I have never warmed up to Sacha Baron Cohen’s style of satire. The concepts are great while I find the execution in Bruno, Borat and now The Dictator, to be crude and unfunny. In both cases, I found the clever marketing more interesting and enjoyable than the actual films. The Combo Pack (Blu-ray, DVD, Digital Copy) from Paramount Home Video came with a nice letter from Admiral General Shabazz Aladeen with bribe bucks from Wadiya. If only the film itself was as funny.
Cohen does a fine job submerging himself into his character, in this case, Admiral General Aladeen, but he then does rude, crude, and preposterous things in the name of satire. Cohen should be made to study the Mel Brooke oeuvre to see how it should be done: character-based and smart humor.
Aladeen hails from the northern African country of Wadiya, a combination if Idi Amin and Muammar Gaddafi and the timing is such that in the wake of the Arab Spring, these sort of larger than life world leaders are a vanishing breed., There’s nothing funny to their antics and they are such caricatures that they are hard to top, making the challenge for the filmmakers all the more difficult.
Those personality and cultural differences are put on display when the dictator comes to New York to address the United Nations, denying once more his nuclear program is for weaponry designed to annihilate Israel (so much for satire). His absence prompts a coup back home, propelling the plot. Now a leader without a country, he has to fend for himself in the world’s biggest melting pot. To retain power, he comes to count on Zoey (Anna Faris) and a fellow Wadiyan, Nadal (Jason Mantzoukas), the leader thought dead. We go to a voyage of self-discovery of the pleasures in life, from masturbation to falling in love, which makes little sense when Aladeen is the most powerful figure in his country. Why is he so out of touch in this global world? Cohen doesn’t pause to explain any of this preferring to make his character simply clueless. The film goes from satire to screwball romantic comedy to biting denouncement of our country and therefore doesn’t feel like much of anything but a few sketches without a strong point of view.
We have some fun cameos from Chris Parnell, Jessica St. Clair, Fred Armisen, Nasim Pedrad, John C. Reilly, Chris Elliot, Gary Shandling, Edward Norton and Horatio Sanz.
The disc comes with the theatrical release and the “Banned and Unrated” version, fifteen more minutes of this nonsense, mostly extended bits between Cohen and Mantzoukas. The hype is unwarranted because it makes the film more boring and unwatchable. We get more scatological and sexual jokes which really aren’t that funny.
Despite the extra material in the new cut, the extras include an additional 34 minutes of deleted or extended scenes which makes me admire the editor for showing some discretion. Lots of these bits are found in the longer version. Additional material includes “Your Money is On The Dresser” (1:35), a music video with the leader; and an unnecessary extended version of the Larry King interview (2:49).
I suppose if you love this sort of sophomoric humor, the movie and disc are perfect for you. On the other hand, given the film’s poor critical reception and lackluster box office performance, it could be that we’ve all grown tired of Cohen’s brand of humor and his time as a polarizing comedic figure has finally come to an end. We can hope for this right up there with our desire for world peace.
Noted comic book junkie (and occasional comic creator) Patton Oswalt delivered the third annual keynote speech at the Just For Laughs Comedy Conference in Montreal last week. He presented his address in the form of two open letters, one to creators and one to gatekeepers, and everything he said to those audiences can and should also be said to every comic book professional, be they creator, publisher, or retailer. Here’s a large snippet:
When I say everything I know about succeeding a comedian is worthless, I know what I’m talking about because everything I know became worthless twice in my lifetime. […] All the comedians I remember starting out with in D.C., all the older ones, told me over and over again ‘you gotta work clean, you gotta get your five minutes, and you gotta get on Carson.’ And it all comes down to that.
And in one night, all of them were wrong. And not just wrong, they were unmoored. They were drifting. A lot of these bulletproof comics I’d opened for, whose careers seemed pre-destined, a lot of them never recovered from that night. You’ll never hear their names. They had been sharks in a man-made pond and had been drained. They decided their time had passed.
Keep that in mind for later. They had decided their time had passed.
