeed, none of the characters in the movie seem to like Madge very much, and some of them appear to outright hate her. In the hands of a  lesser actor, Madge could have easily been a one-note character. In the hands of Agnes Moorehead, she is entirely three-dimensional. Her fear throughout the movie that Vincent Parry will kill her appears genuine. When Madge behaves flirtatiously (something Miss Moorehead rarely got to do in her film career), she simply oozes sex. In the end, Agnes Moorehead makes Madge Rapf one of the great femme fatales in film history.

Agnes Moorhead was capable of playing a wide variety of roles, and she played many throughout her career. That she makes Madge a three-dimensional character with only limited screen time is a remarkable achievement. It certainly stands as one of the best roles of her career.

Long-Time Moody Blues Keyboardist Mike Pinder Passes On

Mike Pinder, a founding member of The Moody Blues and the band's long-time keyboardist, died on April 24 2024 at the age of 82. He had been suffering for many years from dementia.

Mike Pinder was born on December 27 1941 in Erdington, Birmingham. As a young adult he joined the band El Riot and The Rebels, which included future Moody Blues members Roy Thomas and John Lodge. He served for a time in the British Army. After returning to England, Mike Pinder played in a band called The Krew Cats, who played at some of the same venues in Germany as The Beatles. It around the same time he was in The Krew Cats that Mike Pinder worked as an engineer at Streetly Electronics, in Streetly, Birmingham. Streetly Electronics is notable for the first models of the Mellotron in the United Kingdom. The Mellotron is an electronic instrument that would prove pivotal in the history of The Moody Blues.

It was in May 1964 that Mike Pinder, Roy Thomas, Clint Warwick, Denny Laine, and Graeme Edge formed what was then called The M & B 5. The band was soon renamed The Moody Blues. The Moody Blues signed with Ridgepride, a label that leased their records to Decca. Their first single, a cover of Bobby Parker's "Steal Your Heart Away" saw little success, but their second single, "Go Now," proved to be a hit. It reached no. 1 on the UK singles chart and no. 10 on the Billboard Hot 100. Their first album, The Magnificent Moodies (released as Go Now in the US) was released on July 23 1965.

Unfortunately, The Moody Blues were unable to immediately follow up the success of "Go Now." Their single ""I Don't Want to Go On Without You" only went to no. 33 on the UK singles chart. "From the Bottom of My Heart (I Love You)" went to no. 22. "Everyday" would be their last single to chart for a time, only going to no. 44 on the UK singles chart. Clint Warwick left the band in July 1966, retiring from the music business entirely. Frustrated by the band's lack of success, Denny Laine would also leave The Moody Blues. Clint Warwick and Denny Laine would be replaced by John Lodge and Justin Hayward.

Having been playing R&B covers and original material along the same lines, The Moody Blues eventually changed their style. The single "Fly Me High"/"I Really Haven't Got the Time" (the latter of which was written by Mike Pinder) marked move towards psychedelia. "Love and Beauty" by Mike Pinder would mark an even greater shift in style for the band, marking the first time the Mellontron was used on a Moody Blues song. It was in 1967 that The Moody Blues' groundbreaking album Days of Future Passed was released. The album combined orchestral elements with rock music and established the style for which The Moody Blues would become best known. The album would also prove to be a success. While it only reached no. 2 on the UK album chart, it reached no. 3 on the Billboard album chart. It was Mike Pinder who recited the spoken lines on the album on the tracks "Morning Glory," and "Late Lament."

The Moody Blues would continue to release successful albums from the late Sixties into the Seventies. Mike Pinder sang and wrote many songs during this period, particularly those featuring a classical influence. He wrote the B-side for the band's 1968 single "Ride My See-Saw," "A Simple Game," for which he won an Ivor Novello Award. His song "So Deep Within You" was later covered by The Four Tops. For John Lennon's album Imagine he was a guest on the songs "I Don't Wanna Be A Soldier (I Don't Wanna Die)" and "Jealous Guy."

