"The coldest blood runs through my veins.
You know my name."
(Chris Cornell and David Arnold, "You Know My Name," the theme to 2006's Casino Royale)
With Casino Royale having recently come out on DVD, I thought it might be a good idea to discuss the various theme songs that have been featured in the James Bond movies over the years. Curiously, even though it is today unthinkable that a 007 movie would come out without a theme song, they weren't part of the franchise from the beginning. Dr. No featured no theme song, only the classic instrumental "James Bond Theme," credited to Monty Norman, although claims had been made for John Barry. On Her Majesty's Secret Service also featured no theme song, only the instrumental "On Her Majesty Secret Service" written by John Barry ("We Have All the Time in the World," sung by Louis Armstrong, appears in the film, not over the opening or closing credits).
The first theme song to appear in a Bond movie was "From Russia with Love" from the movie of the same name, released in 1963. The song was a ballad sung by English crooner Matt Monro. It must be pointed out, however, that the song does not appear during the opening credits. It only appears within the film itself and later during the closing credits. As to the first 007 theme song that would be played over the opening credits, that honour would go to "Goldfinger," sung by Dame Shirley Bassey, from the movie of the same name. Written by Leslie Bricusse, Anthony Newley, and John Barry, the song itself was produced by Sir George Martin (most famous as the producer of The Beatles). Anthony Newley initially recorded a version of the song, although it was ultimately decided that Shirley Bassey should perform the theme. In some respects, it could be argued that Goldfinger set the pace for all Bond movies to come. While From Russia With Love featured an opening title sequence designed by Robert Brownjohn in which footage was photographed against the bodies of models, it did not feature an opening theme song. Goldfinger was the first to do both.
Indeed, the song "Goldfinger" would set the pace for many Bond themes to come. It was literally epic in its orchestration. "Thunderball," sung by Welsh performer Tom Jones, was similarly epic in proportions, with Jones hitting the highest notes of his career. Curiously, "Thunderball" as sung by Tom Jones was not the first choice for the movie's theme. Initially a song entitled "Mr. Kiss Kiss Bang Bang (a nickname given Bond by an Italian journalist)" was considered for the film and it was even recorded by both Shirley Bassey and Dionne Warwick. Producers s Albert R. Broccoli and Harry Saltzman were concerned about how well a theme song which not only did not share the film's title, but did not even feature the title in its lyrics, would work out. Folk legend Johnny Cash also submitted a theme for Thunderball, but it was not accepted. The theme song to You Only Live Twice would follow in the footsteps of both "Goldfinger" and "Thunderball," albeit with a greater emphasis on the string section. It was historic in one respect, however, as it was the first time the theme song was sung by an American, in this case Nancy Sinatra. While I generally like the song, I must admit Sinatra always seemed an odd choice to sing a Bond theme to me.
Perhaps because On Her Majesty's Secret Service had no theme song, Shirley Bassey (who has sung more Bond themes than anyone--a record three) returned to the Bond films with the theme to Diamonds Are Forever. Written by Don Black and John Barry (the same team who wrote the song "Thunderball"), the song is reminiscent of "Goldfinger" in more than just the fact that both were sung by Bassey.
The Bond films would shift dramatically away from songs that sometimes seemed derivative of "Goldfinger" with the next Bond film, which would also be the first to feature Roger Moore as 007. "Live and Let Die" was written and performed by "Sir Paul McCartney and produced by Sir George Martin. "Live and Let Die" is historic as the first outright rock song to be used as a Bond theme. And it seems to me that it could also be the most popular Bond theme song of all time, even more so than "Goldfinger." George Martin apparently realised that he had a winner with the song, as he incorporated elements of its instrumental in the movie's score at nearly every opportunity.
Unfortunately, the theme to The Man With the Golden Gun would be a far cry from "Let Live and Die." Another theme written by Don Black and John Barry, it is one of the weakest Bond theme songs ever. And while I love Lulu, I don't think she was a good choice for the song. Strangely enough, Alice Cooper also submitted his own song "The Man With the Golden Gun" for the producers' consideration. They rejected the song, but it appeared on Alice's album Muscle of Love. Personally, I think it would have been a much better choice as a theme song than the theme that was used.
Fortunately, they would be back on track with the theme song to The Spy Who Loved Me, "Nobody Does It Better" written by Marvin Hamlisch and Carole Bayer Sager, and performed by Carly Simon. It is historic as the first 007 theme song that does not share its title with the movie, although it does mention the title in its lyrics. Along with "Goldfinger" and "Live and Let Die," it may be one of the most popular Bond themes of all time. "Nobody does it better" was used as a tagline in some movie posters for Octopussy and in some trailers for 2006's Casino Royale. The song also played over the montage of clips that served as a memorial for the late, great Desmond Lewellyn in the VHS and DVD releases of The World is Not Enough. I have to say, it is among my favourite Bond themes.
Sadly, I cannot say the same thing about the theme to Moonraker. Written by Hal David and John Barry and sung by Shirley Bassey, it is one of the weakest Bond theme songs of all time. Fitting perhaps, as the movie is one of the worst 007 movies of all time, but I would have still hoped for something better.
Unfortunately, the theme song to For Your Eyes Only was not much of an improvement. Written by Bill Conti and Michael Leeson and sung by Sheena Easton at the height of her success, it seems a bit too schmaltzy for a Bond theme to me. The sad thing is that they could have chosen another song for the theme. Written by Deborah Harry and Chris Stein, and performed by their band Blondie, "For Your Eyes Only was a far superior song that was rejected by the producers. It appeared on Blondie's album The Hunter. Sadly, the next theme song for a Bond movie, "All Time High" from Octopussy, could well be the most forgettable Bond theme song of all time. Written by Tim Rice and John Barry and performed by Rita Coolidge, I have a hard time even remembering what it sounds like.
