The Aurora, Colorado Century 16 Movie Theatre Massacre

Last night at about 12:30 AM a heavily armed man (I refuse to have his name in my blog) entered the Century 16 Theatre in Aurora, Colorado, tossed smoke grenades into the thetare, and then opened fire. The cinema was showing the latest Batman film, The Dark Knight Rises. In the end 12 people were dead and another 60 were injured.

I do not think anyone could not hear or read of this event and not be horrified. While I have never lost anyone to murder and I cannot claim to know what the families of those who died are going through, my heart goes out to them. I cannot help but feel an express sorrow at such senseless and needless loss of life. While I took a total of twenty hours worth of psychology classes at university, I still cannot comprehend what kind of monster would walk into a theatre and commit wanton murder. What happened last night makes no sense at all to me.

Sadly, mass shootings are hardly unknown. I think everyone remembers the massacre at Columbine High School in Columbine, Colorado. More recently, there was a mass shooting at Eaton Centre in Toronto, Ontario last month. And certainly I don't think anyone can say the Aurora, Colorado Century 16 Movie Theatre massacre is any more or less horrific than any other mass shooting. Still, it does feel much more personal to me. While I did not know any of the victims nor their families nor anyone in the theatre, this particular mass shooting has struck a much deeper chord with me for two basic reasons.

The first is that, as many of you know, I love the cinema. Some of the happiest moments of my life have been spent in a darkened theatre watching the flickering images of a movie I love on the screen. For me, as with many people, the cinema is a place where one can escape to another world, where one can leave his or her problems behind. What is more, it is one of the few shared experiences between strangers left today. You might not know the people sitting in the other rows or even beside you, but for those few hours you are part of a community that is experiencing the same thing. I realise I am probably saying this with a bit of exaggeration, but to me the cinema is sacred. For me the thought of someone walking into a cinema and disrupting it with bloodshed is horror beyond belief. For me the culprit launched an attack on a place that is only equalled by libraries in their importance in my life.

The second reason the Aurora, Colorado Century 16 Movie Theatre massacre has touched me so is the importance of Batman in my life. Batman has been a part of my life for so long that I cannot even remember when I first heard of the character. I suspect I was barely out of diapers when I first saw the 1966-1968 Batman TV series. The Sixties Batman TV show was played for comedy, but it led me to the "Batman" comic books of the time, where Batman was a much more serious character--the Dark Knight that had originally first appeared in 1939. Reading "Batman" comic books made me want to write comic books. Eventually the thought of writing comic books would give way to simply writing. In a sense, then, I owe the fact that I am a writer to Batman. In a way, then, it feels has if the culprit behind the mass shooting at the Century 16 cinema in Aurora, Colorado has tarnished part of my childhood.

Currently, there is some question as to how the massacre will impact the box office of The Dark Knight Rises. I have heard from some people that they will not be going to see it now. I don't know how common this attitude is or if the individuals who do not plan to see the film won't change their mind in a few weeks. That having been said, I plan to see The Dark Knight Rises, as I have planned for the past few years. My thought is that if I change what I would usually do because of this tragedy, then evil has won.

Of course, regardless of how the Century 16 Theatre massacre has impacted me, I realise that it is nothing compared to what the family of the victims are going through right now. Words are not adequate for what happened last night. It was a horrific tragedy that should have never happened. My heart goes out to the victims and their families.

The Artist (2011)

It is rare that classic film buffs talk very much about recent films. When we do, they are usually movies that try to portray individuals and situations from film history (My Week with Marilyn) or remakes of classic films (True Grit). And more often than not, we classic film buffs have very little good to say about such films (the Coen Brothers' remake of True Grit) seems to be an exception. That having been said, last year there was a film that had classic film buffs talking that neither sought to portray actual events from film history nor revisit a classic film. That movie was The Artist (2011). What had classic films buffs talking about the film is the fact that it was made as if it was a silent film made during the transition to sound (roughly from 1927 to 1929). What is more remarkable, is that The Artist received largely positive buzz from classic film buffs and even won the Academy Award for Best Picture. This past Sunday I finally had the opportunity to see what everyone had been talking about (sadly, when it was in theatres the nearest one showing it was 30 miles away).

The Artist  was largely the creation of writer and director Michel Hazanavicius, who had already delved into film history with his previous two films. OSS 117: Cairo, Nest of Spies and OSS 117: Lost in Rio were parodies of the Sixties spy films in general and the popular "OSS 117" movies of the Fifties and Sixties in specific. It should then not have been a surprise that for his next film Mr. Hazanavicius wanted to make a silent film that would tribute to Hollywood as it was in the late Twenties and Thirties.


The Artist does indeed pay tribute to the Hollywood of old, not just the Hollywood of the Silent Era, but Hollywood during its Golden Age well. The film is set in the years from 1927 to 1931, the same era as Singin' in the Rain, and like Singin' in the Rain the transition to sound is fundamental to its plot. At the same time the plot of The Artist resembles the various versions of A Star is Born, centring on the relationship between an older star of Silent films (George Valentin, played by Jean Dujardin) and a younger star of the new Talkies (Peppy Miller, played by Bérénice Bejo). The Artist evokes other classic films as well. A scene from one of George Valentin's films not only evokes Metropolis (1927), but the serials of the Thirties and Forties as well. A clip from Douglas Fairbanks' classic The Mark of Zorro (1920) appears in the film. And, of course, there is the notorious use of a portion of the Vertigo soundtrack (more on that later). Even star Jean Dujardin evokes Hollywood's past, as he looks like a dead ringer for Douglas Fairbanks in his prime.

Of course, it is one thing to play homage to films of the past, it is quite another as to whether The Artist could capture their spirit. In my humble opinion, The Artist succeeds admirably. Indeed, Michel Hazanavicius considered details that many directors may well have overlooked. The film was shot in 1.33:1 screen ratio that was in common use during the Silent Era. While The Artist was shot in colour, it was converted into black and white. Despite this fact, Guillaume Schiffman's cinematography captures the look of the old Silents quite well. The film was even shot at 22 frames per second rather than today's standard 24 frames per second to duplicate the look of a silent movie. Even Ludovic Bource's score sounds like something that could have been written for a silent film.