The second time everything I knew about comedy became worthless has been pretty much every day for the last three years.
I know that’s not an exact date. Some other younger, not yet famous name in this room – you are going to pinpoint that date 20 years from now. But for now, every day for about the last few years will have to suffice.
I just want to give you a brief timeline of my career up to this point, when I knew it was all changing again. Listen to my words very carefully. Two words will come up again and again and they’re going to come back later along with that phrase “they decided” and people are going to carry me around the room.
[Huge ego-stroking credit dump omitted.]
I know that sounds like a huge ego-stroking credit dump. But if you listened very carefully, you would have heard two words over and over again: “lucky” and “given.” Those are two very very dangerous words for a comedian. Those two words can put you to sleep, especially once you get a taste of both being “lucky” and being “given.” The days about luck and being given are about to end. They’re about to go away. […] What I mean is: Not being lucky and not being given are no longer going to define your career as a comedian and as an artist.
Remember what I said earlier about those bulletproof headliners who focused on their 5 minutes on the Tonight Show and when it ended they decided their opportunity was gone? They decided. Nobody decided that for them. They decided.
Now, look at my career up to this point. Luck, being given. Other people deciding for me. […] I need to decide more career stuff for myself and make it happen for myself, and I need to stop waiting to luck out and be given. I need to unlearn those muscles.
Get the Gringo, the latest action-comedy starring Mel Gibson, will be making its debut on Blu-ray, DVD and Digital Download July 17, 2012
Before the film comes home, it will be making an appearance at SDCC at Fox Booth #4313, where attendees can pre-order the film and participate in numerous activities. Fans will also be treated to loads of cool swag, including an exclusive mini-poster where fans are tasked to find the ‘Gringo’s’.
In addition to the mini-posters, Twentieth Century Fox Home Entertainment will be hosting a few fun activities to promote the release, including photo-ops with Lucha libre wrestlers and sexy ring girls (on Friday, July 13 and Saturday, July 14, 2012).
Attendees can also take part in the #GetheGringo San Diego Comic-con social media experience. The ring girls will be carrying posters with an exclusive QR code and fans who scan the code, post photos of the wrestlers via Twitter (using #GettheGringo) or upload pictures to Facebook, will receive a voucher for a free taco from Lucha Libre Taco Shop in San Diego.
Fans are also be encouraged to ‘like’ Get the gringo on Facebook via: https://www.facebook.com/GetTheGringo
*****
Written produced by and starring Mel Gibson, Get the Gringo is an explosive action filmed infused with dark comedy directed by Adrian Grunberg from a screenplay he co-wrote with Mel Gibson and produced by Mel Gibson, Bruce Davey and Stacy Perskie. Filmed in Mexico, the multi-lingual film also stars Daniel Gimenez Cacho, Jesus Ochoa, Roberto Sosa, Dolores Heredia, Kevin Hernandez, Fernando Becerril, Mayra Serbullo, Mario Zaragoza, Gerardo Taracena, Tenoch Huerta and Peter Gerety.
During a high-speed car chase with the US Border Patrol and a bleeding body in his back seat, Driver (Mel Gibson) violently crashes his car into the border wall as he tries to outrun them. Driver survives the crash only to land inside a hard-core Mexican prison where he enters the strange and dangerous world of “El Pueblito.” He finds unlikely guidance from a 10-year-old kid who shows him the ropes.
Walt Disney has sent us a 360 degree tour of the sets used fir the feature length version of Tim Burton’s Frankenweenie, opening October 5. The movie features the vocal talents of Catherine O’Hara, Martin Short, Martin Landau, Charlie Tahan, Atticus Shaffer, Robert Capron, Conchata Ferrell and Winona Ryder.
The stop-motion animated comedy was written by John August, expanding on the student film Burton made in 1984.
