Sunday, May 21, 2017
Having been propelled (with supercharged turbo jets) by ridiculous current events to the more benign ridiculousness of ducks, vaudeville, cartoons, 1930's movies and radio, we kick off today's post with Gus Visser and his singing duck.
Of course, Daffy Duck was duckier, especially in this cartoon by Chuck Jones and his crew at Warner Brothers, You Were Never Duckier!
Duckiest of all, even more than the song I Think You're Ducky, was one of radio's biggest stars of the 1930's, comedian Joe Penner (1904-1941).
One may not know Penner's name, but certainly comedy and old time radio geeks are familiar with his distinctive voice and catchphrases: "Wanna buy a duck?", "Don't never doooooooo that" and "You naaaaaaasty man" in particular.
After appearing in vaudeville and a series of Vitaphone comedy shorts, Penner hit the big time with a guest appearance on Rudy Vallee's radio show on July 13, 1933. The comedian's catchphrases and duck were already cornerstones of his comedy. Three months later, Penner got his own show, the Baker's Broadcast, soon the biggest program on radio. Joe and his duck sidekick soon received the ultimate tribute, sendups in animated cartoons!
The rise to fame was so meteoric, Joe and duck sidekick Goo Goo soon inspired official toys.
Penner's success on radio got him signed to appear in movies produced by Paramount Pictures and RKO. The following musical interlude from College Rhythm, in which Joe serenades Goo Goo, is funny and oddly sweet at the same time; the character genuinely loves his feathered friend and that is what puts the scene over. That said, co-star Lyda Roberti is not exactly thrilled about getting thrown over for a duck!
This writer also finds Joe likable and weirdly endearing in his later films for RKO, especially The Day The Bookies Wept.
Along with The Ritz Brothers, Joe Penner remains a bit of a Rorschach test for comedy buffs. As is the case with silent movie comedians Larry Semon and Harry Langdon (mostly due to their not-of-this-earth appearance), he often gets singled out even among comedy fans with a "I don't find him funny at all" reaction. Those who do like him (this writer included) are hard-pressed to explain just why Penner gets laughs, and for that matter what the heck was funny about another Rorschach test comedian from five decades later, Paul Reubens a.k.a. Pee-Wee Herman.
As the Ritz Brothers, led by rubber-faced Harry, get laughs, not with rapid-fire jokes and Groucho Marx style witty repartee, but with the way they dance and move, Penner's humor was in his sound and delivery. This was also also the case with such popular contemporaries on radio as Jack "Baron Munchausen" Pearl, Harry Einstein, a.k.a. Parkyakarkus and Ed Wynn. Humor soon changed dramatically with the rise of Bob Hope, the beginnings of standup comedy, Jack Benny's character-based radio program (which had just started two years earlier) and the sophisticated and satiric Fred Allen. . . to some degree leaving even talented comics who relied on catchphrases in the dust.
It is just as well that Penner's duck-lovin' innocent did NOT meet the anarchic and up-to-no-good duo of Bobby Clark & Paul McCullough, as demonstrated this closing scene from Everything's Ducky (1934), which cements Clark & McCullough's rep as the darkest and disturbing of movie comedy teams in talkies, as Kalem's grotesque "Ham & Bud" easily take the "most despicable duo" crown in silents.
While Penner's comic approach is not easy to describe or categorize, this writer finds the "wanna buy a duck" man, especially on the Baker's Broadcast series, quite funny in a musical sense, based in the sound and dynamics of his voice and offbeat nuances of his comic timing. For a couple of years, Joe was a smash hit, cheering up radio audiences across the country during the worst days of the Great Depression. For more on Joe Penner, check out The Joe Penner Project.
Friday, May 12, 2017
Still in the vise-like grip of Writer's Block and, like SCTV's Bob & Doug McKenzie on Canadian Corner/Great White North, stuck for a topic today, so - WHAMO - the toe-tapping tunes from the toons will be the subject for May 12 of misbegotten 2017!
The notion of writing a piece about "This Blog Loves The Hammond B-3" for an upcoming jazz-related post immediately tripped certain memories, but we're not talking Joey DeFrancesco, Milt Buckner, Jimmy Smith, Larry Young, Shirley Scott or Booker T. Jones here. We're talking made-for-TV cartoons featuring very odd organ music soundtracks. One this blogger always liked was Q.T. Hush.
We will go from the ridiculous to the sublime (although nothing involving the 1990's rock band Sublime) and nothing says sublime quite like the made-for-TV cartoons of Sam Singer Productions. Singer has been termed the Ed Wood of cartoons, but that may be giving him a tad too much credit. His studio's series included Pow Wow The Indian Boy, Courageous Cat, Sinbad, Jr. and the bad-beyond-belief Bucky & Pepito. . . all of which make Magilla Gorilla look like Fantasia.
The cheapest of these bottom-of-the barrel series - well, the cheapest that we know of - would be The Adventures of Paddy The Pelican.
At the same time when the likes of David Raksin, Gail Kubik, Boris Kremenliev and Phil Moore were composing and conducting ambitious original soundtracks for the artsy yet highly entertaining animation by United Productions of America (UPA), these Paddy the Pelican adventures redefine what cheap means: one poor bastard playing an organ in the background.
One case of a television cartoon in which an ultra-minimalistic music track works beautifully is Gene Deitch's Tom Terrific, originally a feature of CBS-TV's popular Captain Kangaroo show.
Less minimalist but extremely gratifying soundtrack music in TV-toons can be found, not surprisingly, in the blazing work of Jay Ward Productions. LOVE that original Rocky & His Friends theme by Dennis Farnon.
We especially have a soft spot for Stan Worth's opening theme from the Super Chicken cartoons.