Here I must point out that The Artist does not simply replicate silent films in general, but it replicates a specific era of silent film: the Silents of the late Twenties before the advent of sound. Michel Hazanavicius did an admirable job of capturing the look and feel of a late Silent. Not only do the title cards look like those of a silent movie from the late Twenties, but they are also somewhat infrequent (by that point in film history directors had come to rely less on title cards to get their point across). The acting style of the performers is more naturalistic, much like those of the late Silent stars, with none of the exaggerated expressions and gestures of earlier Silent films. Even the plot resembles the Silents of old. It is a melodrama with many touches of comedy, not only allowing it to feel like a silent film, but making it likely that modern audiences would enjoy it as well.

While over all The Artist does do a good job of capturing the feel of a silent film, I must admit that in my humble opinion it could have done a little bit better. Some of the dialogue seemed a bit too modern to my ears. As an example, while the word "loser" has existed in the English language for centuries, I am not sure that the phrase "You loser!" would become common until the Sixties or Seventies. I also thought that the presence of Rose Murphy's version of "Pennies from Heaven" was slightly out of place in the film. In the days of silent movies I do not believe most theatres would have had a vocalist on hand to sing a song during the movie! I must also say that I thought that Bérénice Bejo looked a bit too modern to be a movie star in the era of the early Talkies. While I thought Miss Bejo did a good job as Peppy Miller, I thought The Artist could have been even more convincing as a silent film with an actress who looked more like she belonged to the era. While there were exceptions (Joan Crawford, for one), it seems to me that many of the most popular actresses of the era (Clara Bow, Louise Brooks, Colleen Moore, and so on) had a similar look. They all had heart shaped faces with cupid bow lips. It was a look that remained fashionable into the early Thirties and the early Talkies--indeed, it is the look of animated star Betty Boop (whose appearance was based on singer and actress Helen Kane). While Miss Bejo did do a good job as Peppy Miller, then, I think The Artist may have felt even more like a late, silent film with an actress with a Clara Bow/Helen Kane look in the role.

There is one thing I thought would detract from the film that did not, the controversial use of a portion of the Vertigo score (specifically "Love Scene (Scène d'amour)") in the soundtrack. I must say that I disagreed with Kim Novak that it was wrong for  "Love Scene (Scène d'amour)" from Vertigo to have been used in The Artist. During the Golden Age of Hollywood, the studios regularly reused music (just how many times were portions of Max Steiner's King Kong score reused?), so that it did not bother me that Michel Hazanavicius reused part of another film score. What bothered me before seeing The Artist was whether Bernard Hermann's classic work would not be too modern for The Artist, that it would not spoil the illusion that I was watching a film from the late Twenties. Fortunately, it turned out that it was "Love Scene (Scène d'amour)" that was used and not another part of the Vertigo score. "Love Scene (Scène d'amour)" blends in so well with the rest of The Artist soundtrack that while you might consciously recognise it, you won't be thinking, "This would never be used in part of the score for a silent movie).

By now I imagine many of you might be asking, "Well, you think The Artist does a good job of capturing the feel of silent films, but is it any good?" To that I must answer that it is a very enjoyable film. Never mind that it does a great job of capturing the look and feel of silent films, The Artist is a well written film that is very entertaining and quite enjoyable. Mr. Hazanavicius' script goes beyond merely capturing the feel of silent films, but tells a story that will keep one riveted to the screen until the very end. He has created a believable plot with believable characters with a good deal happening to maintain one's interest. For film buff the script also contains a number of film references in addition to those previously mentioned.

The Artist also benefits from a great cast. Not only does Jean Dujardin look like Douglas Fairbanks, but he is very convincing as silent film star George Valentin. Mr. Dujardin's Valentin is simultaneously a carefree actor with a bit of an ego who at the same time has certain principles. Jean Dujardin is so convincing as George Valentin that one could almost believe Valentin actually existed. James Cromwell gives a very touching performance as Valentin's loyal valet, Clifton, who stands by Valentin through thick and thin. John Goodman does a great turn as the boisterous head of Kinograph Studios, Al Zimmer. While I do think the role of Peppy Miler could have been better cast, Bérénice Bejo does well in the part. Miss Bejo endows Miss Miler with a charm and grace that one could almost believe she was a silent star. Of course, here I must mention my favourite performer in the film, Uggie as The Dog. Uggie is quite impressive. He is not merely a dog who can do tricks, but one who can really act. Uggie is every bit as expressive and emotive as the human actors.

The Artist is not a perfect recreation of silent films. There are some anachronisms in language and other areas.   That having been said, it captures the feel of the Silents so well that only the pickiest of silent film connoisseurs would not be able to overlook these anachronisms. Even then, I suspect even the pickiest of silent film connoisseurs would be too caught up in the plot, the performances, and the sheer effervescence of The Artist. It is so entertaining and enjoyable that even the average modern film goer, accustomed to colour photography and sound, will find himself or herself taking delight in the film. Over all The Artist is an entertaining and enjoyable movie that captures the spirit of the Silents quite well.

Here I must say that if one enjoyed The Artist and particularly if he or she also loves the original silent films, he or she might wish to watch Mel Brooks' classic parody of the form Silent Movie (1976) and the more recent The Call of Cthulhu (2005),  a film produced as if Lovecraft's classic short story had been adapted to film in the Twenties!

Bewitched Producer William Asher R.I.P.

William Asher, who produced Bewitched, directed I Love Lucy, and created The Patty Duke Show with Sidney Sheldon, died Tuesday, 18 July 2012, at the age of 90. The cause was complications from Alzheimer's disease.

William Asher was born 8 August 1921 in New York City. His father E. M. Asher would be an associate producer on several films, including such classics as Frankenstein (1931), The Old Dark House (1932), The Black Cat (1934), and Dracula's Daughter (1936). The family moved to Los Angeles when William Asher was 10 so that his father could work in the movie industry. His parents divorced when he was eleven and young Mr. Asher returned to New York City with his mother. He would return to Los Angeles, where he got a job in the mail room at Universal Studios. During World War II he served in the Signal Corps of the U. S. Army. It was at that time he began selling short stories to magazines.