The Moody Blues went on hiatus in 1974. Mike Pinder moved to Southern California that same year. He recorded his first solo album, The Promise, which was released in 1976. The Moody Blues regrouped in 1977 for the album Octave. Mike Pinder elected not to tour with the band, and he was replaced on the tour by Swiss keyboardist Patrick Moraz, who had been with Yes. Mike Pinder left The Moody Blues following the recording of Octave.

Mike Pinder then went to work for Atari Inc., where he worked on music synthesizers. He eventually released his second and final solo album, Among the Stars, in 1994. He also wrote two spoken word albums, A Planet With One Mind (1995), in which he recited children's stories from different parts of the world. A Planet With One Mind was followed by another spoken word album, A People with One Heart.

Mike Pinder was pivotal to the success of The Moody Blues. In introducing the Mellontron to the band, he was responsible in part for moving The Moody Blues towards the more progressive sound for which they would be known. Until he left following Octave, Mike Pinder was the band's primary music arranger. He wrote several songs for the band, and on those which he did not write he often contributed his skill with the Mellontron or even his voice. Ultimately, Mike Pinder's influence would extend beyond The Moody Blues and he would have an influence on the progressive rock and symphonic rock genres as a whole.

Seven Samurai Turns 70

It was 70 years ago on this date, on April 26 1954, that Seven Samurai was released in Japan. It is regarded as Akira Kurosawa's masterpiece, as well as one of the greatest movies ever made. As for myself, it is my favourite movie ever made. Indeed, I consider it the greatest movie of all time.

When I was growing up one of my favourite movies was (and still is) The Magnificent Seven (1960), a tale of seven gunslingers who band together to defend a small village from marauders. I would be a teenager before I learned that The Magnificent Seven was based on an earlier, Japanese film, Seven Samurai, in which seven samurai band together to defend a village against bandits. I would be in my twenties before I actually saw Seven Samurai. I had already seen Akira Kurosawa's Yojimbo (1961) and Sanjuro (1962), which I both loved. When my best friend rented Seven Samurai from 9th Street Video in Columbia, I was then more than ready to see it. It did not disappoint. In fact, even upon my first viewing I decided it was one my favourite movie of all time and what I considered the greatest movie ever made. I have seen Seven Samurai many time since then and my opinion has not changed.

Seven Samurai is certainly a marvel of cinematic technique. Asakazu Nakai's black-and-white cinematography is beautiful. Nearly even given frame of Seven Samurai would make for a great still photography. Akira Kurosawa's editing is also superb, made all the more remarkable by the fact that he edited the movie even as it was being shot. As to Akira Kurosawa's direction, it too is incredible. As much as I love Alfred Hitchcock and Billy Wilder, I remain convinced Akira Kurosawa is the greatest director of all time, and Seven Samurai is his best work.

While Seven Samurai boasts fantastic cinematography, editing and direction, it may be the screenplay by Akira Kurosawa, Shinobu Hashimoto, and Hideo Oguni that its greatest strength. The story is nothing short of compelling, as a small Japanese village in 1586 hires seven samurai to defend them against bandits who have attacked the village regularly. As might be expected, there are several great action scenes, but Seven Samurai is much more than an action movie. The characters are all fully rounded, from the samurai to various villagers, so that the interactions between the various characters make for several great scenes. Seven Samurai is also well-paced. The film clocks in at three hours and 23 minutes, but it hardly feels that long. In fact, when I first saw Seven Samurai I told my best friend it could be even longer.

Not only does Seven Samurai boast a great script, but also great acting as well. There is not one bad performance in the film. Toshiro Mifune, who gave many great performances throughout his career, gave what may be his best performance in his career as Katsushirō, a peasant who aspires to (and is eventually considered) a samurai. Takashi Shimura also gives a great performance as Kambei Shimada, the war-weary leader of the samurai. Kokuten Kōdō as Gisaku, the village elder whom everyone calls "Granddad," is remarkable. All of the actors in Seven Samurai give great performances, no matter how small their role may be.