The official boilerplate reads:
From creative genius Tim Burton (Alice in Wonderland, The Nightmare Before Christmas) comes Frankenweenie, a heartwarming tale about a boy and his dog. After unexpectedly losing his beloved dog Sparky, young Victor harnesses the power of science to bring his best friend back to life—with just a few minor adjustments. He tries to hide his home-sewn creation, but when Sparky gets out, Victor’s fellow students, teachers and the entire town all learn that getting a new “leash on life” can be monstrous.
NOTES:
When Tim Burton originally conceived the idea for “Frankenweenie,” he envisioned it as a full-length, stop-motion animated film. Due to budget constraints, he instead directed it as a live-action short, released in 1984.
Frankenweenie follows in the footsteps of Tim Burton’s other stop-motion animated films Corpse Bride and The Nightmare Before Christmas—both of which were nominated for Academy Awards®.
Over 200 puppets and sets were created for the film.
The voice cast includes four actors who worked with Burton on previous films: Winona Ryder (Beetlejuice, Edward Scissorhands), Catherine O’Hara (Beetlejuice, The Nightmare Before Christmas), Martin Short (Mars Attacks!) and Martin Landau (Ed Wood, Sleepy Hollow).
Several of the character names—Victor, Elsa Van Helsing, Edgar “E” Gore and Mr. Burgemeister— were inspired by classic horror films.
Prime time television in the 1950s and 1960s was packed with family situation comedies, including Hanna-Barbera’s takes on The Honeymooners in the form of The Flintstones and The Jetsons. By the dawn of the 1970s, those situation comedy tropes began to permeate Saturday morning cartoons as funny animal and super-heroic fare began to wane. Then there came Scooby-Doo, the first truly original and fresh concept in ages. The four meddlesome teens, their charismatic canine companion and van became the template for many imitators.
I can therefore imagine the brain trust at H-B trying to find new variations on the successful theme. The idea of combining elements a mystery solving family was a natural but how they ever settled on Charlie Chan and his dozen children remains an, ahem,. mystery.
The Amazing Chan and the Chan Clan debuted in 1972 on CBS and was derived from Earl Derr Biggers literary sleuth, Charlie Chan. Based on Honolulu, Chan was modeled on real life detective Apana Biggers, and was introduced in 1926 but gained greatest fame in a series films featuring occidental actor Warner Oland.
Interestingly, there had not been a Chan movie or television series for quite some time by 1972 so one wonders how familiar the youthful target audience was with the character when the series arrived. Regardless, the sixteen episodes showcased the kids a lot more than they did Mr. Chan and the show featured one of the larger casts of regular characters even if the prose Chan Clan was an even dozen, for this show they trimmed that to ten. In prose and television, the mother is never mentioned.
The stories themselves are filled with harmless action, some mild humor, and plenty of chances for the cast to shine. You can see for yourself in the newly released The Amazing Chan Clan and the Chan Clan — The Complete Series from Warner Archive. For the record, the series is credited for being the first time Charlie Chan was performed by a genuine Chinese actor, Keye Luke, who played Number One Son in many of the earlier features. Other performers were also of Asian descent but were quickly recast when CBS deemed their accents difficult for the audience to comprehend (although you wonder if they actually tested this theory and we won’t know because the original stories were redubbed). Only Robert Ito, as Henry, and Brian Trochi as genius inventor Alan, remained.
Debbie Jue (Nancy), Jay Jay Jue (Flip), Leslie Juwai (Mimi), Leslie Kumamota (Anne), Virginia Ann Lee (Suzie), Michael Takamoto (Tom), Robin Toma (Scooter), and Stephen Wong (Stanley) were replaced, respectively, by Beverly Kushida, Gene Andrusco, Cherylene Lee (as Suzie and Mimi), Jodie Foster (yes, that one), John Gunn, Michael Morgan, and Lennie Weinrib. Don Messick was the required dog companion Chu Chu.