Fortunately, the next two Bond movies would see a step in the right direction with regards to theme songs, using more contemporary artists and songs that were pretty much rock. "A View to a Kill" was written by Duran Duran and John Barry, and performed by Duran Duran. It was the last track the original members of Duran Duran recorded together, and the only Bond theme song to reach #1 on the Billboard chart. It is still one of my favourite Bond themes, from a movie that was otherwise pretty bad. "The Living Daylights" is perhaps historic as the only Bond theme song performed by what would otherwise be a two hit wonder. Norwegian band a-ha performed the theme song, written by Paul Waaktaar-Savoy of a-ha and John Barry. While a-ha is sometimes thought of as something of a joke these days, "The Living Daylights" actually numbers among the best Bond themes in my opinion.
While the theme songs to A View to a Kill and The Living Daylights were steps in the right direction, the next two Bond movies would see serious missteps where the theme songs are concerned. As much as I love Gladys Knight, "Licence to Kill" is as old fashioned as "A View to a Kill" and "The Living Daylights" were up to date. Ultimately, it seemed to me a rather smarmy, overwrought ballad. Getting Bono and The Edge of U2 to write the theme to GoldenEye was wise. It is too bad that it was decided that Tina Turner would perform the song. I cannot help but think it would have been a good song if only U2 had performed it.
Luckily, Tomorrow Never Dies featured a far better theme song. Sung by Sheryl Crow, and written by Sheryl Crow and Mitchell Froom, "Tomorrow Never Dies" is a modern day torch song. Curiously, several other songs were submitted as the theme song to Tomorrow Never Dies, among them songs by Pulp ("Tomorrow Never Lies") and Saint Etienne (which shared the same title as the movie). Regardless, Crow's "Tomorrow Never Dies" is perhaps better than the theme song to The World Is Not Enough. I think Garbage was a wise choice to perform the song, but I can't help but think that it would have been better had they written rather than the composer of the film's score, David Arnold. While I like the song, it does not exactly hold up to repeat listening.
Of course, "The World is Not Enough" sounded like "Live and Let Die" when compared to "Die Another Day," performed by Madonna and written by her with Mirwais Ahmadzaï. It is perhaps the worst Bond theme song of all time. While it is the second most successful Bond theme after "A View to a Kill (it went to #3 on the Billboard chart). Despite the song's success, however, it was widely derided and was even nominated for the Golden Raspberry for "Worst Original Song." It is probably my least favourite Bond theme song and, quite frankly, I think the low point of Madonna's career (which is really saying something).
Fortunately, Casino Royale (2006) would see a vast improvement, not only in the quality of the films themselves, but in the theme songs. "You Know My Name" was written by Chris Cornell and David Arnold, and performed by Chris Cornell (founding member and lead vocalist of Soundgarden). It was the first Bond theme song performed by an male American (Michael Munro and Duran Duran are English, Tom Jones is Welsh, Paul McCartney is Liverpool Irish, and a-ha are Norwegian), as well as the first Bond theme song that did not share the film's title since Octopussy. Indeed, the song does not even use the movie's title in its lyrics, although it uses a good deal of casino imagery. It also stands out as one of the few Bond themes which seem to be sung from Bond's point of view. It is also my favourite Bond theme song of all time, beating out even "Live and Let Die."
Right now I am hoping that the producers of the Bond franchise stay with the course they seem to have taken in having Chris Cornell write and perform the theme to Casino Royale. Historically, it seems to me that one of the problems with many of the Bond theme songs is that they were hopelessly behind the times. In some cases, it seems to me that they were either content to imitate "Goldfinger" or that they were hopelessly stuck in the Sixties. If the Bond franchise is to continue to be up to date, it seems to me that the Bond themes should be as well. Indeed, my own thought is that as the Bond movies originated in the same milieu as the British Invasion, perhaps the next movie should feature a song by one of the newer, British power pop groups (whose influence from the British invasion bands is pretty obvious). At any rate, they should stick with current artists (as much as I like Aretha Franklin, I don't want to see her perform a Bond theme) and avoid Madonna at all costs (I like a lot of her music, but "Die Another Day" was just too awful)...
Saturday, March 24, 2007
Wednesday, March 21, 2007
Larry "Bud" Melman Requiescat In Pace
Calvert DeForest, who played the character Larry "Bud" Melman on Late Night with David Letterman for many years and continued to appear on The Late Show with David Letterman using his given name for many more, has died at age 85 after a prolonged illness.
Calvert DeForest was born in Brooklyn, New York on July 23, 1921. DeForest's uncle on his father's side was Lee DeForrest, inventor of the Audion (a vacuum tube which amplifies electrical signals, greatly improving radio reception and making radio broadcasting possible). His mother was an actress. Because she discouraged him from a career in show business, he never pursued one for most of his life. Following her death when he was 40, DeForest volunteered to work backstage on various smaller production in New York City. Eventually, he found his way onto the stage. He also appeared in a student film, King of the Z's, made at New York University. The makers of the film would find themselves on the staff of David Letterman's new show (Late Night with David Letterman) and screen the film for them. That is how David Letterman discovered Calvert DeForrest. Working at a Social Services office, DeForest received a call from Letterman to appear on his new show. It was then Calvert DeForrest's face first seen on Late Night with David Letterman on NBC. Parodying the prologue to the 1931 Universal classic Frankenstein, DeForrest introduced the new series. He soon found himself as a regular on the show, appearing in many, many skits. He also received a new name--David Letterman dubbed him "Larry 'Bud' Melman."
Calvert DeForest's popularity led him to make other appearances beyond Late Night with David Letterman. He appeared in small parts in several movies, including Waitress, Heaven Help Us, My Demon Lover, Heaven Help Us, and Mr. Write. He also appeared on other TV shows beyond Late Night with David Letterman. He made appearances on Saturday Night Live, Pee Wee's Playhouse, and Wings. He also did numerous commercials, for everything from AT&T to Pizza Hut.