It was following the war, in 1948, that he began his career in Hollywood by producing the low budget boxing film Leather Gloves with Richard Quine for Columbia Pictures. The film also marked his directorial debut. It was in 1951 that he moved into television, directing an episode of Racket Squad. Over the next few years he would direct episodes of such shows as Big Town, Where's Raymond?, Make Room for Daddy, The Lineup, General Electric Theatre, and December Bride. It would be in 1952 that he would begin directing the show for which he is best known besides Bewitched: I Love Lucy.  It was Desi Arnaz who initially asked Mr. Asher to direct an episode of the show. In the end, Mr. Asher directed 100 episodes of I Love Lucy, remaining with the show until its end. Following I Love Lucy he directed episodes of The Thin Man, Fibber McGee & Molly, and  The Twilight Zone. The short lived adaptation of Fibber McGee & Molly would also be the first series that he regularly produced. It was in the Fifties that William Asher also broke into writing for television, writing episodes of The Big Town and Sally. In the Fifties he would also direct three feature films: Mobs Inc. (1956), The Shadow in the Window (1957), and The 27th Day (1957).

The Sixties would prove to be a golden era for William Asher, a period during which he directed, produced, or wrote some of his most famous works. It was in 1963 that Mr. Asher directed Beach Party, the first of American-International's "Beach Party" movies. During the Sixties he would also direct the films Johnny Cool (1963)  and Fireball 500 (1966). While the "Beach Party" movies were highly successful, arguably his biggest achievements would be in television. He co-created The Patty Duke Show with Sidney Sheldon. He also directed and produced episodes of the series. What may be his best claim to fame may be as producer of Bewitched. He remained the show's producer for the entirety of its eight year run and directed a lion's share of its episodes. While Sol Saks is often credited as the creator of Bewitched, there can be no doubt that William Asher (who was also married to star Elizabeth Montgomery) shaped the show into what we know today. He also directed episodes of the short lived series Gidget.

In the Seventies William Asher produced The Paul Lynde Show and Temperatures Rising. He directed episodes of The Paul Lynde Show, The New Temperatures Rising, Lucas Tanner, Marcus Welby M.D., Operation: Petticoat, Tabitha (a spin off from Bewitched), Alice, and The Bad News Bears. He developed the series The New Temperatures Rising. In the Eighties he directed episodes of Private Benjamin, Harper Valley P.T.A., and Crazy Like a Fox. He directed the films Night Warning (1982) and Movers & Shakers (1985). Mr. Asher's last work was directing the television reunion movies I Dream of Jeannie... Fifteen Years Later (1985) and Return to Green Acres (1990).

One does not often hear the word auteur with regards to those who work in television, but it could easily be applied to William Asher. While he only wrote one episode of Bewitched, he produced the entire run of the series and directed a lion's share of its episodes. There can be no doubt he had a large role in shaping the show. It is not enough to say that Bewitched could have been a very different show without William Asher, it seems possible that it might never have come to exist.

Of course, William Asher's career went well beyond Bewitched. In fact, he had a far larger impact on American pop culture than many television directors and producers probably do. He directed around 100 I Love Lucy episodes--his very first was the classic "Job Switching," in which Lucy and Ethel go to work in a chocolate factory. With Sidney Sheldon he was co-creator of The Patty Duke Show and directed some of that show's episodes. Beyond television, he was largely responsible for American International Pictures' "Beach Party" movies. He directed the first film, while he directed and wrote stories for the rest. Mr. Asher also directed a wide array of television shows, from The Twilight Zone to Gidget. While many television producers have had an impact on pop culture, few have had the impact that William Asher did.

Celeste Holm Passes On

Award winning star of stage, screen, and television Celeste Holm died on 15 July 2012 at the age of 95. Two weeks ago she was in hospital suffering from dehydration after a fire in Robert De Niro's apartment, which was in the same apartment building as her apartment.

Celeste Holm was born 29 April 1917 in New York City. It when her grandmother took her to see ballerina Anna Pavlova that Miss Holm began her love affair with the theatre. Miss Holm would study ballet for ten years when she was young. Her father worked for Lloyds of London and her mother was a painter and writer, so the family moved frequently during her childhood. Celeste Holm attended 14 different schools as a child. She studied drama at the University of Chicago.

Celeste Holm made her debut on Broadway in Gloriana in 1938. Her first real success on Broadway would come in 1939 in the role of Mary L. in The Time of Your Life. Miss Holm would return to Broadway many times and had a highly successful career on stage. On Broadway she would appear in such productions as The Damask Creek, Oklahoma!, Bloomer Girl, Affairs of State, The King and I, Third Best Sport, Invitation to a March, Mame, Habeas Corpus, and I Hate Hamlet. Off Broadway she appeared in A Month in the Country, Paris Was Yesterday, and With Love and Laughter.

Celeste Holm made her debut in Three Little Girls in Blue (1946). From the late Forties into the Fifties she appeared in such films as Gentleman's Agreement (1947--for which she won the Oscar for Best Actress in a Supporting Role), Road House (1948), The Snake Pit (1948), Everybody Does It (1949), Come to the Stable (1949--for which she was nominated for the Oscar for Best Actress in a Supporting Role), All About Eve (1950--for which she was nominated for the Oscar for Best Actress in a Supporting Role), The Tender Trap (1955), and High Society (1956). In the Sixties she appeared in such films as Bachelor Flat (1962) and  Doctor, You've Got to Be Kidding! (1967). In the Seventies she appeared in the films Tom Sawyer (1973), Bittersweet Love (1976), and The Private Files of J. Edgar Hoover (1977). From the Eighties to the Teens Miss Holm appeared in the film 3 Men and a Baby (1987), Still Breathing (1997), Alchemy (2005), and Driving Me Crazy (2012). Her final appearance on screen is to be in the yet to be released College Debts (2013).