Each kid had a specialty in addition to a musical talent so they would perform a song in each episode, making for relatively simplified storytelling. The music was supervised by Don Kirshner (who else?) with vocals led by Ron Dante (carried over from The Archies). As for the cases, they mimicked the movies’ international flavor so Mr. Chan and the kids globetrotted after the Crown Jewels or visited Trinidad to find missing doubloons, or joining in for Mardi Gras in New Orleans. The cases were never the reason to watch the show, but instead to see the siblings interact and to find out what goofy new invention would come in handy. None of the songs ever made it to the Top 40 and are pretty forgettable.
If anything, this series is a curiosity from that transitional period between the Golden Age of Saturday morning fare and the watered down pabulum that denoted the ‘70s.
New Pulp Publisher, Sequential Pulp Comics has unveiled the cover to Martians Go Home graphic novel adaptation based on the crazy, sexy, apocalyptic dark comedy by Fredric Brown. Written by Martin Powell with art by Lowell Isaac, the Martians Go Home graphic novel is coming soon from Sequential Pulp Comics and Dark Horse Comics.
It’s the job every little boy fantasizes about – designing cool cars and other vehicles for TV and movies. Marc and Shannon Parker do it daily and each week you can watch the process on SyFy‘s DREAM MACHINES. We talk to the brothers on what inspires them and what they haven’t tried…yet. Plus meet Jessica St Clair and Lennon Parham, talented comics who have taken their tight friendship to be the basis of NBC‘;s new comedy, BEST FRIENDS FOREVER.
This week, NBC premieres a new ensemble comedy, BENT. So what will make this one different from all the others? Creator Tad Quill plus cast members Amanda Peet & David Walton answer that and more. Plus more with the alluring Anna Silk of LOST GIRL and HBO runs out of LUCK.
“Adventure wanted. Will go anyplace, do anything. Box Thirteen.” These words sent Dan Holiday, reporter turned author, into mystery and action for fifty-two episodes of ‘Box Thirteen’, a stand out radio program produced in 1948-49. Holiday, played by screen star Alan Ladd, checked his box at his paper, the Star-Times, each week and every single time launched himself into a brand new adventure.
The basic premise of the show is simple. Interested in writing the most successful and thrilling stories possible, Dan Holiday places an ad in the paper he works for – the Star-Times. Apparently prospering as a mystery writer, Holiday rarely charges a fee to any of the colorful clients that cross his path, most of whom need his assistance in one way or another.
“Box Thirteen” stood out amongst its contemporaries for more than one reason. The device Holiday uses to get his story ideas is one aspect of Box Thirteen that adds to its different flavor. Even though this technique, placing an ad in a paper advertising for adventure, was not a new one, actually present in at least one other old time radio show at the time, the way it was handled within this show was special. Holiday wasn’t a retired cop or a super secret agent with no war to fight. He was a guy who wanted to live the stories he wrote about so he’d write better books. He had no intention of making money directly off of helping someone out of a jam or being locked away in an asylum or any of the other calamities he intentionally encountered over fifty-two episodes. Thanks to Ladd’s portrayal, Holiday used the want-ad gimmick to better the lives of those he came into contact with in this unique way whenever he could.
Some sources cite that Alan Ladd played Dan Holiday as somewhat stiff and wooden in the early episodes of Box Thirteen. By the last episodes in the series, however, all agree that Ladd made the character and the show itself what it was always intended to be – a showpiece for what Alan Ladd could really do. Hang on tight and read over Dan Holiday’s shoulder as he learns what danger and death awaits him when he checks in at the Star-Times. All the mystery, suspense, and pure adventure you can handle await you in Box Thirteen, Volume 4, the last episodes in this classic program. This Six hour collection is available now on Audio CDs for $17.98 from Radio Archives!
This already fantastic collection of a Classic Adventures series also comes with incredible new artwork! Pulp Artist extraordinaire Doug Klauba brings Dan Holiday as played by Alan Ladd to visual life! A print of this great piece can be yours in one of the newest additions to the Pulp Book Store, The Art of Doug Klauba! Get this artwork as a poster in the new store featuring the varied and awesome work of Doug Klauba!