When David Letterman moved to CBS to host The Late Show, Calvert DeForest went with him. Unfortunately, due to a dispute between NBC and Letterman over "intellectual properties," DeForest would no longer be called "Larry 'Bud' Melman." Regardless, the character he played was still the same. Over the years, whether under the name "Melman" or his own name, DeForest engaged in a number of different skits and antics. There was the regular segment on Late Night called "Ask Mr. Melman," in which he would dispense lousy advice to audience members. There were the many celebrities he impersonated, everyone from Neil Diamond to Barbara Streisand to Madonna. He also appeared in such odd places as New York City's primary bus terminal. And just as DeForest introduced Late Night with David Letterman on NBC, so too did he introduce The Late Show with David Letterman on CBS. As the years went by his advancing age forced DeForest to appear less and less frequently on The Late Show. He made his last appearance in 2002.
As a long time fan of David Letterman, I have also always been a fan of Calvert DeForest. I honestly believe he was one of the funniest men on late night television. It was funny to see him stumbling over cue cards or portraying some celebrity whom he looked nothing like (which was, well, just about all of them). In his thick glasses and suits, he even looked funny. The fact is that I don't think there has really been any other character on late night television that appealed to me as much as Calvert DeForest. I have to say I am very saddened by his death.
Calvert DeForest was born in Brooklyn, New York on July 23, 1921. DeForest's uncle on his father's side was Lee DeForrest, inventor of the Audion (a vacuum tube which amplifies electrical signals, greatly improving radio reception and making radio broadcasting possible). His mother was an actress. Because she discouraged him from a career in show business, he never pursued one for most of his life. Following her death when he was 40, DeForest volunteered to work backstage on various smaller production in New York City. Eventually, he found his way onto the stage. He also appeared in a student film, King of the Z's, made at New York University. The makers of the film would find themselves on the staff of David Letterman's new show (Late Night with David Letterman) and screen the film for them. That is how David Letterman discovered Calvert DeForrest. Working at a Social Services office, DeForest received a call from Letterman to appear on his new show. It was then Calvert DeForrest's face first seen on Late Night with David Letterman on NBC. Parodying the prologue to the 1931 Universal classic Frankenstein, DeForrest introduced the new series. He soon found himself as a regular on the show, appearing in many, many skits. He also received a new name--David Letterman dubbed him "Larry 'Bud' Melman."
Calvert DeForest's popularity led him to make other appearances beyond Late Night with David Letterman. He appeared in small parts in several movies, including Waitress, Heaven Help Us, My Demon Lover, Heaven Help Us, and Mr. Write. He also appeared on other TV shows beyond Late Night with David Letterman. He made appearances on Saturday Night Live, Pee Wee's Playhouse, and Wings. He also did numerous commercials, for everything from AT&T to Pizza Hut.
When David Letterman moved to CBS to host The Late Show, Calvert DeForest went with him. Unfortunately, due to a dispute between NBC and Letterman over "intellectual properties," DeForest would no longer be called "Larry 'Bud' Melman." Regardless, the character he played was still the same. Over the years, whether under the name "Melman" or his own name, DeForest engaged in a number of different skits and antics. There was the regular segment on Late Night called "Ask Mr. Melman," in which he would dispense lousy advice to audience members. There were the many celebrities he impersonated, everyone from Neil Diamond to Barbara Streisand to Madonna. He also appeared in such odd places as New York City's primary bus terminal. And just as DeForest introduced Late Night with David Letterman on NBC, so too did he introduce The Late Show with David Letterman on CBS. As the years went by his advancing age forced DeForest to appear less and less frequently on The Late Show. He made his last appearance in 2002.
As a long time fan of David Letterman, I have also always been a fan of Calvert DeForest. I honestly believe he was one of the funniest men on late night television. It was funny to see him stumbling over cue cards or portraying some celebrity whom he looked nothing like (which was, well, just about all of them). In his thick glasses and suits, he even looked funny. The fact is that I don't think there has really been any other character on late night television that appealed to me as much as Calvert DeForest. I have to say I am very saddened by his death.
Monday, March 19, 2007
Stuart Rosenberg Passes On
Stuart Rosenberg, most famous for directing the classic Cool Hand Luke, died March 15, 2007 at the age of 79 from a heart attack.
Rosenberg was born August 11, 1927 in Brooklyn, New York. He studied Irish literature at New York University. While in graduate school he got a job as an apprentice film editor in television. He later became a full fledged editor before he finally took up directing. Rosenberg began his career in television, with his first directorial credit being on the short lived TV series Decoy. He went onto direct episodes of Naked City (15 episodes), Alfred Hitchcock Presents (5 episodes), The Twilight Zone (3 episodes), The Untouchables (15 episodes), and The Defenders (19 episodes). He would win an Emmy for his work on The Defenders in 1963.
Rosenberg made his feature film directorial debut with Murder Inc. in 1960. It featured Stuart Whitman and future Columbo Peter Falk. It was in 1967 that his most famous film was released, Cool Hand Luke. Rosenberg received a nomination from the Director's Guild of America for Outstanding Directorial Achievement in Motion Pictures. Star Paul Newman would be nominated for the Best Actor Oscar for the film, while George Kennedy would take the Best Supporting Actor Oscar for his role as Dragline. Rosenberg never quite matched the artistic success of Cool Hand Luke again.
Rosenberg would go onto direct WUSA, The Drowning Pool, Voyage of the Damned, The Pope of Greenwich Village, and My Heroes Have Always Been Cowboys. Although hardly his best film, The Amityville Horror was probably his biggest financial success. It was a hit at the box office and produced several sequels.
While Rosenberg's work could be inconsistent, at his best he could be an absolutely great director. While the quality of Cool Hand Luke is largely due to its stellar cast, the movie would not have been nearly good were it not for Rosenberg's direction. And Rosenberg was hardly a one trick pony. Although not quite the classic that Cool Hand Luke is, Voyage of the Damned and The Pope of Greenwich Village were quality films with remarkable direction. Although he may not rank with such legends as Hitchcock and Kubrick, Rosenberg was a talented director.