Celeste Holm made her television debut in 1950 on All Star Revue. During the Fifties she briefly had her own show, Honestly, Celeste!, on which she played a reporter for the fictitious New York Express. In the Fifties she appeared on such shows as Lux Video Theatre, The United States Steel Hour, Climax, Producers Showcase, Goodyear Television Playhouse, and Zane Grey Theatre. In the Sixties she was a regular on the sitcom Nancy. The series focused on the daughter of the President of the United States (the "Nancy" of the title); Miss Holm played press secretary Abby Townsend, who was often called upon to chaperon Nancy. She also appeared on such shows as Play of the Week, Follow the Sun, Checkmate, Alcoa Premiere, Dr. Kildare, Burke's Law, Mr. Novak, Run for Your Life, The Fugitive, The F.B.I., Insight, and The Name of the Game. She also appeared in the 1965 television adaptation of Rodgers and Hammerstein's Cinderella.

In the Seventies Celeste Holm appeared on such shows as The Delphi Bureau, Medical Centre, The Streets of San Francisco, The Manhunter, Wonder Woman, Lucan, and Fantasy Island. In the Eighties she was a regular on the shows Jessie, Falcon Crest, and Christine Cromwell. She appeared on such shows as Archie Bunker's Place, Matt Houston, and Spenser: For Hire. In the Nineties Miss Holm was a regular on the series The Promised Land. She appeared in such shows as Cheers and Touched by an Angel. In the Naughts she was a regular on The Beat and appeared on the shows Third Watch and Whoopi.

Celeste Holm was a prolific actress with an extraordinarily long career. Her career lasted over seventy years, having made her debut on Broadway in 1938 and her last film coming out next year. This is all the more remarkable when one considers that she acted on stage, in films, and on television, and she did a good deal of charity work as well. Among the many charities in which she was active was UNICEF and the National Mental Health Association. It would seem that Celeste Holm had an endless amount of energy very nearly until her death.

Of course, if Miss Holm was very much in demand as an actress, it was perhaps because she was so versatile. She was the original Ado Annie, "the Girl Who Just Can't Say No," in the stage production of Oklahoma! At the same time she played Karen Richards, Margo Channing's (Bette Davis) sophisticated best friend and the one person who first realises what sort of power Eve Harrington (Anne Baxter) actually wields. Over the years she played everything from a fashion editor (Gentlemen's Agreement) to a Fairy Godmother (Cinderella), and she did all of them well. My strongest memory of Celeste Holm is from the musical version of Tom Sawyer, a movie which I think has largely been forgotten everywhere except Missouri. In the film Celeste Holm played Tom's Aunt Polly. Even when I first watched the film as a child, it seemed to me that she was the living embodiment of Aunt Polly. Indeed, to this day I cannot read The Adventures of Tom Sawyer without picturing Celeste Holm as Aunt Polly. Such was the power of Miss Holm's talent that she could take any character and make them real, more so than most actresses of her time or since.

The Late Great Jon Lord

Jon Lord, legendary rock keyboardist and founder of Deep Purple, died today at the age of 71. The cause was pulmonary embolism. He had been fighting pancreatic cancer since last yer.

Jon Lord was born 9 June 1941 in Leicester, Leicestershire. Starting at age five he studied classical music. As he grew older he began to be influenced by such legendary blues organists as Jimmy Smith and Jimmy McGriff, as well as such rock 'n' roll acts as Jerry Lee Lewis. Around 1960 Mr. Lord moved to London to attend drama school, but it would not be long before he would find himself in the world of music again. He joined the rhythm and blues band Red Bludd's Bluesicians (also known as The Don Wilson's Quartet) in the early Sixties. The Red Bludd's Bluesicians would break up in 1963, at which point former Bluesicians Jon Lord and guitarist Derek Griffiths would join The Artwoods, led by former Blues Incorporated vocalist Art Wood.

The Artwoods would be among the most respected English R&B bands to emerge in the Sixties, producing music to rival The Yardbirds, The Spencer Davis Group, and The Birds (Art Wood's younger brother Ron's band, not to be confused with American folk rock group The Byrds). Unfortunately, they would see little in the way of commercial success. Their first single, a cover of the Leadbelly song "Sweet Mary," did not chart. The Artwoods would release five more singles on Decca, none of which charted either. Sadly, their lone album, Art Gallery, and three EPs, saw little success as well. At the end of 1966 Decca dropped the band. The Artwoods signed a single record deal with Parlophone, which led to the single "What Shall I Do"/"In The Deep End," which did not go anywhere either. Finally, billing themselves as "St. Valentine's Day Massacre," they released the single "Brother Can You Spare A Dime"/"Al's Party" on the Fontana label. Despite producing some very fine records, The Artwoods saw little success and disbanded.

In the Sixties Jon Lord would also do a good deal of session work and fill in for musicians when needed. He apparently played piano and organ on some of The Kinks' early work (not all of which may have been released). In 1968 he toured with The Flower Pot Men, replacing their keyboardist (who was sick). He also did session work with the band Boz.

It was in 1967, in the wake of the break up of The Artwoods, that Jon Lord formed The Santa Barbara Machine Head. The band included Ron Wood, Art Wood's younger brother and former member of The Birds. The Santa Barbara Machine Head recorded only three songs ("Porcupine Juice", "Albert", "Rubber Monkey"), which were later released on Immediate Records on the compilation album Blues Anytime Vol. 3 in 1968.  It was in 1967 that Chris Curtis of The Searchers contacted London businessman Tony Edwards in hopes that he would manage a supergroup that Mr. Curtis had envisioned in which musicians would get on and off like a roundabout (that is, a merry-go-round). Edwards agreed to manage the band, along with partners John Coletta and Ron Hire. Jon Lord was the first musician recruited and then guitarist Ritchie Blackmore. Chris Curtis would not remain with Roundabout, as the band was called, for long. It was Messrs. Lord and Blackmore who decided not to abandon the project, but to continue without Chris Curtis. It was Jon Lord and Ritchie Blackmore would recruit the remaining members of what would soon be called Deep Purple (named for Ritchie Blackmore's grandmother's favourite song).