Of course, Seven Samurai was revolutionary and remains highly influential. Japanese film expert Michael Jeck suggested that it was first movie in which a team of heroes was assembled for a mission, a trope that has since been used in movies from The Guns of Navarone (1961) to Star Wars (1977). In addition to The Magnificent Seven, it has also been remade several times. The film's pacing and visual aesthetic would also be influential on American and British action films from the Sixties to today. As strange as it might sound, films as diverse as the James Bond films and Saving Private Ryan (1998) have been influenced by Seven Samurai. Of course, various elements from Seven Samurai have been used in yet other action films, from the introduction of a hero in a scene unrelated to the plot to use of rain to large battle scenes have been borrowed by numerous other movies.

What appeals to me about Seven Samurai is that at its core is its humanity. The fact that its heroes, as well as the villagers, are all human beings with their fare share of virtues and flaws, makes the heroism of both the samurai and the villagers even greater than if they had been more traditional movie heroes of the time. As great as the film's cinematography, editing, and direction is, as good as its pace is, I think the reason Seven Samurai has remained influential seventy years after its release is that it is an epic, but at the same time realistic story of ordinary people who become heroes.

The Late Great Terry Carter

Terry Carter, who played Private Sugarman on The Phil Silvers Show, Sgt. Joe Broadhusrt on McCloud, and Colonel Tigh on Battlestar Galactica, died yesterday, April 23 2024, at the age of 95.

Terry Carter was born John Everett DeCoste in Brooklyn, New York on December 16 1928. He He graduated from Stuyvesant High School in Manhattan in 1946. He attended Northeastern University and then studied law at St. John's University. He left to become an actor.

Terry Carter made his debut on Broadway in 1954 in Mrs. Patterson. In the Fifties he also appeared in Finian's Rainbow. He made his television debut in an episode of Playwrights '56 in 1955. It was only a few days later that he began his stint playing Private Sugarman on The Phil Silvers Show. He remained with the show for the entirety of its run. He also guest starred on the shows The Big Story, Playhouse 90, First Person, and Play of the Week. He also appeared in a television production of The Green Pastures.

In the Sixties Terry Carter appeared on Broadway in Kwamina. In 1961 he made his movie debut in Parrish. He also appeared in the movie Nerosubianco (1969). He guest starred on the shows Naked City, Breaking Point, Dr. Kildare, For the People, Combat!, The Defenders, Julia, That Girl, The Bold Ones: The New Doctors, Bracken's World, Mannix, and The Most Deadly Game. He began his stint playing Sgt. Broadhust on McCloud.

In the Seventies he continued to star on McCloud until the show ended its run in 1977. He starred as Colonel Tigh on Battlestar Galactica during that show's single season. He guest starred on the shows Search and The Cop and the Kid. He appeared in the movies Brother on the Run (1973), Foxy Brown (1974), Benji (1974), and Abby (1974). 

In the Eighties Terry Carter guest starred on the shows The Jeffersons, Falcon Crest, The Fall Guy, Mr. Belvedere, 227, and The Highwayman. He reprised his role as Joe Broadhurst in the television reunion movie The Return of Sam McCloud. In the Nineties he appeared in the movie Hamilton (1998). He guest starred on the TV series One West Waikiki. He reprised his role as Tigh in Battlestar Galactica: The Second Coming, a four minute short meant to spark interest in a movie sequel to the television series.

In 2001 Terry Carter appeared in the TV mini-series Hamilton, which the 1998 film with additional scenes filmed. . In 2012 he appeared in the movie Hamilton: I nationens intresse.

Terry Carter formed his own production company in 1975, which made documentaries. He directed and produced the documentary A Duke Named Ellington, which aired on the PBS series American Masters. From 1966 to 1968 he was a news anchor on WBZ-TV in Boston, making him the first Black news anchor in New England.