Rosenberg was born August 11, 1927 in Brooklyn, New York. He studied Irish literature at New York University. While in graduate school he got a job as an apprentice film editor in television. He later became a full fledged editor before he finally took up directing. Rosenberg began his career in television, with his first directorial credit being on the short lived TV series Decoy. He went onto direct episodes of Naked City (15 episodes), Alfred Hitchcock Presents (5 episodes), The Twilight Zone (3 episodes), The Untouchables (15 episodes), and The Defenders (19 episodes). He would win an Emmy for his work on The Defenders in 1963.
Rosenberg made his feature film directorial debut with Murder Inc. in 1960. It featured Stuart Whitman and future Columbo Peter Falk. It was in 1967 that his most famous film was released, Cool Hand Luke. Rosenberg received a nomination from the Director's Guild of America for Outstanding Directorial Achievement in Motion Pictures. Star Paul Newman would be nominated for the Best Actor Oscar for the film, while George Kennedy would take the Best Supporting Actor Oscar for his role as Dragline. Rosenberg never quite matched the artistic success of Cool Hand Luke again.
Rosenberg would go onto direct WUSA, The Drowning Pool, Voyage of the Damned, The Pope of Greenwich Village, and My Heroes Have Always Been Cowboys. Although hardly his best film, The Amityville Horror was probably his biggest financial success. It was a hit at the box office and produced several sequels.
While Rosenberg's work could be inconsistent, at his best he could be an absolutely great director. While the quality of Cool Hand Luke is largely due to its stellar cast, the movie would not have been nearly good were it not for Rosenberg's direction. And Rosenberg was hardly a one trick pony. Although not quite the classic that Cool Hand Luke is, Voyage of the Damned and The Pope of Greenwich Village were quality films with remarkable direction. Although he may not rank with such legends as Hitchcock and Kubrick, Rosenberg was a talented director.
Saturday, March 17, 2007
The Stardust Bites the Dust
The Stardust Resort and Casino, one of the most famous casinos in Las Vegas, was no more as of March 13, 2007. On that date the building was imploded in a ceremony which included a fireworks display, as if it was reason to celebrate. It was cleared to make way for Echelon Place, a resort which will feature 5000 rooms, a shopping mall, a production theatre, and 1 million square feet of meeting space.
I have never been to Las Vegas, so I never had the chance to see the Stardust in person. But like most Americans I have seen it both on television and movies. And like many people I am aware of its history. The Stardust was conceived by Tony Cornero. Cornero was hardly anyone's definition of an honest businessman. In the days of Prohibition he was a bootlegger. And unfortunately for Cornero, he was arrested and convicted for his crimes. After his release he and his brother went to Las Vegas. After several attempts at various casinos (not all of them in Las Vegas), Cornero decided to pursue his dream of creating the largest, plushest casino in the city. Unfortunately, Cornero would die before his dream came true. He had a fatal heart attack on July 31, 1955. Regardless, Moe Dalitz, owner of the Desert Inn and a man with his own shady past, saw the Stardust through to its completion. The Stardust opened in 1958. At the time it was possibly the largest resort hotel in the world. It was also the first casino in Las Vegas to cater to the average person. Its rates and its prices for food and drink were cheaper than any other casino at the time.
In addition to being possibly the most lavish casino for its time, the Stardust also boasted some of Las Vegas's more famous architecture. Its sign featured the solar system, complete with a 16 inch model of Earth, and the name "Stardust" in electric letters. At the time it was the largest sign in the world. Its roadside sign featured the name "Stardust" in a mass of twinkling lights.
Among other things, Stardust was famous for its French themed floor show, Lido de Paris. It ran from the hotel's opening to 1992. It also featured Las Vegas's only first run drive-in theatre. Over the years it featured a number of different performers, including George Carlin, Don Rickles, The Temptations, Steve Lawrence and Edie Gorme, Harvey Korman and Tim Conway, Wayne Newton, and Siegfried and Roy.
Like many of the casinos in Las Vegas, the Stardust had a connection to organised crime for many years. Moe Dalitz had more than his share of links to the Mob. For many years the casino was under the control of the Chicago Outfit, the criminal organisation dating back to the days of Al Capone). It was in 1976 that authorities uncovered the fact that gangster Fraank Rosenthal had been secretly running the Stardust for years. Shady business dealing behind the Stardust came to further light when the casino was fined by the Nevada Gambling Comission $3 million for skimming. In March 1985 the Stardust was bought by Boyd Gaming Corporation, bringing to an end any connection the casino had to organised crime.
Unfortunately, the Stardust would eventually find itself behind the times. These days more revenue is generated in Las Vegas through hotel rooms, shows, and food than from gambling. The Stardust, where the casino was the star attraction, had become something of a dinosaur.
Regardless, the Stardust would leave its mark on American pop culture. It has appeared in movies from Fear and Loathing in Las Vegas to Mars Attacks. In the films Casino, Swingers, and the notoriously awful Showgirls, the Stardust had a starring role.
While Echelon Place might have more rooms and even more amenities than the Stardust, I very seriously doubt that it will have the cultural resonance which the Stardust did. With the destruction of the Stardust, it seems to me that we have seen yet another piece of American gone up in dust. The Sands and the Desert Inn were destroyed years ago. For better or worse, Las Vegas is changing. And while those in charge of the resorts and casinos might feel this is for the better, I can't help but worry the city is losing the character that made it famous. Okay, the city is better off without mobsters operating the casinos, but I don't think it is better off without the old classic casinos. Quite simply, the Echelon will never take the place of the Stardust.
I have never been to Las Vegas, so I never had the chance to see the Stardust in person. But like most Americans I have seen it both on television and movies. And like many people I am aware of its history. The Stardust was conceived by Tony Cornero. Cornero was hardly anyone's definition of an honest businessman. In the days of Prohibition he was a bootlegger. And unfortunately for Cornero, he was arrested and convicted for his crimes. After his release he and his brother went to Las Vegas. After several attempts at various casinos (not all of them in Las Vegas), Cornero decided to pursue his dream of creating the largest, plushest casino in the city. Unfortunately, Cornero would die before his dream came true. He had a fatal heart attack on July 31, 1955. Regardless, Moe Dalitz, owner of the Desert Inn and a man with his own shady past, saw the Stardust through to its completion. The Stardust opened in 1958. At the time it was possibly the largest resort hotel in the world. It was also the first casino in Las Vegas to cater to the average person. Its rates and its prices for food and drink were cheaper than any other casino at the time.