It was in July 1968 in the United States and in September 1968 in the United Kingdom that Deep Purple's debut album, Shades of Deep Purple, was released. While the album did not perform well in the United Kingdom, it sold very well in the United States, where it peaked at #24 on the Billboard albums chart. The band's first single, a cover of Billy Joe Royal's "Hush," went to #4 on the Billboard Hot 100 and #2 on the Canadian singles chart. Their second album, The Book of Taliesyn, also did well in the United States. Sadly, the band's cover of Neil Diamond's "Kentucky Woman" would only reach #38 on the Billboard Hot 100. The band's eponymous third album was released in the United States in June 1969 and in the United Kingdom in September 1969. Unfortunately, a delay in its release in the United States and a nearly total lack of promotion on the part of the label Tetragrammaton resulted in Deep Purple bombing on the charts--it did not even reach the top 100 of the Billboard albums chart. Internal tensions also began to build in Deep Purple at this time, to the point that Rod Evans (vocals) and Nick Simper (bass) were fired from the band. They were replaced by voaclist Ian Gillan and bassist Roger Glover.

Deep Purple's fortunes improved considerably with their fourth album Deep Purple in Rock. The album marked a move from Deep Purple's progressive rock and psychedlia sound of earlier albums to more of a hard rock sound. It also proved to be their first hit album in the United Kingdom, making it all the way to #4 on the British albums chart. A single independent of the album in the United Kingdom, "Black Night" would go to #2  on the British singles chart. Deep Purple would see continued success with their next album, Fireball, which hit #1 on the British albums chart. It would be their next album, Machine Head, however, that would see Deep Purple not only have great success in the United Kingdom, but would see them return to having big success in the United States. Machine Head would be a pivotal album in that Deep Purple embraced the genre of heavy metal then becoming popular. With influences ranging from classical to blues, Machine Head was harder than anything the band had recorded. The album went to #1 on the British albums chart and #7 on the Billboard albums chart. The single, "Smoke on the Water," went to #4 on the Billboard Hot 100 and #21 on the British singles chart.

Machine Head would be the last Deep Purple song to hit #1 on the British albums chart. Regardless, Deep Purple's remaining albums did very well both in the U.S. and the UK. Who Do We Think We Are, Burn, Stormbringer, and Come Taste the Band all went hit the top fifty of the Billboard albums chart and the top twenty of the British albums chart. Unfortunately, the band was probably living on borrowed time when original member and founder Ritchie Blackmore left in June of 1975. The band continued until 1976, when Jon Lord and fellow remaining original member drummer Ian Paice decided it was time for them to disband.

While Jon Lord was with Deep Purple, he also continued to compose orchestral pieces. His compositions for orchestras included Gemini Suite in 1972 and Sarabande in 1976. His first project after the break up of Deep Purple would be Paice, Ashton & Lord, a rhythm and blues, funk-soul, rock band featuring former Deep Purple drummer Ian Paice and singer and keyboardist Tony Ashton. The band released one album, Malice in Wonderland. Unfortunately it would not be successful. The group broke up after Tony Ashton fell off a stage and broke his leg.

It was in 1978 that Jon Lord joined former Deep Purple vocalist David Coverdale's newly formed band Whitesnake. Whitesnake would have some early success in the United Kingdom, but very little in the United States until the release of the album Slide It In in 1984. During this period Jon Lord released two solo projects, Before I Forget in 1982 and the soundtrack to the television series Country Diary of an Edwardian Lady in 1984. He also guested on albums by George Harrison, David Gilmour, and Cozy Powell.  According to Jon Lord, his job in Whitesnake was to add little more than a "halo" to the band.

It was in 1984 that Jon Lord, Ritchie Blackmore, Ian Gillan, Roger Glover, and Ian Paice reunited as Deep Purple. The band released a new album, Perfect Strangers which went to #17 in the U.S. and #5 in the UK. Between 1987 and 1998 the band would release five more albums, each of which would do fairly well. Unfortunately, the revival of Deep Purple would not be without its difficulties. Ritchie Blackmore and Ian Gillan would disagree on the direction of the band, resulting in Mr. Blackmore leaving in 1993. Guitarist Steve Morse was chosen as his replacement. In 2002 Jon Lord amicably left the band, announcing his retirement.

Jon Lord's retirement would be more active than that of most people. In 2002 he released the solo album Pictured Within. In 2002 he also composed Boom of the Tingling Strings, a piano concerto in four movements. He also performed with Australian blues group The Hoochie Coochie Men, recording two albums with them. In 2004 he released another solo album Beyond the Notes. In 2008 he composed the classical work Durham Concerto. In 2010 he released his final, original solo album To Notice Such Things.

It is difficult to access the importance of Jon Lord in the history of rock music. As the keyboardist of Deep Purple he was fundamental in the development of both progressive rock and heavy metal. He combined his classical training with influences from blues and early rock 'n' roll in a way that would prove important to both genres. Indeed, Jon Lord was among the greatest rock keyboardists of all time, quite possibly the greatest. While many of his contemporaries (Keith Emerson of Emerson, Lake, and Palmer) among them would turn to the Moog synthesiser, Jon Lord continued to rely primarily on the Hammond organ. Of course, it must be pointed out that Jon Lord could make a Hammond organ do things that other keyboardists could only dream about.

Of course, Jon Lord was also a composer as well as a keyboardist. With various other members of Deep Purple he composed some of the group's best songs: "April," "Fireball," "Smoke on the Water," "Space Truckin'," and others. He also composed several classical works that met with a good deal of popular success and critical acclaim. As both a keyboardist and a composer he made contributions to music that few others have. It must be pointed out that along with drummer Ian Paice, Jon Lord was a constant in Deep Purple. Other members might come and go, but until his retirement in 2002, Jon Lord was always a part of his band. Indeed, it seems quite possible that had it not been for Jon Lord's talent as a keyboardist, his skill as a composer, and his willingness to experiment, Deep Purple might not be the legendary band they are today.

I must confess that I always was a huge fan of Jon Lord. I do not even remember the first time I ever heard Deep Purple; they have simply always been a part of my life. A large part of the lure of Deep Purple for me was Jon Lord's keyboard work. The band had rose in an era known for an emphasis on the Hammond organ (just look at Vanilla Fudge and Iron Butterfly), but Jon Lord's playing not only stood out from the pack, it also held up over time. As a youth in the Eighties I could listen to old Deep Purple songs and they would not sound dated at all. It is an incredible achievement for any artist to create works that are essentially timeless, and that is precisely what Jon Lord did. I very seriously doubt there will be a keyboardist like him ever again.