Many works from the Golden Age of Radio had their origins in other mediums. A best selling book, a movie, a hit Broadway play. Some even went on to have their time in the spotlight on TV. One show to rise out or grow into all of these mediums and become a part of radio history as well was a stand out unique soap opera called “Claudia.”
“Claudia” was based on the literary works of Rose Franken, a writer, novelist, playwright, and theatrical director who had first written about the Naughton’s in the mid-1930s. By the end of the decade, the highly popular short stories had been brought together into a series of best-selling novels which, in 1941, were adapted by Franken into a Broadway play starring Donald Cook as David and a young actress named Dorothy McGuire in the title role. Claudia Naughton was a breakout role for McGuire; the sincerity, simplicity, and captivating charm which she brought to the part made the play a long-running hit and soon brought her to Hollywood to reprise the role in the 20th Century Fox film version, released in 1943 and co-starring Robert Young as David. Based on that film’s success, in 1945, RKO Pictures starred McGuire and Young in “The Enchanted Cottage” and 1946 found them together again in “Claudia and David,” a sequel to the earlier film.
Heard today, “Claudia” remains wonderful entertainment, notable for both its lighthearted tone and the believable interplay between its characters. Claudia, a bit younger than her years, is often impulsive, sometimes irresponsible, usually perky, and just a bit flighty. As she matures, she becomes a unique mixture of enthusiasm, incompetence and over-confidence — deeply in love with her somewhat older husband David, but frequently naive and too likely to trust in her insecurities rather than her instincts.
Claudia, Volume 9 continues Radio Archives’ collection of the complete run of this classic series. Restored to the best and clearest audio quality possible, these shows sparkle and are best heard in the way they were presented, in fifteen minute chapters every single day. Whether you enjoy them as they originally aired or can’t wait and sit through them all at once, Claudia, Volume 9 continues a wonderful episodic tale of a woman and the man she loves living life the way most of their listeners did and do. This volume can be yours today on Audio CDs for only $17.98.
It’s often amazing and sometimes atrocious when a character begins in one medium and then is translated into other venues. Sometimes the essence of the original concept and story are maintained and fans simply get a different version of the tale they love. Other times, alterations made for whatever reason are so dramatic that whatever results from said changes is a pale imitation, if not something completely different than where the idea began. There is that rare instance, though, of something beginning one way, then being interpreted slightly differently through a different lens, so to speak.
Or in this case, through a radio speaker.
Casey, Crime Photographer, Volume 1 contains twenty episodes of good old-fashioned pulpy, fun, action packed newspaper mysteries that any fan would enjoy! Originally created for Black Mask magazine by writer George Harmon Coxe, the character that headlines this show was originally known as Flashgun Casey. And those original tales as well as the novels to follow were written in the trademark detective pulp style of two fisted hard boiled action made famous by Black Mask. Coxe imbued the initial version of his camera wielding newspaper photographer with a thirst for justice, a nose for news, and enough grit and iron to take on any thug or crime boss. Thankfully for fans of such stories, those aspects of Casey survived into the radio show, even though the sobriquet of ‘Flashgun’ didn’t for the most part.
Even though Casey can be heard doggedly pursuing right and wanting to spread wrongdoing all over the front page of the Morning Express, there was a not all that subtle shift in the character by the time he made it to radio. This was not uncommon in the days of radio, to take especially a rough-hewn hard boiled type and lighten him up a bit for his audio incarnation. There’s multiple examples of this attached to some pretty well known characters. Unfortunately, there’s usually something lost when this occurs, a particular aspect of the character that just doesn’t survive the translation. A prime example of this that comes to mind is the Wally Maher version of ‘Michael Shayne’ (The Jeff Chandler version, also available via Radio Archives, nails the character solidly by the way). Maybe the portrayal comes off as too soft or downright goofy or the stories get feathery. Not so with “Casey, Crime Photographer.”