In addition to being possibly the most lavish casino for its time, the Stardust also boasted some of Las Vegas's more famous architecture. Its sign featured the solar system, complete with a 16 inch model of Earth, and the name "Stardust" in electric letters. At the time it was the largest sign in the world. Its roadside sign featured the name "Stardust" in a mass of twinkling lights.
Among other things, Stardust was famous for its French themed floor show, Lido de Paris. It ran from the hotel's opening to 1992. It also featured Las Vegas's only first run drive-in theatre. Over the years it featured a number of different performers, including George Carlin, Don Rickles, The Temptations, Steve Lawrence and Edie Gorme, Harvey Korman and Tim Conway, Wayne Newton, and Siegfried and Roy.
Like many of the casinos in Las Vegas, the Stardust had a connection to organised crime for many years. Moe Dalitz had more than his share of links to the Mob. For many years the casino was under the control of the Chicago Outfit, the criminal organisation dating back to the days of Al Capone). It was in 1976 that authorities uncovered the fact that gangster Fraank Rosenthal had been secretly running the Stardust for years. Shady business dealing behind the Stardust came to further light when the casino was fined by the Nevada Gambling Comission $3 million for skimming. In March 1985 the Stardust was bought by Boyd Gaming Corporation, bringing to an end any connection the casino had to organised crime.
Unfortunately, the Stardust would eventually find itself behind the times. These days more revenue is generated in Las Vegas through hotel rooms, shows, and food than from gambling. The Stardust, where the casino was the star attraction, had become something of a dinosaur.
Regardless, the Stardust would leave its mark on American pop culture. It has appeared in movies from Fear and Loathing in Las Vegas to Mars Attacks. In the films Casino, Swingers, and the notoriously awful Showgirls, the Stardust had a starring role.
While Echelon Place might have more rooms and even more amenities than the Stardust, I very seriously doubt that it will have the cultural resonance which the Stardust did. With the destruction of the Stardust, it seems to me that we have seen yet another piece of American gone up in dust. The Sands and the Desert Inn were destroyed years ago. For better or worse, Las Vegas is changing. And while those in charge of the resorts and casinos might feel this is for the better, I can't help but worry the city is losing the character that made it famous. Okay, the city is better off without mobsters operating the casinos, but I don't think it is better off without the old classic casinos. Quite simply, the Echelon will never take the place of the Stardust.
Thursday, March 15, 2007
Arnold Drake 1924-2007
Most of this blog's readers have probably never heard of Arnold Drake. I would even be surprised if most of this blog's readers have even heard of his creations. But Arnold Drake was one of the most innovative and influential writers in comic books. Among other things, he created both the Doom Patrol and Deadman. Drake died March 12 at the age of 83 after a bout with pneumonia.
Arnold Drake was born March 1, 1924. As a child he exhibited an interest in comic strips early. When he was 12 he contracted scarlet fever and was confined to his bed. His mother bought him bridge pads to use as drawing paper, and it was while he was sick in bed that he created his first comic strips. He soon realised that he was more interested in writing comic strips than in drawing them. Drake majored in Journalism at the University of Missouri in Columbia. He later attended New York University.
While at New York University, Drake took on a variety of writing jobs, doing public relations work for AT&T, Blue Cross, IBM, and so on. He sold some text and a few stories for the smaller comic book publishers. It was while Drake was in college that he, future novelist Leslie Waller, and artist Matt Baker more or less invented the graphic novel. They had hit upon the idea of a "picture novel," essentially a novel in comic book form. The plan was that their picture novels would be more sophisticated than the average comic book of the day, written for adults rather than children. They interested publisher Archer St. John in publishing a series of picture novels in mass market paperback form. The first published picture novel (in 1950), It Rhymes with Lust, was a film noir potboiler. A second picture novel, The Case of the Winking Buddha, by writer Manning Lee Stokes and artist Charles Raab, was subsequently published. Unfortunately, neither sold well and the idea of the picture novel died on the vine.
Regardless, Drake would still find a career in the comic book industry. Batman creator Bob Kane was his brother Milton's neighbour. Kane, Drake, and Drake's brother began working together on a project, and Kane introduced Drake to DC Comics' editorial staff. His first work for DC was for House of Mystery. Drake was soon writing for such DC titles and strips as House of Mystery, Batman, Space Ranger, Tommy Tomorrow, and Mark Merlin. Drake created the comic strip Stanley and His Monster for DC's Fox and Crow magazine. He would eventually work on both the Bob Hope and Jerry Lewis comic books, as well as Little Lulu.
It was in 1963 that Arnold Drake would make his biggest mark in comic book history. Editor Murray Boltinoff asked him to create a feature for the ailing My Greatest Adventure magazine. The idea Drake and fellow writer Bob Haney developed was that of a superhero team who were more or less outcasts, led by a man in a wheelchair. If the idea sounds familiar, it is because it is more or less the same concept behind X-Men. The catch is that the Doom Patrol first appeared three months before the first issue of Uncanny X-Men! Th Doom Patrol consisted of Cliff Steele, whose brain was placed in the body of a robot following an accident, turning him into Robotman; test pilot Larry Trainor, whose body became radioactive after exposure to radiation, but who gained the ability to project himself in the form of negative energy; and Elasti-Girl, actress Rita Farr, who after being exposed to unusual volcanic gases gained the ability to shrink or grow at will. The team was led by Dr. Niles Caulder, called the Chief, who was bound to a wheelchair following an accident.