The theatrical cartoons of the 1940's not made by Disney, Warner Brothers and MGM feature some very odd soundtracks. One of the oddest is in one of the oddest of all cartoons from the oddest of all cartoon studios, Screen Gems, the creepy Halloween opus The Fly In The Ointment, featuring a Leo Gorcey fly and a John Barrymore spider. The latter, voiced by John McLeish, stentorian narrator of Goofy "How-To" cartoons, plays a theater organ with none of The Phantom Of The Opera's formidable ability to terrify.
If asked to name a Screen Gems cartoon that is not so far off-the-rails as to not be entertaining, this blogger might choose the weirdly inspired Sherlock Holmes spoof, The Case Of The Screaming Bishop. While aware the "best bones of all go to Symphony Hall" running gag is a reference to a popular ad campaign of 1944 and makes no sense today, we at Way Too Damn Lazy To Write A Blog DON'T CARE. This Holmes & Watson sendup could only be better if there was a live-action cameo at the end by Louis Armstrong, "come and see Satchmo at Symphony Hall."
Even better than the wonderfully strange Case Of The Screaming Bishop was the 1942 MGM masterpiece by comic genius Tex Avery, Who Killed Who? Love that cheesy organ track, killer surprise ending and a main character patterned on ubiquitous character actor Fred Kelsey.
On the complete other side of this discussion, Scott Bradley leads the fantastic MGM orchestra in the stirring musical sounds for Bill Hanna & Joe Barbera's Tom & Jerry cartoons of the 1940's and 1950's.
Although this writer's favorite Bradley cartoon backing is for various mindbogglingly brilliant Tex Avery MGM cartoons (Red Hot Riding Hood, Swing Shift Cinderella, The Kingsize Canary), the Tom & Jerry cartoons feature wonderful soundtracks.
Do we love the soundtracks of Carl W. Stalling and the Warner Brothers orchestra? Yes, this blogger admits it - he could be in a 12-step group for "Men Who Love Carl W. Stalling Music From Warner Brothers Cartoons Too Much.
Few could "swing the classics" quite like the Warner Bros. orchestra, conducted by Carl W Stalling and Milt Franklyn.
Warner Brothers bought the music of Raymond Scott, which can be heard in the fabulous compilation recording The Music Of Raymond Scott - Restless Nights & Turkish Twilights.
While Mr. Scott wrote these songs for his "Quintette" and never intended them to be cartoon soundtracks, these unique and original compositions are undeniably and inextricably intertwined with Warner Bros. cartoons.
Now THAT great tune was arguably best showcased in the Bugs Bunny cartoon Gorilla My Dreams, directed by Robert McKimson.
The fella who writes Way Too Damn Lazy To Write A Blog, event programmer, scribe and film historian Paul F. Etcheverry, co-founder of the KFJC Psychotronix Film Festival, has been happy to collaborate on several occasions with Jeff Sanford's Cartoon Jazz Orchestra.
Finishing this post: this blogger's absolute favorite jazzy cartoon soundtrack, in which the innovative Don Redman Orchestra swings like mad. The creative "rubber-hose" style animation is by the Fleischer Studio, then, in 1933, at the peak of their creative powers.
Sunday, April 30, 2017
Today, the dreaded Writer's Block, clearly upon this blogger like a hungry housecat on ACME Smoked Whitefish Salad, determines our month-ending topic: the downright astonishing number of April birthdays for jazz legends, including April 30, both International Jazz Day and the natal anniversary of MJQ and Heath Bros. Quintet bassist magnifique Percy Heath (1923-2005).
As February 26 remains a bonanza for birthdays of comedy and musical comedy performers from stage, vaudeville, movies and TV (Jackie Gleason, Danny Kaye, Betty Hutton, Tony Randall, William Frawley), the entire month of April is chock full of birthdays of iconic jazz artists, as well as composers for movies and television who were heavily influenced by jazz.
First and foremost, we at Way Too Damn Lazy To Write A Blog shall atone for missing the 100th birthday of the ultimate lady of song, the incomparable and always perfect-pitched Ella Fitzgerald, born on April 25, 1917, by paying homage with these amazing concert clips.
One day earlier on April 24, two of the greatest jazz saxophonists who ever lived, Joe Henderson and Johnny Griffin, share a birthday.
This writer saw these two greats play together - they tore it up - at Yoshi's Oakland (Claremont Avenue location) way back when, but does not remember if the concert took place on an April 24! If it did, that would have been fitting, indeed.
And a few days later on April 29, Duke Ellington, the maestro, the composer, the man with the symphonic vision who painted with the sophisticated sonorities of a brass and reeds orchestra, was born.
Guitarist and guitar teacher (neighbor and friend of at least two of this blogmeister's film historian colleagues) Larry Coryell was born on April 1.
No doubt Larry had a few good jokes - musical and otherwise - about having an April Fools' Day birthday.
April 7 is the birthday of Billie Holiday, a legend and songstress like no other. While well aware that many of Billie's greatest performances, such as her appearances at New York's Café Society, stints as vocalist with the Count Basie and Artie Shaw big bands, as well as Lee Young's epic early 1940's swing-to-bop ensemble (featuring Lee's brother, Count Basie Orchestra saxophonist Lester "Pres" Young), were not captured on tape or film, there's still plenty of magic even in her last recordings.
Even while her physical health and strength were clearly deteriorating, Billie's ability to feel and express that lyric, find its essence, remained undaunted.
Among notable late career Billie Holiday appearances on television, the following are from CBS TV's The Sound Of Jazz special - yes, believe it or not, music other than country-western actually was seen on network television in 1957 - and features the yin and yang of swing tenor saxophonists, Bean and Pres. . . Coleman Hawkins and Lester Young. She sounds great. So do they.
Keyboard wizard, super prolific recording artist and multi-genre world music explorer Herbie Hancock, born on April 12, 1940, is still touring. Herbie started his career in the late 1950's and early 1960's and continues rocking on nearly two decades into the 21st century.
Obviously, music keeps him energetic and youthful at 77 - although we at Way Too Damn Lazy To Write A Blog would love to find out just what Herbie's specific diet and workout regimen is.