One of the major appeals of this show is the fact that the writers and producers built a likable, interesting supporting cast around Casey. There’s Miss Anne Williams, Casey’s very own reporter and love interest; Captain Logan, the almost standard irascible police contact; and Ethelbert, the most enjoyable owner and bartender of Casey’s favorite watering hole, the Blue Note. Each of the episodes in this collection follow a standard formula for the show. Casey and Ethelbert embark upon banter that leads to Tony Marvin, the announcer, opening the show and hawking the sponsor, Anchor-Hocking Glass. Then oftentimes the mystery or crime that Casey and Anne have to track down for the paper is reported to them while sitting again at Ethelbert’s bar. From there, each show contains a good balance of humorous repartee, well paced action and twists, and Casey showing the flashbulb blazing heroic side of himself Coxe imbued him with while maintaining a likability that added to the mass audience appeal of the character.
Throw in the fact that two of the best possible voices for the two best characters in “Casey” are present in this collection and you can’t lose! Staats Cotsworth, although not the only actor to voice Casey, owned the role the longest and definitely left his mark on it with his jovial baritone voice. John Gibson’s high tenor portrayal of Ethelbert clearly stands out in every episode, making the role that Gibson played for the entire run of the radio show one of the favorites among fans.
Casey, Crime Photographer, Volume 1 is that rare case where listeners get both the original take on the character wrapped in new interpretations…and it works! Available from Radio Archives for $29.98 on Audio CDs, this is a series that needs to be yours today! Get the picture?
In the flood of pulp magazines featuring the hard-hitting exploits of a single hero, only one magazine read as if its stories had been torn out of the headlines. That was G-Men, starring the closest equivalent to Eliot Ness and his Untouchables the pulps dared offer up.
The origins of this exemplary series are obscure. Leo Margulies, editor-in-chief of the Thrilling chain, may have been eyeing rival titles such as Secret Service Operator #5 and Secret Agent X, thinking there’s gold in fictionalizing the exploits of undercover men. Early in 1935, Margulies let it be known in the trade that he was planning to issue Secret Service Detective Stories—a bland and uninspiring title if one was ever floated.
But Secret Service Detective Stories never materialized. In April, James Cagney starred in a blockbuster film, G Men. That July, a radio program by that same name debuted to strong ratings. It later became even more famous as Gang Busters. Pulp editors always looked to Hollywood and the headlines for inspiration. Margulies didn’t need to be hit over the head. He scrapped the Secret Service concept and appropriated the popular title, which had been coined by gangster George “Machine Gun” Kelly when, after being surrounded by armed F.B.I. agents in 1933, threw up his hands and cried, “Don’t shoot, G-Men! Don’t shoot, G-Men!” Or so the legend goes. G-Man stood for Government Men, specifically F.B.I. agents.
These were the days of iron-fisted Federal Bureau of Investigation director J. Edgar Hoover battling back the gangster tide that was overrunning major cities all across America. Seeing the local law-enforcement was outnumbered and outgunned—if not compromised—by organized crime he reorganized the old Bureau of Investigation into America’s first national police force—sanctioned to cross state lines in the pursuit of justice. In the pulps, the urban menace of mobster crime had given rise to The Shadow and all the superhuman crime-fighters who followed.
Five years into this ever-shifting reality, Margulies and his editors must have decided the reading public was ready for a crime-crusher who didn’t wear a black cape or a weird mask, and who operated within the law. They were ready for the real deal.
So they created Special Agent Daniel Fowler. Young but hardened, the product of the FBI’s new scientific investigation methods, Fowler and his aides, Larry Kendal and Sally Vane, formed a special roving unit of the Bureau, willing and able to rush to any state in the Union to combat counterfeiters, extortionists and sundry foreign spies.
To write the exploits of such a non-nonsense hero, they understood that they needed a writer of a different cut than the boys who were grinding out The Phantom Detective every month. Maybe they tried a few of their Phantom authors and they flopped. In any case, they called in George Fielding Eliot, a former major in U. S. intelligence.