The Doom Patrol ran for 41 issues. During the series' run, Drake displayed his originality in the often bizarre villains the team faced. Among the villains the team faced was: Mr. 103, a villain who could turn himself into any of the 103 elements known in 1963; Ultimax, a sentient computer; and the alien invader Garguax. Among the Doom Patrol's deadliest opponents were the Brotherhood of Evil, led by the Brain (who was precisely that--a disembodied brain maintained through artificial life support) and featuring the intelligent and deadly ape Monsieur Mallah and the shapeshifting Madame Rouge. While the Brotherhood of Evil were deadly, they were nothing compared to the Doom Patrol's archnemesis, General Immortus, the immortal leader of a crime syndicate.
Sadly, as the Sixties wound down sales for The Doom Patrol declined. It was with the magazine's final issue that Arnold Drake took the revolutionary step of killing off the team. In final battle against Madame Rogue, the Doom Patrol sacrificed themselves to save a Maine fishing village. It was the first time that a comic magazine ended its run with the deaths of its main characters. Regardless, the Doom Patrol maintains a cult following to this day, allowing for several revivals (most notably one written by Grant Morrison). Much of their mythos (including the Brotherhood of Evil) would later be used in issues of The Teen Titans.
Drake's second most famous creation would also come about because a comic magazine was in need of a boost. Editor Jack Miller approached Drake with the idea of creating a new superhero for the failing Strange Adventures. The idea Drake developed with artist Carmine Infantino was that of Deadman. Deadman was aerialist Boston Brand, Who was murdered while performing on the trapeze. Brand's ghost was given the ability to possess any living creature by the goddess Rama Kushna so he could find his killer. In the meantime, however, Brand often found himself using his powers to aid others. In some respects, it was a precursor to the show Quantum Leap.
Perhaps unfortunately, Arnold Drake did not always get along well with his editors. His various disagreements with editors at DC would result in his dismissal, alongside many of the other longtime writers at the publisher (including Batman co-creator Bob Finger). Ironically, Drake would later go to work for Marvel on, of all things, The Uncanny X-Men, a superhero team with an uncanny resemblance to the Doom Patrol. He would eventually take up residence at Gold Key Comics, where he worked on The Twilight Zone and Star Trek. In addition to writing comic books, Arnold Drake also worked in B-movies. He wrote the screenplays for the low budget horror movie The Flesh Eaters and the low budget crime drama Who Killed Teddy Bear.
Although he was not one of the best known names in the comic book industry, Arnold Drake was undoubtedly an innovator who dared to venture where few others would. His Doom Patrol predated the more popular X-Men and he was the first writer to actually kill of his characters at the end of their run. Deadman was a revolutionary character for his era and, as pointed out earlier, was a forerunner of the same idea as that in the TV show Quantum Leap. It is perhaps a mark of Drake's influence that there are feature films based on both the Doom Patrol and Deadman are in development. And while his idea for "picture novels" never got off the ground, it foreshadowed the rise of graphic novels in the Seventies and Eighties. Growing up Doom Patrol was among my favourite titles--I read as many of the reprints as I could get my hands on. Much of this was because of Drake's sheer creativity as a writer. In the Sixties he was doing things in the pages of Doom Patrol that would make even Stan Lee and the guys at Marvel look tame. I must admit to being very sad upon hearing of his death.
Arnold Drake was born March 1, 1924. As a child he exhibited an interest in comic strips early. When he was 12 he contracted scarlet fever and was confined to his bed. His mother bought him bridge pads to use as drawing paper, and it was while he was sick in bed that he created his first comic strips. He soon realised that he was more interested in writing comic strips than in drawing them. Drake majored in Journalism at the University of Missouri in Columbia. He later attended New York University.
While at New York University, Drake took on a variety of writing jobs, doing public relations work for AT&T, Blue Cross, IBM, and so on. He sold some text and a few stories for the smaller comic book publishers. It was while Drake was in college that he, future novelist Leslie Waller, and artist Matt Baker more or less invented the graphic novel. They had hit upon the idea of a "picture novel," essentially a novel in comic book form. The plan was that their picture novels would be more sophisticated than the average comic book of the day, written for adults rather than children. They interested publisher Archer St. John in publishing a series of picture novels in mass market paperback form. The first published picture novel (in 1950), It Rhymes with Lust, was a film noir potboiler. A second picture novel, The Case of the Winking Buddha, by writer Manning Lee Stokes and artist Charles Raab, was subsequently published. Unfortunately, neither sold well and the idea of the picture novel died on the vine.
Regardless, Drake would still find a career in the comic book industry. Batman creator Bob Kane was his brother Milton's neighbour. Kane, Drake, and Drake's brother began working together on a project, and Kane introduced Drake to DC Comics' editorial staff. His first work for DC was for House of Mystery. Drake was soon writing for such DC titles and strips as House of Mystery, Batman, Space Ranger, Tommy Tomorrow, and Mark Merlin. Drake created the comic strip Stanley and His Monster for DC's Fox and Crow magazine. He would eventually work on both the Bob Hope and Jerry Lewis comic books, as well as Little Lulu.
It was in 1963 that Arnold Drake would make his biggest mark in comic book history. Editor Murray Boltinoff asked him to create a feature for the ailing My Greatest Adventure magazine. The idea Drake and fellow writer Bob Haney developed was that of a superhero team who were more or less outcasts, led by a man in a wheelchair. If the idea sounds familiar, it is because it is more or less the same concept behind X-Men. The catch is that the Doom Patrol first appeared three months before the first issue of Uncanny X-Men! Th Doom Patrol consisted of Cliff Steele, whose brain was placed in the body of a robot following an accident, turning him into Robotman; test pilot Larry Trainor, whose body became radioactive after exposure to radiation, but who gained the ability to project himself in the form of negative energy; and Elasti-Girl, actress Rita Farr, who after being exposed to unusual volcanic gases gained the ability to shrink or grow at will. The team was led by Dr. Niles Caulder, called the Chief, who was bound to a wheelchair following an accident.