Hedy Lamarr: Geek Sex Symbol

When most people today think of sex symbols for science fiction, fantasy, comic book, and horror geeks, such names as Jessica Alba (star of various genre films and  the TV show Dark Angel), Kate Beckisale (star of the Underworld film franchise),  and Milla Jovovich (star of various genre films). If they're knowledgeable about science fiction, fantasy, and horror films they might also think of Fay Wray, Sybil Danning, Caroline Munro, and Barbara Steele, among others. That having been said, there is one name that might not occur to anyone but geeks: classic film star Hedy Lamarr.

On the surface it might seem unusual for Hedy Lamarr to be beloved by fans of of science fiction, comic book,  fantasy, and horror, even though during her lifetime she was often considered "the most beautiful woman in the world." After all, she was not a scream queen with many horror movies to her credit such as Fay Wray, Evelyn Ankers, Anne Gwynne, Gloria Stuart, or Hazel Court, nor did she have key roles in popular science fiction, fantasy, or horror films the way that Ann Francis, Barbara Rush, Julie Adams, or Raquel Welch did. Indeed, Miss Lamarr never starred in a film that could be considered to belong to the science fiction, fantasy, and horror genres. Nonetheless, she is a sex symbol popular with geeks. In fact, of actresses from the Golden Age, Hedy Lamarr may be the most popular geek sex symbol short of Fay Wray.

Miss Lamarr's status as a geek sex symbol may not seem that unusual when one considers that many geeks, especially older geeks, are also classic film buffs and connoisseurs of vintage pop culture. This makes perfect sense when one considers how many horror fans were introduced to the genre through the classic Universal horror movies of the Thirties and Forties (not to mention the films Val Lewton produced for RKO in the Forties), science fiction fans were introduced to the genre through such classic films as Forbidden Planet (1956) and Metoropolis (1956), and many comic book fans sought out the old movie serials of the Thirties and Forties featuring well known comic book characters. Having watched genre films from the Thirties and Forties, many geeks then started watching movies from that era in other genres. Before long many science fiction, horror, comic book, and fantasy geeks became full fledged classic movie geeks, and would most certainly have encountered the heavenly Hedy Lamarr along the way.

Here I must point out that movies would not be the only gateway into the world of classic film among comic book, science fiction, fantasy, and horror geeks. During the Sixties and Seventies many novels from the old pulp magazines were being reprinted. For that reason many geeks of a certain age grew up reading pulp novels featuring such characters as Doc Savage, The Shadow, and The Spider. These geeks would naturally seek out other material from the Thirties and Forties, including Old Time Radio and classic films. Again, sooner or later these geeks would see Hedy Lamarr on the screen and she would have the same effect she had on many men--they would be utterly enthralled.

Of course, this does not explain why Hedy Lamarr, an actress who never appeared in a science fiction, fantasy, or horror film, would be more loved by geeks than other screen beauties. While Hedy Lamarr was considered one of the most beautiful women in the world, so too were Vivien Leigh, Gene Tierney, Ava Gardner, and Grace Kelly, yet none of them has the following among geeks that Miss Lamarr does. Even Marilyn Monroe, often counted as the most popular sex symbol of all time, is not loved as much by geeks as Hedy Lamarr is.

One of the reasons that comic book fans, if not science fiction, fantasy, and horror fans, are so enthralled by Hedy Lamarr is that she provided the basis for one of the most iconic comic book villains of all time. The creative team of the comic book character Batman in the earliest years (creator Bob Kane, creator Bill Finger, and artist Jerry Robinson) were all film buffs. After all, Batman himself was based in part on Douglas Fairbanks' classic swashbuckler The Mark of Zorro (1920) and the 1930 mystery film The Bat Whispers. Jerry Robinson initially created Batman's archenemy The Joker based on a playing card and further refined the character's appearance after Bob Kane showed him stills of Conrad Veidt from The Man Who Laughs (1928).

Motion pictures, and more specifically Hedy Lamarr, would provide the inspiration for Batman's second best known opponent. Bill Finger and Bob Kane based The Catwoman on a combination of Bob Kane's cousin Ruth Steel and actress Hedy Lamarr, with a bit of Jean Harlow thrown in for good measure. It would seem that Jean Harlow may have contributed little more to the character than her personality, as  illustrations of Catwoman from the Golden Age of Comic Books look remarkably like Hedy Lamarr. Both had oval shaped faces crowned by a head of long, wavy, dark hair. Both also had smouldering eyes (well, Catwoman's eyes were as smouldering as Golden Age comic book illustration would allow) and full, pouty lips. Despite changes in artists over the years (as is well known, Bob Kane employed many ghosts), Catwoman would continue to resemble Hedy Lamarr until the Sixties when a certain Julie Newmar played the character on the television series Batman. Regardless, it is because of Hedy Lamarr's influence in the creation of Catwoman that actress Anne Hathaway studied Miss Lamarr for her role as the villain in The Dark Knight Rises (2012).

Of course, this does not entirely explain the Hedy Lamarr cult that exists among geeks. After all, other comic book and comic strip characters have been based on famous actresses. Silent film star Louise Brooks, the centre of her own celebrity cult, would provide the basis for no less than two comic strip characters: Dixie Dugan and Italian comic strip character Valentina. Lola Lane, who played fictional reporter Torchy Blane in series of movies in the Thirties, provided part of the inspiration for Superman's girlfriend Lois Lane. Bob Kane always claimed that Marilyn Monroe (before she was famous) was the model for Batman's on again, off again girlfriend Vicki Vale. Brigitte Bardot apparently provided the inspiration for French comic book character Barbarella. While Louise Brooks, Marilyn Monroe, and Brigitte Bardot do have their fans among geeks, it would appear that they have nowhere near the following among geeks that Hedy Lamarr does.