Arguably the single bluesiest tenor saxophonist to ever work in jazz, the soulful Gene Ammons, was born on April 14, 1925.
Born on April 16, the same day as two of our all-time favorites, Charlie Chaplin and Edie Adams, one of the jazziest of composers for movies, Henry Mancini.
Sharing a birthday with center fielder Marquis Grissom, the great silent movie actress/comedienne Fay Tincher, this blogger (writer Psychotronic Paul Etcheverry) and his craftswoman-illustrator fraternal twin: keyboardist and prolific composer for movies and TV, Jan Hammer. Unquestionably, artistic tie-ins between Jan and Henry Mancini abound, although the latter did not tour with the Mahavishnu Orchestra and The Jeff Beck Group.
Also born on April 17, Dutch percussionist Han Bennink and one of the unequaled kings of the upright bass, Buster Williams.
April 20 is the birthday of vibraphonist, bandleader, member of Benny Goodman's historic quintet and key stylistic predecessor of rock n' roll Lionel Hampton. Here's Lionel, making history with The Benny Goodman Quartet in 1937.
This ridiculously hard swingin' version of Flying Home from the 1968 Newport Jazz Festival would be this blogger's favorite among the many great Lionel Hampton Orchestra recordings. This edition of the Lionel Hampton Orchestra features quintessential "Texas tenor" Illinois Jacquet. Deftly blending r&b, jazz and rock n' roll, Jacquet, ever the showman, does not disappoint!
The larger-than-life volcano of creativity - composer, arranger, bassist, bandleader of the Jazz Workshop, activist and wordsmith - Charles Mingus and one of the cornerstones from his 1970's group, George Adams, both have April birthdays, on the 22nd and 29th, respectively. This writer, who prefers his modern jazz undiluted, finds Mr. Adams' sonic stylings always a splendid antidote to the syrupy and overly sentimental sounds of "easy listening" saxophonists. Let 'er rip, George!
Frank Sinatra liked, in fondly reminiscing about hot-blooded romantic encounters, to sing "it was a very good year" and, as friend of Basie, Ellington and Holiday, would very likely agree that for the world of music, April was a very good month.
There were so many bandleaders, virtuoso jazz composers and brilliant instrumentalists born in the month of April, it would not have been possible to cover all of them in this post and actually finish the post!
Sunday, April 23, 2017
"I'm a bit disappointed in myself. I know I could have accomplished a hell of a lot more... I could write anything any time I wanted to. But I let other things get in the way.... I've been floating around in the breeze." Hoagy Carmichael
While writing about Harry Ruby and about Musicians In The Movies, couldn't help thinking of the Indiana-born songwriter, pianist, composer, character actor, radio star and lawyer-turned-musician Hoagy Carmichael. When this blogger, amateur musician and jazz geek thinks of 1920's and 1930's music, Hoagy invariably comes to mind, so it's about time we give this Songwriters Hall of Fame member his post!
Many in the same age group as this blogger were introduced to the great songwriter via his memorable appearance on "The Hit Songwriters" episode of ABC-TV's The Flintstones as prehistoric tunesmith "Stoney Carmichael" on September 15, 1961.
This wasn't the first time a Hoagy Carmichael song appeared in an animated cartoon. His 1938 song Small Fry was made by the Fleischer Studio into a Color Classic cartoon about a juvenile delinquent fish!
Just consider a mere few of the many great songs from the Hoagy Carmichael backlog, created in collaboration with lyricists Johnny Mercer, Frank Loesser, Mitchell Parish, Sidney Arodin, Jack Brooks, Harold Adamson, Stuart Gorrell, Jo Trent, Connie Dane, Paul Francis Webster, Robert De Leon and Dick Voynow.
Washboard Blues (1925, lyric with Fred B. Callahan)
Star Dust (1928, lyric by Mitchell Parish)
Rockin' Chair (1929)
Georgia On My Mind (1930, lyric by Stuart Gorrell)
Up The Lazy River (1931, lyric with Sidney Arodin)
Lazybones (1931, lyric written with Johnny Mercer)
The Nearness Of You (1937, lyric by Ned Washington)
Two Sleepy People (1938, lyric by Frank Loesser)
Heart and Soul (1938, lyric by Frank Loesser)
I Get Along Without You Very Well (1938)
Skylark (1941, lyric by Johnny Mercer)
Hoagy found his way into songwriting as a law student who became enthralled by the music of Bix Beiderbecke and Louis Armstrong.
Carmichael performed many of his songs in movies. His first silver screen appearance was in Topper. Tough to top a movie in which Hoagy sings and Cary Grant stars.
As much as we at Way Too Damn Lazy To Write A Blog love Bogey and Bacall in To Have And Have Not, the musical interludes by Hoagy - Hong Kong Blues, Am I Blue and Baltimore Oriole - are immensely entertaining and add a lot to this unbeatable classic movie.
The George Raft - Claire Trevor film noir Johnny Angel included the evocative "Memphis In June" (1945, lyric by Paul Francis Webster).
"Ole Buttermilk Sky" was featured in the movie Canyon Passage and released as a single.
It received an Oscar nomination for Best Song of 1946, but did not win.
Carmichael and lyricist Johnny Mercer did win the 1951 Academy Award for Best Song for "In the Cool, Cool, Cool of the Evening," from the Bing Crosby-Jane Wyman vehicle Here Comes The Groom.
Another feature which makes good use of Carmichael's musical talents is Las Vegas Story.
We'll take the Way Too Damn Lazy To Write A Blog (and Lazybones) route and quote the excellent Songwriters' Hall Of Fame entry for Hoagy verbatim. This tells the story more effectively than this writer could. Kudos to whoever wrote this for Songwriters' Hall Of Fame and we shall illustrate the bio with judiciously chosen clips! In addition, there are also the two books Carmichael wrote about his career in music.