The Doom Patrol ran for 41 issues. During the series' run, Drake displayed his originality in the often bizarre villains the team faced. Among the villains the team faced was: Mr. 103, a villain who could turn himself into any of the 103 elements known in 1963; Ultimax, a sentient computer; and the alien invader Garguax. Among the Doom Patrol's deadliest opponents were the Brotherhood of Evil, led by the Brain (who was precisely that--a disembodied brain maintained through artificial life support) and featuring the intelligent and deadly ape Monsieur Mallah and the shapeshifting Madame Rouge. While the Brotherhood of Evil were deadly, they were nothing compared to the Doom Patrol's archnemesis, General Immortus, the immortal leader of a crime syndicate.
Sadly, as the Sixties wound down sales for The Doom Patrol declined. It was with the magazine's final issue that Arnold Drake took the revolutionary step of killing off the team. In final battle against Madame Rogue, the Doom Patrol sacrificed themselves to save a Maine fishing village. It was the first time that a comic magazine ended its run with the deaths of its main characters. Regardless, the Doom Patrol maintains a cult following to this day, allowing for several revivals (most notably one written by Grant Morrison). Much of their mythos (including the Brotherhood of Evil) would later be used in issues of The Teen Titans.
Drake's second most famous creation would also come about because a comic magazine was in need of a boost. Editor Jack Miller approached Drake with the idea of creating a new superhero for the failing Strange Adventures. The idea Drake developed with artist Carmine Infantino was that of Deadman. Deadman was aerialist Boston Brand, Who was murdered while performing on the trapeze. Brand's ghost was given the ability to possess any living creature by the goddess Rama Kushna so he could find his killer. In the meantime, however, Brand often found himself using his powers to aid others. In some respects, it was a precursor to the show Quantum Leap.
Perhaps unfortunately, Arnold Drake did not always get along well with his editors. His various disagreements with editors at DC would result in his dismissal, alongside many of the other longtime writers at the publisher (including Batman co-creator Bob Finger). Ironically, Drake would later go to work for Marvel on, of all things, The Uncanny X-Men, a superhero team with an uncanny resemblance to the Doom Patrol. He would eventually take up residence at Gold Key Comics, where he worked on The Twilight Zone and Star Trek. In addition to writing comic books, Arnold Drake also worked in B-movies. He wrote the screenplays for the low budget horror movie The Flesh Eaters and the low budget crime drama Who Killed Teddy Bear.
Although he was not one of the best known names in the comic book industry, Arnold Drake was undoubtedly an innovator who dared to venture where few others would. His Doom Patrol predated the more popular X-Men and he was the first writer to actually kill of his characters at the end of their run. Deadman was a revolutionary character for his era and, as pointed out earlier, was a forerunner of the same idea as that in the TV show Quantum Leap. It is perhaps a mark of Drake's influence that there are feature films based on both the Doom Patrol and Deadman are in development. And while his idea for "picture novels" never got off the ground, it foreshadowed the rise of graphic novels in the Seventies and Eighties. Growing up Doom Patrol was among my favourite titles--I read as many of the reprints as I could get my hands on. Much of this was because of Drake's sheer creativity as a writer. In the Sixties he was doing things in the pages of Doom Patrol that would make even Stan Lee and the guys at Marvel look tame. I must admit to being very sad upon hearing of his death.
Wednesday, March 14, 2007
Betty Hutton R.I.P.
Betty Hutton, star of stage and screen, died Sunday at age 86 of complications from colon cancer.
Hutton was born Elizabeth June Thornburg on February 26, 1921 in Battle Creek, Michigan. Her father, a railroad foreman, left the family while Hutton was still young. She entered show business while still young, singing in a speakeasy run by her family at age 3. Hutton was discovered by orchestra leader Vincent Lopez and performed with his band for a few years. She made her film debut in several Warner Brothers shorts. By 1940 she was appearing on Broadway in Two For the Show. That same year she appeared on Broadway in Panama Hattie.
It was in 1942 that she made her feature film debut in The Fleet's In. For the next several years she appeared in such films as The Miracle of Morgan Creek, Incendiary Blonde, and The Stork Club. She played Pearl White in the bio flick The Perils of Pauline in 1947. Perhaps her biggest claim to fame came when she replaced Judy Garland as Annie Oakley in Annie Get Your Gun. Hutton made the part all her own and it remains the role for which she is most famous. She appeared in the lead role in the big budget extravaganza The Greatest Show on Earth. Unfortunately for Hutton, after appearing in the film Somebody Loves Me, she insisted that her husband at the time, Charles O'Curran and Paramount refused. As a result, Hutton broke her contract and effectively ended her film career.
Hutton would return to the stage, appearing on Broadway in Betty Hutton and Her All-Star International Show in the early Fifties. In the Sixties she would appear on Broadway in Fade In, Fade Out. She would also play Miss Hannigan in Annie in the Seventies, replacing Dorothy Loudon.
Hutton also made a career for herself in television. She starred in the NBC TV special Satins and Spurs in 1954 and had her own show during the 1959-1960 season. She made guest appearances on Burke's Law, Gunsmoke, and Baretta. Following her acting career, Hutton would get a master's degree from Salve Regina, a Catholic college. She would go on to teach acting and oral interpretation at Emerson College.
I must admit that I have always had a soft spot in my heart for Betty Hutton. Beyond obviously being beautiful and blonde, she was also one of the most vivacious stars of the silver screen. Her voice was an incredible instrument, and I imagine she could be heard across a room even without a microphone. She also a natural gift for comedy, with perfect timing and a face that was very expressive. Although I've always been a fan of Judy Garland, I have to wonder if it wasn't serendipity for Paramount that she was unable to finish Annie Get Your Gun. I can certainly picture no one better in the role than Betty Hutton was. I must say that I am truly saddened by her passing.
Hutton was born Elizabeth June Thornburg on February 26, 1921 in Battle Creek, Michigan. Her father, a railroad foreman, left the family while Hutton was still young. She entered show business while still young, singing in a speakeasy run by her family at age 3. Hutton was discovered by orchestra leader Vincent Lopez and performed with his band for a few years. She made her film debut in several Warner Brothers shorts. By 1940 she was appearing on Broadway in Two For the Show. That same year she appeared on Broadway in Panama Hattie.