It would seem that the primary reason that Hedy Lamarr boasts a large following among science fiction, fantasy, comic book, and horror geeks is that she achieved something very few actors, male or female, ever had. Quite simply, she invented something that would revolutionise modern society. It was in 1941 that Miss Lamarr had an idea of a new torpedo guidance system. Radio guided torpedoes had been tested during World War I and were later improved upon in the Thirties. The problem with guiding a torpedo through radio signals is that if the enemy located the signal, they could effectively jam it. In that case, the torpedo would not reach its target. Hedy Lamarr's idea was to have both the radio transmitter and radio receiver for torpedoes hop from frequency to frequency, thus making them much harder to jam.

In June 1941 Miss Lamarr took her idea to her neighbour, composer George Antheil, who had utilised automated control of pianos in his composition Ballet Mécanique. Together they developed a means of frequency hopping that utilised a piano roll of the type used for player pianos to shift or "hop" between 88 different radio frequencies. It was on 11 August 1942 that Miss Lamarr and Mr. Antheil were granted US Patent 2,292,387 for their "secret communication system." Unfortunately, Miss Lamarr and Mr.Antheil's invention would not be implemented by the United States Navy, who argued that the equipment necessary for it would be too bulky (George Antheil argued that it could be small enough to fit inside a watch). The United States Navy would eventually utilise Hedy Lamarr and George Antheil's invention during the blockade of Cuba in 1962. Their idea of frequency hopping would provide the basis for such modern day technology as mobile phones, GPS, Wi-Fi, and many other technologies.

To a degree Hedy Lamarr's idea of frequency hopping was hardly new. Nikola Tesla had intimated at it in patents he had filed in 1900 and 1903. In  his book Wireless Telegraphy German physicist  Johannes Zenneck also referred to hopping frequencies. Various other patents for frequency hopping would be filed in Germany and the United States in the Twenties and Thirties. That having been said, Miss Lamarr and Mr. Antheil's patent would be rediscovered in the Fifties when various companies were developing CDMA or code division multiple access, a channel access method used for GPS and the basis for various channel access methods used by mobile phones (such as cdmaOne, CDMA2000, and WCMDA). While others may have conceived of frequency hopping before Hedy Lamarr, arguably it was Hedy Lamarr and George Antheil's patent that would have the most impact on modern wireless technology. In other words, much of today's technology, from Wi-Fi to mobile phones, might not exist had it not been for Hedy Lamarr! Sadly, neither Miss Lamarr nor Mr. Antheil would ever make any money from it.

Miss Lamarr was quite serious about inventing. She had an entire room in her home devoted to inventing, including a drafting table, tools, reference books, and everything she needed for her hobby. What is more, the "secret communication system" Hedy Lamarr developed with George Antheil was not her only invention. She also developed an anti-aircraft shell fixed with a proximity fuse that would use radar to detect the target and detonate at a predetermined distance away. It was never put into practical use. Miss Lamarr also invented a better box for facial tissues (such as Kleenex) and a new sort of traffic light, but neither of these inventions got very far.

It is perhaps primarily because Hedy Lamarr invented a secret communication system that would form the basis for modern wireless technology that she has become a sex symbol for geeks. First, while all science fiction, fantasy, and horror geeks are not necessarily fans of technology, enough are that there are huge cults in geekdom dedicated to the personalities who had a hand in developing that technology, from Ada Lovelace to Alan Turing. Many geeks would love Hedy Lamarr simply for having developed the idea of frequency hopping. The fact that she was also one of the most beautiful women in the world raises her to the status of a sex symbol among geeks. Second, many geeks are drawn to intelligence in a woman as much as beauty. Hedy Lamarr had a talent for maths from childhood and an innate grasp of the possibilities of technology. What is more she was able to apply her intelligence not only to the invention of a secret communication system, but also other inventions as well. Given that Miss Lamarr was as intelligent as she was beautiful, she is then perhaps the perfect sex symbol for geeks.

Hedy Lamarr was one of the most beautiful women in the world. She also provided inspiration for one of the most iconic comic book characters of all time, Catwoman. She also invented a secret communication system that would provide the basis for our wireless technology today. While it may not seem obvious on the surface why she would appeal to science fiction, fantasy, and horror geeks. once one looks at her life and her career as an inventor it becomes obvious. Fay Wray was beautiful and could scream better than anyone. Hazel Court had an astounding figure. But it was Hedy Lamarr who was the perfect combination of beauty, brains, and a talent for mathematics and technology.

Dish Network, AMC, DirecTV, and Viacom

There are times that I am thankful that I subscribe to the cable television company that I do. While there have been some changes to our channel line up over the years, at no point have I ever lost channels en masse due to a fight between the cable company and an entertainment media company. This does not seem to be the case for subscribers to the two largest satellite television companies, who seem to get into a major struggle with some entertainment media channel each year.

Indeed, this summer has seen no less than two such fights. The first and the one that perhaps made the most news is between satellite television company Dish Network and media entertainment company AMC Networks. On 1 July 2012 Dish Network dropped the various AMC Networks channels (which include AMC, IFC, WETV, and the Sundance Channel) with the claim that the ratings were too low for the price AMC Networks was asking for their channels. AMC Networks has charged that Dish Network actually dropped its channels because of an unrelated lawsuit that was brought against Dish Network by Voom Networks, a property of AMC Networks' former parent company Rainbow Media Holdings LLC (a lawsuit which some analysts are now urging Dish Network to settle).

This is not the first time that Dish Network has been involved in a carriage dispute. In 2006 Dish Newtork dropped Lifetime Television in a dispute over fees. At the time Lifetime was a very high rated cable channel with a very loyal following. This resulted in outrage on the part of Lifetime's viewers and after a month Dish Network wound up restoring the channel.  In August 2009 Dish Network filed a breach of contract suit against ESPN alleging that ESPN offered a better deal to Comcast and DirecTV. Curiously, in September 2009 Dish Network moved ESPNU from its "America's Top 250" package to its "America's Top 120" package, although they insisted the move had nothing to do with the lawsuit. In just the past few years Dish Network has had fights with the Weather Channel, Fox, and Inspiration Network.