"Hoagy Carmichael was one of the most inventive and adventurous of the great American songwriters. Much of his best work reflects his love of the jazz of the 1920s, most notably one of the greatest standards from the era, “Stardust”.
He was born Hoagland Howard Carmichael in Bloomington, Indiana on November 22, 1899. His father was an electrician and his mother played the piano for dances and silent films. Although his ambition was to become a lawyer, Carmichael showed an early interest in music. When his family moved to Indianapolis in 1916, he took lessons from an African-American pianist Reginald DuValle (1893-1953).
He attended Indiana University, and, while there, he organized his own jazz band. When the great jazz cornetist Bix Beiderbecke, then at the very beginning of his brief career, paid a visit to Indiana University in the spring of 1924, he and Carmichael quickly became friends, and it was for Beiderbecke that Carmichael wrote his first piece. Not long afterward, Beiderbecke and the Wolverines recorded it under the title "Riverboat Shuffle".
Carmichael went on to the Indiana University Law School, and continued to perform and write music while there. He graduated in 1926, and began to practice law in West Palm Beach, Florida. However, the discovery that another of his early tunes "Washboard Blues" had been recorded prompted him to abandon law for music. He briefly returned to Indiana, and then in 1929 he arrived in New York. He resumed his contact with Beiderbecke and was introduced with some of the most talented young musicians of the day, including Louis Armstrong, the Dorsey Brothers, Benny Goodman, and Jack Teagarden. Another important lifelong friendship during this time was also established with lyricist Johnny Mercer.
Gradually, musicians heard Carmichael’s songs and he became increasingly well known as a songwriter. In addition, his performing career flourished and he made many recordings. One of his early recordings featured him with the Paul Whiteman band playing and singing his own "Washboard Blues".
In 1936 he moved to Hollywood and continued to write independent songs for publication and songs for movies. In 1937 he began what was to become a significant secondary career as an actor, appearing in a bit part in the film Topper. Roles, which usually involved singing parts, followed in many other movies, including To Have and Have Not (1942), The Best Years of Our Lives (1946), Canyon Passage (1945), and Young Man With a Horn (1950). In the late 1950s and early 1960s, he became a regular on television in the western series Laramie. In the 1940s, he was also a popular radio personality."
Among Hoagy's last TV appearances was the PBS children's show Hoagy Carmichael's Music Shop.
A kids' show featuring Hoagy is not necessarily at all far-fetched, especially considering that the music director on the long-running flagship PBS children's show Mister Rogers Neighborhood was none other than jazz pianist and composer Johnny Costa, like Art Tatum, Jaki Byard, Hazel Scott and Oscar Peterson a fleet-fingered speed demon on the keys.
The song here, "Everybody's Bustin' Out Of Doors" is both covered by the man himself in classic Hoagy style but also by vibraphonist Monty Stark's rock-jazz fusion band The Stark Reality, who created an album of 1970 style versions of Hoagy Carmichael songs. Sometimes the blend is a bit jarring, but for the most part it works. Unfortunately, now that we are in 2017 and every human upon this earth is glued to their smart phones, nobody is busting to get out of doors, not even children.
Fred Rogers also hosted a show a few years later, Old Friends, New Friends in which Hoagy appeared. Unfortunately, this blogger has not been able to locate any clips from the latter 1978 show. Perhaps they will turn up eventually on the Fred Rogers tribute website.
Carmichael sang and played "Rockin' Chair" on the piano on Annie Ross and Georgie Fame's United Kingdom-recorded tribute album In Hoagland (1981). Hoagy's last public appearance occurred when he filmed Country Comes Home with country music recording artist Crystal Gayle for CBS in 1981.
Hoagy Carmichael died of heart failure at the Eisenhower Medical Center in Rancho Mirage, California on December 27, 1981. His remains are buried in Rose Hill Cemetery in Bloomington, Indiana.
In 1986 Carmichael's family donated his archives, piano, and memorabilia to his alma mater, Indiana University, which established a Hoagy Carmichael Collection in its Archives of Traditional Music and the Hoagy Carmichael Room to permanently display selections from the collection.
Finishing up this tribute to Hoagy: the following great covers of his classic tunes. Leading off: Louis Armstrong and Jack Teagarden!
Chet Baker and Frank Sinatra delve deeply into the Hoagy Carmichael songs about love lost.
Sinatra contributed his share of classic Carmichael covers.
Hong Kong Blues has inspired covers by a wide range of musicians.
Here's one by The Killer himself, Jerry Lee Lewis!
George Harrison was a Hoagy Carmichael fan and recorded Hong Kong Blues and Baltimore Oriole on his Somewhere In England album.
Carmichael was inducted into the Hollywood Walk of Fame on February 8, 1960. Hoagy's sidewalk star tribute can be found at 1720 Vine Street in Hollywood.
Saturday, April 15, 2017
Today we celebrate the centenary of the birth of Hans Conried, another first ballot selection for the Comic Character Actor Hall Of Fame.
Kicking off this 100th birthday tribute will be the following interview with Hans by radio historian Chuck Schaden and two brilliant Conried turns on sitcoms featuring Lucille Ball, in I Love Lucy and The Lucy Show.
Hans would reprise his music teacher role in the 1964 Jerry Lewis feature The Patsy. He proves a perfect foil for Jerry's slapstick.
Another part the star of stage, screen, television, radio (Orson Welles' Mercury Theater) and animated cartoons is remembered for is as the cantankerous Uncle Tonoose on The Danny Thomas Show.
One of many superlative Hans Conried performances is his central role in the subversive classic The 5000 Fingers Of Dr. T, produced by Stanley Kramer, directed by Roy Rowland and penned by none other than Ted Geisel, A.K.A. Dr. Seuss.
It's Conried's performance as the diabolical Terwilliger that makes the movie work.
The performances of "Get Together Weather" and "Doe-Me-Doe Duds," the latter in particular distinguished by patented Dr. Seuss lyrics, may be this writer's favorite segments of the movie.