Titled after an underworld slang term for kidnapping, with the Lindbergh baby kidnapping fresh in the public consciousness, and inspired by the notorious Purple Gang, the premier exploit of Dan Fowler and his team was called Snatch! It was an instant success among readers who had been reading daily newspaper accounts of the F. B. I.’s successful crusade against John Dillinger and “Baby Face” Nelson, and other otherwise-unstoppable Public Enemies. Their bodies were fast piling up—filled with government lead, with no sign of The Shadow or the Spider anywhere in real life.
Seared by crime, trained by Hoover, and motivated by a stern sense of justice, Special Agent Fowler went on to a long and successful career spanning nearly two decades, and a single 1937 film, Federal Bullets. Only the death of the pulp magazine industry put an end to his fame.
In order to do justice to this riveting hero, we’ve recruited the impeccable-voiced Richard Epcar to narrate Snatch!If you like Richard’s hard-hitting performance as much as we do, expect to hear a big announcement regarding Richard Epcar and Radio Archives next month. We can’t wait!
Available for only $14.98 on Audio CDs, 5 Hours of G-Man Action from Will Murray’s Pulp Classics and Radio Archives!
The more audiobooks produced by Radio Archives that I listen to, the more impressed I am and the more I’m getting hooked on them. What I really enjoy first off is the mixture of music and sound effects that make the audiobooks a little closer to audio dramas than just a straight reading of the text. Which isn’t a bad thing, depending on who’s doing the reading. For White Eyes we’ve got Richard Epcar who has a clear, firm, muscular voice, which is just what you want for a Doc Savage adventure.
And what an adventure it is! In White Eyes, Doc Savage is up against one of the most formidable villains he’s ever faced. The mysterious White Eyes dresses entirely in white. His skin is the color of porcelain and his eyes have no pupils. He appears to have supernatural abilities such as his mastery of The Blind Death. A horrifying method of murder, it turns the eyes of its victims as blank and as white as cue balls.
There’s quite a lot of eccentric supporting characters running around here, including a goodly number of New York’s criminal element. These criminals are bonded together into an army by White Eyes to seize Doc’s source of wealth: the Mayan gold that was bequeathed to him by his father in The Man of Bronze, Doc’s first recorded adventure.
It’s an ambitious scheme and one I found highly intriguing as for a change, it’s the criminals who go on the offensive to challenge Doc and his crew.
As an added bonus, there are two interviews with Will Murray where he gives interesting and entertaining background information about Doc Savage and Lester Dent in general and White Eyes in particular. Being a writer myself, I’m always fascinated to hear how another writer goes about crafting his stories.
Out of the two highly excellent Doc Savage audiobooks I’ve listened to so far, I’d have to give White Eyes the edge. That’s not to say that Python Isle suffers at all. It’s an outstanding Doc Savage adventure and well worth your time and money. But I’d have to say that White Eyes is probably my favorite out of the two. Tell you what, why not go listen to both of ‘em then get back to me and we can argue about it, okay? Get your copy for $31.98 on Audio CDs from Radio Archives!
The Best Pulp From Yesterday for Your Digital Reader Today! That’s what Will Murray’s Pulp Classics line of eBooks from Radio Archives brings you! Thrill to Heroic Tales of Pulp Icons like The Spider and Chill to the Machinations of Villains like Doctor Death! Two fisted action and high octane adventure written by the Authors who defined Pulp Fiction forever!
These exciting pulp adventures have been beautifully reformatted for easy reading as an eBook and feature the original full color cover. Will Murray’s Pulp Classics line of eBooks are of the highest quality and feature the great Pulp Fiction stories of the 1930s-1950s.
Two new eBooks starring the violent vigilante adventures of the Master of men! The Spider, America’s best-loved pulp-fiction character of the 1930s and 1940s, erupts guns blazing in these two exquisitely reformatted classic tales!
Like the consuming flames of a prairie fire the dread news spread: “The Spider has gone mad! He will massacre us all!” But Richard Wentworth, never more sane, was even then gambling life itself in one desperate effort to save the city which cursed his name — from the awful ravages of man-spread plague!