It was in 1942 that she made her feature film debut in The Fleet's In. For the next several years she appeared in such films as The Miracle of Morgan Creek, Incendiary Blonde, and The Stork Club. She played Pearl White in the bio flick The Perils of Pauline in 1947. Perhaps her biggest claim to fame came when she replaced Judy Garland as Annie Oakley in Annie Get Your Gun. Hutton made the part all her own and it remains the role for which she is most famous. She appeared in the lead role in the big budget extravaganza The Greatest Show on Earth. Unfortunately for Hutton, after appearing in the film Somebody Loves Me, she insisted that her husband at the time, Charles O'Curran and Paramount refused. As a result, Hutton broke her contract and effectively ended her film career.
Hutton would return to the stage, appearing on Broadway in Betty Hutton and Her All-Star International Show in the early Fifties. In the Sixties she would appear on Broadway in Fade In, Fade Out. She would also play Miss Hannigan in Annie in the Seventies, replacing Dorothy Loudon.
Hutton also made a career for herself in television. She starred in the NBC TV special Satins and Spurs in 1954 and had her own show during the 1959-1960 season. She made guest appearances on Burke's Law, Gunsmoke, and Baretta. Following her acting career, Hutton would get a master's degree from Salve Regina, a Catholic college. She would go on to teach acting and oral interpretation at Emerson College.
I must admit that I have always had a soft spot in my heart for Betty Hutton. Beyond obviously being beautiful and blonde, she was also one of the most vivacious stars of the silver screen. Her voice was an incredible instrument, and I imagine she could be heard across a room even without a microphone. She also a natural gift for comedy, with perfect timing and a face that was very expressive. Although I've always been a fan of Judy Garland, I have to wonder if it wasn't serendipity for Paramount that she was unable to finish Annie Get Your Gun. I can certainly picture no one better in the role than Betty Hutton was. I must say that I am truly saddened by her passing.
Tuesday, March 13, 2007
American Idol Is Not a Reality Show
The new season of American Idol began not long ago. As it has in the past, the show has dominated the Nielsen ratings. And, as usual, there have been numerous news stories about the talent competition. I am willing to bet in that a majority of those news stories, American Idol is described as a "reality show." It is on this point I must disagree with those news stories.
Granted, the term "reality show" is a rather broad one that has been used of a large number of different sorts of shows in the past. Candid Camera, which used hidden cameras to capture people's reactions to various pranks, was described as a reality show. So too was Art Linkletter's Kids Say the Darndest Things, in which the famous TV host simply interviewed youngster. At the same time, however, the term "reality show" has also been used of the cinema verite of Cops and the competition on Survivor.
It seems to me to determine what precisely is a reality show, then, we must look at what these shows have in common. In each case it seems to me that these shows present the relatively unscripted actions, reactions, or interactions of people to various situations, excluding sporting events, game shows, and news shows. For me, then, the emphasis in any reality show should be on the actions, reactions, or interactions of the individuals involved. This is why I do not consider game shows to be "reality shows," because the emphasis is on the game itself, not on the actions, reactions, or interactions of people. Of course, there are going to be cases in which the lines between reality shows and other genres are blurred. Given that it is essentially a competition, Survivor could be considered a game show. That having been said, it has always seemed to me that the emphasis not so much on the competition itself, but in the interactions between the competitors. In other words, Survivor is a reality show with aspects of a game show.
Now, in the case of American Idol, the emphasis of the show is entirely on the competition between the various singers. It is not on the interactions of the singers among themselves, their reactions to various situations, or their actions when they are not singing. American Idol is then not a reality show. As to what it really is, American Idol is simply a talent show. Talents shows have existed since The Original Amateur Hour debuted on radio in 1934. And they have been popular since the earliest days of television. The Original Amateur Hour made the transition to television in 1948 and lasted in some form until 1970. Star Search ran throughout the Eighties and into the Nineties, lasting a good twelve years. While it is not a reality show, American Idol is nothing new. Talent shows have been around for decades.
American Idol is as popular as ever. And I rather suspect, given the history of other talent shows, it will remain on the years for many more years. And, for better or worse, I suspect it will continue to be mislabelled a "reality show."
Granted, the term "reality show" is a rather broad one that has been used of a large number of different sorts of shows in the past. Candid Camera, which used hidden cameras to capture people's reactions to various pranks, was described as a reality show. So too was Art Linkletter's Kids Say the Darndest Things, in which the famous TV host simply interviewed youngster. At the same time, however, the term "reality show" has also been used of the cinema verite of Cops and the competition on Survivor.
It seems to me to determine what precisely is a reality show, then, we must look at what these shows have in common. In each case it seems to me that these shows present the relatively unscripted actions, reactions, or interactions of people to various situations, excluding sporting events, game shows, and news shows. For me, then, the emphasis in any reality show should be on the actions, reactions, or interactions of the individuals involved. This is why I do not consider game shows to be "reality shows," because the emphasis is on the game itself, not on the actions, reactions, or interactions of people. Of course, there are going to be cases in which the lines between reality shows and other genres are blurred. Given that it is essentially a competition, Survivor could be considered a game show. That having been said, it has always seemed to me that the emphasis not so much on the competition itself, but in the interactions between the competitors. In other words, Survivor is a reality show with aspects of a game show.
Now, in the case of American Idol, the emphasis of the show is entirely on the competition between the various singers. It is not on the interactions of the singers among themselves, their reactions to various situations, or their actions when they are not singing. American Idol is then not a reality show. As to what it really is, American Idol is simply a talent show. Talents shows have existed since The Original Amateur Hour debuted on radio in 1934. And they have been popular since the earliest days of television. The Original Amateur Hour made the transition to television in 1948 and lasted in some form until 1970. Star Search ran throughout the Eighties and into the Nineties, lasting a good twelve years. While it is not a reality show, American Idol is nothing new. Talent shows have been around for decades.
American Idol is as popular as ever. And I rather suspect, given the history of other talent shows, it will remain on the years for many more years. And, for better or worse, I suspect it will continue to be mislabelled a "reality show."
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