Hans Conried's work in various shows by Jay Ward Productions remains consistently stellar and indispensable. Conried was no stranger to cartoon voice work, having contributed a witty and wonderfully florid John Barrymore-esque performance as Captain Hook in Disney's 1953 version of Peter Pan.
Here's Hans as ever-dastardly villain Snidely Whiplash in a particularly hilarious Dudley Do-Right Of The Mounties cartoon.
This writer also likes Hans Conried, best known in the Jay Ward Productions cartoons as Snidely Whiplash, as con artist, low-budget raconteur and snake oil salesman Prof. Waldo Wigglesworth in the Hoppity Hooper series.
Also like Hans very much as the reluctant, underpaid and ashamed host of Fractured Flickers, created for Jay Ward Productions by Chris Hayward.
Fractured Flickers is still controversial for its use of silent movie clips and found footage.
This dyed-in-the-wool silent movie buff does not regard the show as an affront to the original footage; after all, Fractured Flickers does not present a complete version of F.W. Murnau's Sunrise or 4 Devils, mastered from pristine 35mm nitrate materials, and then skewer it mercilessly in MST 3K style.
In addition, the guest stars, interviewed by an ever-incredulous Hans Conried, are often quite funny.
We tip our Snidley Whiplash top hat to Hans Conried - among the 100th birthday crowd with Ella Fitzgerald, Dizzy Gillespie and John F. Kennedy - and hope he's cracking jokes and talking Shakespeare with a bunch of other pals and thespian cronies in the next world!
Sunday, April 09, 2017
Think virtual reality is cool? Here, from the pages of Life Magazine, is the way to watch TV and escape your humdrum existence: use the patented 3-D headset! Here's inventor-publisher and Godfather of Science-Fiction (not the Godfather of Soul), Hugo Gernsback, doing just that!
The television audience could see Uncle Miltie in drag in multiple dimensions!
Just imagine - Dagmar as you've never seen her before!
Watch Bwana Devil on TV - in 3-D and in THRILLING COLOR!
Add a second pair of the patented 3-D glasses and see Bwana Devil in 4-D!
Take LSD with two or three pairs of 3-D glasses atop your 3-dimensional TV headset and see Bwana Devil in 5-D! Then, keeping that headset on, listen to the album Sunrise In Different Dimensions by Sun Ra & His Arkestra.
Saturday, April 01, 2017
I love Abbott and Costello but never liked April Fools' Day. Neither did Charlie Brown of Peanuts.
That said, the great comedians of the silver screen and TV best demonstrate the adage there's no fool like an April fool - and the following classic bit from the dapper gentleman of silent film comedy, Charley Parrott Chase, is no exception.
Surprisingly, it's tough to find April Fools' Day cartoons and genuinely funny stuff about superstitions. While the Warner Bros. cartoons "Neurotic Claude Cat" series by the Chuck Jones production crew, commencing with The Aristo-cat, comes fairly close, it's The Stupidstitious Cat, a Paramount Noveltoon by Famous Studios, that focuses entirely and obsessively on this topic and features main character voices which strongly recall Jack Benny and Eddie Anderson.
Believe it or else, we actually like many of the cartoons produced by Famous Studios.
Noveltoons featuring Jim Tyer's rubbery animation, as well as the gorgeous backgrounds and foregrounds of Shane Miller and key contributions from animation legends Bill Tytla and Otto Messmer, have their share of blazing moments, especially when seen on the big screen in glorious Technicolor.
Here's an obnoxious April Fools' Day cartoon, cranked out quite a few years later by Famous Studios and starring Popeye. The series had slid substantially downhill from the spinach swillin' star's heydey in such rousing animated adventures as Popeye The Sailor Meets Sindbad The Sailor.
This blogger, even as a kid watching TV way back when, found the post WW2 versions of Bluto and Olive Oyl insufferable and could not comprehend why Popeye did not simply eat his spinach, beat the crap out of Bluto and deposit awful Olive on a slow boat to China - a very slow boat to China.
Still, even when Cookin' With Gags was made in 1955, many years after the departures of Jim Tyer, Bill Tytla and Otto Messmer, Famous Studios employed many talented Fleischer Studios animators responsible for the cartoon glory that was Ko-ko the Clown, Bimbo, Betty Boop and Superman. Fortunately, the Noveltoons from the 1940's can be seen on DVD.
Sunday, March 26, 2017
Smoke a few Lucky Strike "LSMFT" cigarettes back in the 1940's and the next thing you know. . . well, you're so darn "Happy-Go-Lucky" you're sitting in a wheelbarrow straddling a pumpkin and next to a live turkey! While the gobbler will not be thoroughly baked for Thanksgiving, you are - now that's smoking pleasure! After all, Luckies' slogan was "It's Toasted" - and, indeed, so are you, if not necessarily in deeply obliterated 1967 style.
Luckies were so good that physicians, convinced momentarily to abandon the hippocratic oath, claimed the smokes were. . . "less irritating." Not quite a ringing endorsement, said 20,679 docs notwithstanding.
Glamorous movie stars got into the act, too, stressing how their golden throats appreciated the light taste of Luckies. Still looking for a matinee idol endorsement that claims Lucky Strikes were "a lot less irritating than that director on my last picture."
Even Janet Gaynor, star of the brilliant 1920's William Fox Productions - F.W. Murnau - Frank Borzage movie milestones Sunrise, 4 Devils, 7th Heaven, Street Angel and Lucky Star, as well as the 1937 David O. Selznick version of A Star Is Born, got into the act.
Found on Bangshift.com: the following "Road Roller" commercial starring one of the subjects of our post from last weekend (March 18), celluloid heroine Doris Day. This print ad from 1949 plugs tractors and her latest movie, It's A Great Feeling, in one fell swoop!
One imagines Doris would have enjoyed plowing a few dishonest husbands and ex-husbands into the ground with this beauty from International Harvester.