Chances are good that Terry Carter will always be remembered best as Sgt. Broadhurst on McCloud. Broadhurst tended to be a pessimist as contrasted with McCloud's eternal optimism, but always went along with McCloud, even when it contradicted Chief Clifford's orders. Of course, he'll also be remembered as Pvt. Sugarman on The Phil Silvers Show and Col. Tigh on Battlestar Galactica. He also played memorable roles in television guest appearances and movies. He was the only Black actor to guest star on Combat!, playing Archie in the episode "The Long Wait," a somewhat naive truck driver with no combat experience. In the Mannix episode he played Marcus Fair, the late husband of Mannix's secretary Peggy, in flashback. In the movie Foxy Brown he played Foxy's ill-fated boyfriend, a government agent who had gone undercover to investigate a drug syndicate. In Abby he played a preacher whose wife (the title character) becomes possessed by a spirit. Terry Carter always delivered solid performances, even when the material might not have been particularly good, and could play a wide variety of roles.

The 100th Anniversary of Sherlock Jr.

Sherlock Jr. (1924) remains one of Buster Keaton's most famous movies. It also remains one of the most famous silent movies of all time. Its special effects were revolutionary for the time, and still hold up today. Indeed, the effects in Sherlock Jr. look better than much of the CGI used today. It was 100 years ago on this date that Sherlock Jr. was released.

Sherlock Jr. centres on a poor, young projectionist at a small town theatre who is in love with the daughter of a wealthy man (Kathryn MacGuire). Unfortunately, he has a rival in the form of the Local Sheik (Ward Crane), who steals and pawns the girl's father's pocket watch, and then frames the projectionist for it. While running a film at the theatre, the projectionist falls asleep and dreams that he enters the movie being shown. Titled Hearts and Pearls, the movie is about the theft of a string of pearls. The Projectionist then dreams that he is a great detective, Sherlock Jr., who is called to find the missing pearls.

Buster Keaton would later state that the idea of his character walking into the screen of a movie being shown at a theatre was "the reason for making the whole picture ... Just that one situation." The movie was then built around that idea. The movie was originally titled The Misfit. Marion Harlan was originally cast as The Girl, but she fell ill. She was then replaced by Kathryn McGuire, who had appeared in such films as The Silent Call (1921), Playing with Fire (1921), and The Sheik of Araby (1923). The Girl's Father was played by none other than Buster Keaton's father, Joe Keaton, who had already appeared in several of his son's films, including "The Electric House" (1922) and Our Hospitality (1923). Ward Crane, who played The Local Sheik and the villain of Sherlock Jr., had appeared in such movies as French Heels (1922) and Destiny's Isle (1922). Erwin Connelly, who played The Hired Man (and in the movie within a movie, Hearts and Pearls, the butler), had already appeared with Buster Keaton in the movie Our Hospitality (1923).

Although often credited to Buster Keaton, there is some question as to who directed Sherlock Jr. In 1923 Camera! magazine stated that Buster Keaton was the film's sole director. The only directorial credit in the film itself belongs to Buster Keaton. Despite this, in Buster Keaton's autobiography he states that he wanted to help his old friend and co-star Roscoe Arbuckle, who was still reeling from the 1921 scandal involving the death of actress Virginia Rappe, and so he hired him to co-direct Sherlock Jr. As it turned out, Mr. Arbuckle's disposition had changed since the scandal. He was bad-tempered and even abusive towards the actors. Even having worked with Roscoe Arbuckle on several films, Buster Keaton found him difficult to work with. According to Buster Keaton, he was reluctant to let Roscoe Arbuckle go, but he felt he had to. He said that his business manager, Lou Anger, proposed that Mr. Keaton ask Marion Davies hire him for her next film, The Red Mill. The problem with this is that The Red Mill would not even start production until well after Sherlock Jr. was being made.

While there are those who maintain that Roscoe Arbuckle directed all of Sherlock Jr., Kevin Brownlow and David Gill came to the conclusion that Mr. Arbuckle started Sherlock Jr., but did not finish it, as he was directing Al. St. John films at the time. This seems to be a likely explanation, particularly given Sherlock Jr. is credited to Buster Keaton and not Roscoe Arbuckle under a pseudonym (following the scandal, he used the pseudonym William Goodrich to direct movies).