Not surprisingly, from what I have seen many Dish Network subscribers were outraged by Dish Network's decision to drop the AMC Networks channels. I have seen numerous tweets, posts on boards, and posts on social networks criticising the satellite company for doing so. Quite simply, people want to be able to such popular shows on AMC as Mad Men, Breaking Bad, and The Walking Dead. While it is true that one can watch these shows online, it seems most people prefer to watch them on television. Given the amount of venom I have observed directed at Dish Network, then, their claim to have dropped the AMC Networks channels because of low viewership rings a bit false in my ears.

Indeed, I must point out that for the year 2011 AMC ranked #17 in the top 20 highest rated cable channels. This is actually quite impressive when one considers that there are literally hundreds of cable channels in the United States. Now I realise that IFC, WETV, and the Sundance Channel may not be particularly high rated (at least when compared to AMC, TNT, USA, and the like), but I rather suspect that they are higher rated than some of the channels Dish Network does carry.  Angel Two? DIY Network? Daystar? These are some of the channels that Dish Network carries in its most basic package. To get the USA Network, TNT, the History Channel, and other high rated cable channels one would have to get a higher priced package! It seems to me that if Dish Network was truly concerned about channels with low viewership, then they would drop some of these lesser known channels or, at least, they would not offer them in their most basic package.

Now I am not going to say that Dish Network removed the AMC Networks channels because of their lawsuit with Voom (even if it does seem suspicious), but I still have to doubt their motives. I honestly do not believe that Dish Network is concerned with the possibility that in having to carry IFC, WeTV, and the Sundance Channel along with AMC that they might have to pass those costs onto the customer.  I rather suspect it is more the case that Dish Network simply wants to increase its own bottom line by trying to force AMC Networks to ask for less. In others, the carriage dispute between Dish Network and AMC could be less about keep costs for subscribers low than it is about Dish Network's profit margin. Of course, the catch is that if enough Dish Network customers cancel their subscriptions because of the loss of AMC, Dish Network could lose a lot of money in the deal. I know that they may well have lost prospective customers. I know if I was looking to subscribe to a satellite television company, I would not subscribe to one that does not carry AMC. Indeed, I rather like having IFC and the Sundance Channel as well!

While Dish Network has an ongoing carriage dispute with AMC Networks, DirecTV is currently engaged in a carriage dispute with Viacom, who owns such channels as Nickelodeon, TV Land, MTV, VH1, and so on. At the centre of the dispute are an increase in the prices Viacom is asking of DirecTV to carry their channels. According to Derek Chang, vice president in charge of content at DirecTV, Viacom is asking for a 30% increase, an amount that come out to an extra billion dollars. He maintains that such an amount in far in excess of the ratings of Viacom's channels for the past year. Viacom has claimed that the deal is a a fair one and would only amount to a few cents for each subscriber As of last night, around 16 channels owned by Viacom, including Nickelodeon, Comedy Central, MTV, and VH1 were dropped by DirecTV. In response Viacom has pulled much of its online content.

Like Dish Network, DirecTV has had its fair share of carriage disputes over the years. In 2009 DirecTV dropped Versus, with the result that its owner Comcast and DirecTV engaged in an battle of words for several months before reaching an agreement. In 2010 DirecTV dropped G4 (another Comcast channel), citing low viewership. This time the dispute was never resolved and G4 remains unavailable on DirecTV. In late 2011 DirecTV nearly had a carriage dispute with News Corporation. It announced that it might drop such News Corporation channels as FX, National Geographic Channel, Fox Movie Channel, and so on. In this instance the two companies reached an agreement before any channels were dropped.

Now one would think that viewers would be outraged at the loss of Viacom channels on DirecTV. After all, Viacom owns some of the highest rated cable channels in the United States. For the year 2011 Nickelodeon and MTV both ranked in the top twenty highest rated cable channels. Given the ratings of Viacom's various channels, it is perhaps not surprising that I have read news reports about viewer outrage. I have also read of people outraged at Viacom for pulling its online content.

That having been said, unlike the outrage at Dish Network over dropping the AMC Networks channels, I have not personally seen or heard anyone angry at DirecTV over dropping the Viacom channels. In fact, despite the ratings that Nickelodeon and MTV get, the reaction I've gotten from many people is that they don't watch any Viacom channels, at least with any regularity. For myself, I must confess I might watch TV Land once in a great while and more rarely Spike, VH1, or BET, but I do not watch them on a regular basis in the way that I do the USA Network, TNT, or AMC. Not only have I seen many state that they don't watch many of Viacom's channels, I have seen many say that they wouldn't miss the Viacom channels at all.

Indeed, the general consensus I have seen on the various social media networks is that people seem to be siding with DirecTV. The simple fact is that I have observed people express the feeling that Viacom is simply asking too much to be carried on DirecTV. I also have to admit that is my opinion too. I would be willing to pay more for AMC, the USA Network, or Turner Classic Movies (my favourite cable channel of them all), but I would not be willing to pay more for any of the Viacom channels (not even TV Land, which ceased being a classic television channel long ago). In fact, there are some of the Viacom channels I would just as soon not be on my cable channel (the entirety of the MTV Networks except for the VH1 channels). Now I do have to point out that this is hardly a scientific approach The sort of people with whom I associate on social media sites are hardly going to be the types to watch The Jersey Shore. Still, in the end it seems to me that whatever outrage there may be over DirecTV dropping the Viacom channels is not nearly as large as that over Dish Network dropping the AMC Networks channels.

In the end I suppose carriage disputes are inevitable, at least where the major satellite television companies are concerned (if my cable company ever got into a carriage dispute, they must have resolved it swiftly--I don't recall ever losing channels en masse before). That having been said, I think it is important that the satellite television companies and the media companies do not forget the customer. Sadly, I think they may have. Outrage at Dish Network started growing the moment they announced they were dropping AMC, yet they went ahead and did so. While I have not witnessed any outrage at DirecTV dropping the Viacom channels, I am guessing there were many unhappy customers this morning. There also appear to be many who are angry at Viacom for removing their online content. It seems to me in the debates over fees, ratings, and so on, the customer is getting forgotten. This is hardly a good thing. Indeed, I have to wonder that the longer Dish Network goes without AMC and the longer DirecTV goes without the Viacom channels, that they won't lose more and more customers.