Wednesday, March 22, 2017
The Niles Essanay Silent Film Museum tips the battered vintage porkpie hats to the great Buster Keaton all weekend.
Movie buffs in the San Francisco area, come meet Harry Keaton and enjoy Buster's best films. Some will be shown in glorious 35mm!
Saturday, March 18, 2017
Part 1 of From The Bandstand To Hollywood: Musicians In The Movies covered vocalists who doubled as character actors - Bing Crosby, Rudy Vallee, Mel Tormé among them. Also noted such entertainment icons as Louis Armstrong and Harry Belafonte. Did not leave much for Part 2, but here goes - starting with a host of crooners who successfully made the jump to acting in Hollywood movies. Several who started in big bands would become the top entertainment figures of the mid-20th century.
Dino did not necessarily want anyone to think he was anything but the Glenlivet-sipping host of The Dean Martin Show and/or one-liner machine entertaining an SRO audience on such records as Dino In Vegas and in The Rat Pack, but he also possessed a conscientious side; Dean took his movie roles seriously, showed up on time, prepared and ready to roll. It's a good bet that Dino never admitted to having that side as long as he lived!
Especially in Some Came Running and Rio Bravo, he demonstrates undeniable character role mojo.
Bobby Darin, among the few to sing swingin' Rat Pack-Tony Bennett-Mel Tormé style standards, then shift gears, whip out an acoustic guitar and sing gospel and folk numbers (at one point, Bobby's accompanist was none other than guitarist Roger McGuinn, soon to form The Byrds and rule the L.A. rock scene), is a favorite here at Way Too Damn Lazy Too Write A Blog.
The following clip offers a glimpse of Darin the musician and entertainer, plus an endorsement from none other than George Burns.
Bobby epitomized the concept of "all-around entertainer", as did his friend Sammy Davis Jr. Although character acting was not Darin's primary focus - delivering a show-stopping musical mix with a touch of comedy and celebrity impersonations for SRO audiences was - he has his moments as a supporting player in several movies. Most notably, Bobby co-stars in Don Siegel's Hell Is For Heroes with none other than daredevil screen icon (and big time jazz enthusiast) Steve McQueen.
Vocalist and silver screen star Doris Day, who began her career as the vocalist from Les Brown and His Band Of Reknown, remains to movies what Dionne Warwick is to 1960's pop records: both made it look easy. Her renditions of standards are frequently exceptional.
For decades the Doris Day - Rock Hudson comedies were met with snickers and snark by the hipper than thou. Seen 50 years after packing the movie palaces and neighborhood theaters, surprise - these light romantic comedies strike this writer as surprisingly fun, nicely done and entertaining, to no small degree because of the deft work of the two stars and, in key supporting roles, Comic Character Actor Hall Of Fame first ballot selection Tony Randall. Day's films with James Garner are also delightful. It should not be a surprise, given Day's abilities as an entertainer and how Hudson co-starred with heavy hitters James Dean and Elizabeth Taylor in Giant without getting overpowered or defined as a pretty boy lightweight.
Formulaic? Sure. Hollywood entertainment? Of course. That said, seeing how skillfully the cast handles the character relationships and farcical situations, the reaction is, "damn, they're good!"
Essential to Day's success as a star of movie musicals is her ability to not just belt out those songs but get into character. In Calamity Jane, she is not a singer-movie star cast in a role but essentially portraying herself; one believes she IS Calamity Jane and that's the key to the movie's success.
Further demonstrating versatility: Miss Day's role as Ruth Etting - and co-starring with the great James Cagney - in the biopic Love Me Or Leave Me.
Whatever tumult was transpiring offscreen, in a wide range of movies, Doris Day, onscreen, exemplifies the line "nice and easy does it every time."
Before Crosby, Sinatra and Doris Day starred in Hollywood movies, there was a crooner who became a headliner of movie musicals: Dick Powell. The Pittsburgh master of ceremonies and singer debuted in feature films in 1932, AFTER Bing and would, as part of a team with ever-spunky Ruby Keeler, headline musical after musical after musical for Warner Brothers, before his second career in hard-boiled film noir roles, and third career as a prolific director/producer in television.
Transitioning from chorus boy to hard-boiled gumshoe, Powell proved one of the stellar presences in film noir. He is believable, either as Philip Marlowe or the poor sap targeted by the femme fatale, in several unbeatable classic movies.
The legend of Sinatra can overwhelm everything, including his work as a character actor. His role as Maggio in From Here To Eternity, which won an Oscar for Best Actor In A Supporting Role, was just one of many examples of stellar film acting from The Voice. One imagines that Sinatra, if he cared to talk about it, would insist that music to movies was not a jump at all, that singing was the purest method acting a person could do; "you can't do the song justice, pally, without feeling what the lyrics mean and giving them your all." No doubt there were some interesting conversations between Sinatra and Brando on the set of Guys & Dolls.
The Man With The Golden Arm is fascinating. While Frank did not have issues with opiates, he knew friends, band mates and colleagues in the music world who did, and having an idea of how they suffered very likely informed this part.
The Chairman Of The Board's musical bent and skill interpreting the songs of Rodgers & Hart meets his equally strong character acting impulse for a bit of a tug of war in Pal Joey.
An adaptation of the stage show based on John O'Hara stories and starring Gene Kelly, it is on the surface a 1950's style musical in which Frank plays his ultra-macho "ring-a-ding-ding" self. As the film progresses, his character, Joey Evans, evolves - slowly - from womanizing scumbag to someone who might actually choose a partner, become emotionally involved and make the effort to do right by her. Sinatra delves into the part and, as he does many times in his movie roles, gives the character some unexpected depth. Pal Joey is one of the better showbiz flicks - and it never hurts to have the formidable star power of Kim Novak and Rita Hayworth in the cast.
Sinatra's performance in Some Come Running, in an ensemble cast with Dean Martin and Shirley MacLaine, would be a standout.