Of course, Sherlock Jr. remains well-known for its special effects and stunts. Among the most remarkable effects in the film is that of Buster Keaton's character walking into a screen as a movie is playing. What makes the sequence even more remarkable is that the scenery often changes around Mr. Keaton. The effect was accomplished by Elgin Lessley, who had already worked with Buster Keaton on several films, including "Cops" (1922), "The Electric House" (1922), Three Ages (1923), and Our Hospitality (1923), among others. In order to achieve the effect of Buster Keaton entering the movie screen, surveyor's equipment was used so that Elgin Lessley could keep exact measurements for Buster Keaton's distance from the camera for each and every shot. Here I have to digress to point out that Elgin Lessley was born in Higbee, Missouri, making him a Randolph Countian like myself.

Elgin Lessley was not the only cameraman on Sherlock Jr., as Byron Houck also worked on the movie. Byron Houck had been a baseball player, having played with the Philadelphia, Athletics, the Brooklyn Tip-Tops, the St. Louis Browns, and the Vernon Tigers. Roscoe Arbuckle bought the Tigers and this was how Byron Houck entered the film industry. Sherlock Jr. would be his first film, He would later shoot Buster Keaton's movies The Navigator (1924),  Seven Chances (1925), and The General (1926).

While Elgin Lessley was responsible for many of the effects in Sherlock Jr., Buster Keaton was responsible for one of the most amazing effects in the movie. During a chase, Sherlock Jr. jumps into a small suitcase and disappears. According to Buster Keaton, this was an old trick his father, Joe Keaton, had developed in vaudeville. In 1957 Mr. Keaton performed the stunt on The Ed Sullivan Show. Buster Keaton never revealed how he did the trick.

In addition to the special effects, Sherlock Jr. is also known for the many stunts in the film. What is more, as usual, Buster Keaton performed his own stunts. One of the most famous stunts resulted in an injury to Buster Keaton. In one scene Mr. Keaton is running atop a moving a train and then grabs the drop-spout of a railroad water tower. The water from the spout poured down on Buster Keaton with more force than expected, and when he was slammed to the ground his neck hit a steel rail. Buster Keaton was in intense pain and had to stop shooting later in the day. He would have headaches for weeks afterwards. Regardless, he continued working. It would not be until 1935 that Buster Keaton realized he had broken his neck in that scene, after a doctor uncovered a callus that had grown over a fracture through an X-ray. This wasn't the only accident Buster Keaton had while making Sherlock Jr. During a scene in which he was on a motorcycle, the motorcycle skidded and Buster Keaton was thrown into a car.

Buster Keaton previewed what was still titled The Misfit in Long Beach, California. Noticing there were few laughs, Mr. Keaton then re-edited the movie. A second preview proved even more disheartening, and so he edited it down to five reels. It was after the previews that the movie was renamed Sherlock Jr. It was released on April 21 1924. The movie did respectably well, but it made less money that the first film he had directed, Three Ages (1923). It also received mixed reviews upon its release. While The New York Times described it as  "one of the best screen tricks ever incorporated in a comedy," Variety claimed it lacked any "ingenuity and originality."

Since then many critics and movie buffs have disagreed with Variety and count Sherlock Jr. as a classic. In 2000 the American Film Institute ranked it as no. 62 on their list of "AFI's 100 Years...100 Laughs." Also in 2000, Time magazine included it in their list of the All-Time 100 Movies. As might be expected, in 1991 it was selected for preservation in the National Film Registry by the Library of Congress for being "...culturally, historically or aesthetically significant films."

There is little wonder that Sherlock Jr.'s reputation would grow over the years. While some films do not age particularly well, Sherlock Jr. still feels modern even at 100 years of age. It was one of the first films to depict a movie within a movie, with Buster Keaton's character entering the fictional movie Hearts and Pearls. The movie even features an early pop culture reference. Sherlock Jr.'s assistant in Hearts and Pearls is named "Gillette." This is a reference to William Gillette, an actor known for playing Sherlock Holmes several times on stage and in the 1916 film Sherlock Holmes. Sherlock Jr. also moves at a good clip, with several sight gags, stunts, and outright slapstick so that things never slow down. Sherlock Jr. remains one of the greatest films ever made by Buster Keaton, a director who made many great films.