Between tours, Frank would tackle the occasional character role thoughtfully and with the same conviction with which he sang, right up to his last starring role in the 1980 crime thriller The First Deadly Sin.
Although there were quite a few more luminaries from the music world who acted in films and television back then - Hoagy Carmichael comes to mind, as well as bandleaders who played themselves in movies (Louis Jordan of 5 Guys Named Moe fame) - the rise of rock and soul music to some degree put the kibbosh on this, especially as the 1960's progressed. Still, the trend of musicians transitioning into acting, rather prevalent in mid-20th century entertainment, would continue into the 1980's and 1990's, not surprisingly, as vocalists/lyricists from hip-hop (Snoop Dogg, Tupac Shakur) are experienced actors and performance artists. Many in more recent memory - Will Smith, Ice Cube, Lady Gaga, Justin Timberlake - deftly carried their onstage success into movies and television, in some cases as filmmakers, skilled in front of and behind of cameras. To arguably a slightly lesser degree than such crooners as Sinatra and Cole did in the 1950's, they would still profoundly influence the entertainment world, from TV shows to Broadway.
Thursday, March 09, 2017
In yet another sucker-punch to the forces of civility, Turner Classic Movies host Robert Osborne passed at 84 earlier this week.
Since, for this blogger and many more, classic movies rank very high among those brilliant yet remarkably reliable north stars to follow when those pesky pot holes, valleys and dilemmas of life (both unexpected and totally expected) rear their snarky little heads, seeing Robert Osborne on TCM was always most welcome.
Robert's mojo was straightforward: urbane, sophisticated, intelligent, charming, funny and well-spoken. The author of Academy Awards Illustrated and former columnist for The Hollywood Reporter also knew more about stage, screen, showbiz and the history of motion pictures than anyone! Madame Blogmeister and I were big fans of his weekly show The Essentials: Mr. Osborne's enthusiastic co-hosts included Alec Baldwin, Drew Barrymore and Sally Field.
Found the discussions before and after the movie on The Essentials to frequently be great television.
We especially loved Mr. Osborne's numerous informative and perceptive stories about great movies that played on TCM. Here's a preface and coda to Scarface, the hard-boiled 1932 Howard Hawks crime thriller starring Paul Muni - it is brilliant and the tidbits on product placement and the soon-to-be-enforced Production Code are fascinating.
It would be an understatement to say that Mr. Osborne possessed uncanny interviewing skills. Here he is, getting interviewed - and talking classic movies and theater - on Theater Talk.
There are some other very enjoyable interviews, such as Robert Osborne's appearance with avid classic movie buffs Gilbert Gottfried and Frank Santopadre on an outstanding episode of Gilbert Gottfried's Amazing Colossal Podcast.
This writer and equally avid classic movie buff did not get to meet him, but did see Robert introduce what turned out to be an amazing lecture by his fellow film historian Kevin Brownlow. Funny, I have an inkling that bringing up the subjects of recent posts at Way Too Damn Lazy To Write A Blog, very likely Robert would have immediately launched into GREAT stories about each and every of them.
R.I.P. and thanks, Robert - film buffs around the world are missing you big time!
Turner Classic Movies will be presenting a tribute to Robert Osborne, featuring many exceptional interviews he conducted for the Private Screenings program, on March 18-19, and also at the TCM Classic Film Festival from April 6-9.
Saturday, March 04, 2017
Since 20th century music has clearly been the topic du jour at Way Too Damn Lazy To Write A Blog so far in 2017, Mr. Blogmeister has been, while watching YouTube clips in the process of researching posts, stumbling upon excellent Swing For Victory 1940's recordings, most waxed smack dab in the middle of the World War II-era recording ban.
While writing the January 7 post about the astonishingly talented pianist Hazel Scott, found just one of her many V-discs. Not surprisingly, Ms. Scott is outstanding!
Ms. Scott is followed here by power-packed percussionist "Big Sid" Catlett, known for his work driving the latter 1940's lineup of Louis Armstrong's All-Stars (from Satchmo At Symphony Hall and The Complete Town Hall Concert).
Now what were these V-discs, anyway? Records for the armed forces that to some degree circumvented the wartime recording ban and in many cases featuring two recording artists. They are chock full of top 1930's and 1940's big bands and jazz artists, such as Gene Krupa, Count Basie, The Don Redman Orchestra, Red Norvo and Mildred Bailey (a.k.a. "Mr. And Mrs. Swing"), and ace Benny Goodman Quartet pianist Teddy Wilson.
And John Kirby's Sextet AND Nat King Cole.
Could the following be the last recorded appearance of Thomas "Fats" Waller?
Guitar geeks will go gaga over the numerous Les Paul appearances on v-disc.
Here's a wonderfully schizoid record in which the King Sisters (who may or may not have been related to 1960's variety television's squeaky-clean King Family), offering a bit of 1940's style sibling harmony on "When The Swallows Go Back To Capistrano", are followed by none other than the soulful swing-to-bop saxophone genius Lester "Pres" Young, performing his signature tune, Lester Leaps In.
V-discs continued to be recorded and issued for a bit after World War II. One of this writer's favorites from all the v-discs is the Duke Ellington Orchestra's performance of Deep South Suite.
There is a YouTube channel that consists entirely of these V-discs and the sheer number of top performers from jazz and swing represented is impressive.
Saturday, February 25, 2017
As Monsieur and Madame Blogmeister are currently in New York City, a principal musician stomping ground and incubator of 20th century American showbiz lore, today's topic is concert pianist and ever-acerbic movie/TV/radio personality Oscar Levant (1906-1972)
Way Too Damn Lazy To Write A Blog's recent arc has focused on keyboard geniuses (Hazel Scott, Harry Ruby - and more to come), so the composer, virtuoso pianist, songwriter, radio star, author, music historian, actor, commentator, talk show host and showbiz outlier has been on our coffee-soaked minds. An addition, it's a good bet Oscar, an associate of the Algonquin Round Table, no doubt knew the subjects of Way Too Damn Lazy To Write A Blog's February 5th post, fellow composers Bert Kalmar & Harry Ruby, quite well.
Wrote about Mr. Levant, who deemed himself "the irreligious Billy Graham of Los Angeles," back when I started this blog in 2006. Since then, quite a few more clips have surfaced of Oscar on YouTube, so the time is right to spin that long-ago post into a new one. Oscar remains one of this writer's artistic heroes for his humor, erudition, imagination and great talent in far-flung fields.
Mr. Levant would be the premier interpreter of his friend George Gershwin's music. Here he beautifully plays Three Preludes - By George.
One of this writer's favorite segments in the MGM musical An American In Paris is Oscar as conductor and also casting himself as the orchestra performing Concerto In F.
Levant Plays Gershwin is a personal favorite album. Wish he could have recorded more - both the music of other composers and his own compositions.
Mr. Levant also periodically wrote popular music. One of his best songs, Blame It On My Youth, written by Levant and Edward Heyman in 1934, would become a jazz standard - and is performed here by several of the mid-20th century's best vocalists.
He was also something of a raconteur and also known, almost as much he was as a brilliant classical pianist, for his ability to come up with quotable quotes.
Enjoy the only remaining episode left from The Oscar Levant Show, featuring special guest star Fred Astaire. The co-host is Oscar's amazing wife, June, equally a heroine, having dealt with his serious health issues, including hospitalizations and heavyweight bouts with depression. Oscar would have nominated June for sainthood - and here she's a charming and likable co-host. While the picture and sound quality really leave something to be desired, it's all we have; many live television programs of the 1950's and 1960's - and all the other examples The Oscar Levant Show - were taped over to save money. Hey, Oscar plays and offers his usual bon mots, Fred sings, June is there for the fun - it's a treasure.
Such programs as Oscar Levant's shows and Ernie Kovacs' 1954 Dumont Network late-night comedy and the early years of The Tonight Show With Johnny Carson ended up meeting the same fate as thousands of historic silent movies on nitrate film, which subsequently spontaneously combusted. At least Edie Adams rescued many Kovacs shows and a few of Oscar's appearances on Tonight With Jack Parr survived.
Well, look on the bright side - Oscar did get to be the guest star on Jack Benny's TV show, not surprisingly, after several memorable turns on the radio incarnation of The Jack Benny Program.
Had Oscar only written his three splendid memoirs, A Smattering Of Ignorance, Memoirs of an Amnesiac and The Unimportance Of Being Oscar, it would have been enough.
Had he only appeared as his wonderful dyspeptic self in the outstanding MGM musicals The Band Wagon, An American In Paris and The Barkleys Of Broadway, his place in the pantheon would be unquestionable.
Had he only spent those many Manhattan late-nights jamming on pianos with George Gershwin and Kay Swift, Oscar - as much as he would hate to admit it - made the world a better place.
Tuesday, February 21, 2017
Late, but not TOO late I mention that today is the last day of the 2017 Buster Keaton Blogathon, hosted by historian and writer Lea Stans of the excellent Silentology blog. Buster's silver screen debut was in The Butcher Boy (1917), the first of Roscoe Arbuckle's Comique series. Arbuckle enjoyed his work behind the camera almost as much as he enjoyed taking epic pratfalls in front of it, and was more than happy to show the neophyte Buster how a 35mm movie camera worked and what producing and directing films entailed.
After Roscoe Arbuckle signed a contract with Paramount Pictures to appear exclusively in features, Buster inherited the former Keystone Comedies star's studio and key elements of his production crew and begin creating a historic series of short subjects, soon to be followed by epic features.
This blogger happily participated in the First Buster Blogathon with Parlor, Bedroom And Bath, a.k.a. Buster Does Farce and sincerely hopes he will have something to contribute to next year's blogathon.
The Third Annual Buster Keaton Blogathon features contributions by a slew of very good good writers. The roster is as follows:
Big Riot V Squad: Buster Keaton - From Stage to Screen
Caftan Woman - Three Books About Buster
Century Film Project: Oh Doctor!
Charlene’s (Mostly) Classic Movie Reviews: Our Hospitality
Christina Wehner: The Joy of Discovering Buster Keaton
Critica Retro: Review of My Wonderful World of Slapstick
Finding Nelson Evans: Keaton’s Leading Ladies in Pictures
The Fyuzhe: On Buster’s Television Work
Grace Kingsley’s Hollywood: An Early Keaton Fan: Grace Kingsley
Hometowns to Hollywood: Buster’s Hometown of Piqua, Kansas
Life Lessons - A Funny Thing Happened on the Way to the Forum
Little Bits of Classics: Chaplin and Keaton: Two Friends in the Limelight
The Lonely Critic: The Navigator
The Midnite Drive-In: Twilight Zone episode “Once Upon a Time”
MovieMovieBlogBlog: For the Love of Buster Keaton
An Ode to Dust - Buster Keaton Graphic Novel Project
Popcorn Optional: Buster Keaton: A Wonderful World of Slapstick
Prince of Hollywood - 100 Years of Buster Keaton: The First Films of a Comedy Legend
The Scribe Files: Buster, Italian Style (or "Due Marines e un Maestro")
Senseless Cinema: The Haunted Worlds of Buster Keaton
Silent Locations: Amazing New Keaton Discoveries">My Wife’s Relations
Silentology - Analyzing The Molasses Scene From The Butcher Boy
Silver Screenings: Steamboat Bill, Jr., Buster Keaton and the Important Things in Life
Special Purpose Movie Blog - The General: Factual or Fictional?
Welcome To My Magick Theatre: Buster Goes to College
The Wonderful World of Cinema: My First Time With Buster Keaton
Enjoying reading the entries in The Third Annual Buster Keaton Blogathon - nice work, all of you!