When night falls you’ll think of Zara. You’ll see those eyes of his glowing with the very fires of hell — and you’ll be glad that the Spider prowls the night to help mankind. For Zara rose from Underworld filth… to enslave all peoples. And his crowning glory was saved for the Spider — Master of Men — whom he swore to make an idiot, the clowning jester of Zara’s court!
As a special Bonus, Will Murray has written “Meet the Spider” especially for this series of eBooks.
Joining the Spider are three names well known to Pulp Fans and characters full of intrigue, adventure, and excitement all their own!
Invisible, secret, deadly, the masked empire wielded its dread power of darkness throughout the nation. Havoc and ruin followed the terror-torn thousands who fled the country to escape the Thirteenth Darkness. America, faced with certain disaster, placed her chance of survival in one man’s capable hands — and prayed that the warrior gods might smile once more upon the miracle man of her Secret Service — Jimmy Christopher! Jimmy Christopher, clean-cut, square-jawed and clear-eyed, was the star of the most audacious pulp magazines ever conceived — Operator #5. As a special Bonus, Will Murray has written an introduction especially for this series of Operator #5 eBooks.
by George Fielding Eliot writing as C.K.M. Scanlon
Into the arena of the endless war which society wages on the criminal has stepped a new and gallant warrior — G-Man Dan Fowler, special agent of the Department of Justice. In this classic tale, Fowler takes to the trail of the Grey Gang — that band of masked killers who laugh at the Law while committing every heinous crime known to humanity! Dan Fowler, special agent of the Department of Justice, appeared as a long-running series inside G-Men Detective magazine from 1935 to 1953. Join him as he battles the brutal instruments of crimedom in this fast-paced battle against the minions of the lawless.
Who Is Doctor Death? A mad old wizard with the power to summon loathsome gray horrors from hell’s attic, decrees that the country’s 12 most famous men must die as carrion for his ghostly vultures. Only one man has a clue to the strange power of Doctor Death and that man faces torture and death to combat the master of carnage. The maddest of the Mad Scientists — Doctor Death — starred in his own bizarre pulp magazine in early 1935. Standing against him were the Secret Twelve, a band of the top U. S. civil and business leaders, headed by Jimmy Holm, a millionaire criminologist and occultist. One of the rare unabashedly supernatural series the pulps ever produced.
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Radio Archives is proud to count the International Jack Benny Fan Club as one of the newest members of the Pulp Book Store! The Fan Club’s store features 39 Forever: Second Edition, Volume 3 written by Laura Leff and Martin Gostanian. This book is part of a series that focuses on Benny’s career and illustrates the impact that he had as a comedian and an individual on the entertainment industry and society at large. In the following interview, Laura and Martin discuss their personal interest in Jack Benny as well as the Fan Club itself and the importance of Jack Benny to fans, listeners, and Pop Culture Enthusiasts today.
Radio Archives: First, could you share something about yourself and how you developed your interest in Jack Benny?
Laura: The short version is that it all started for me with the 1958 Warner Brothers’ cartoon The Mouse That Jack Built. It portrayed many of the classic radio characters as mice, and included a rare live-action sequence with Jack at the end. Later, I was drawn to reruns of Jack’s programs on a Detroit station in the late 1970s, and then decided it was high time to start the Jack Benny Fan Club.
Martin: Along with family, friends and my mother’s cooking, my earliest memories starting in the early 1960s revolved around and were defined by television. To be sure, I loved to read and my interests were varied, from history to math. But when it came to TV, I was just simply obsessed by it, there’s no other way to put it. Through it all, my preferences always lead to comedy, physical as well as verbal and literate humor. My first memory of Jack Benny was his weekly TV series in 1963 when it was on Tuesday nights right after Petticoat Junction – that is why I usually watched it. I will admit I gravitated to whatever physical comedy and sight gags that Jack would either instigate or had become the butt of, but it wasn’t until I had become fascinated with what was dubbed “old-time radio” that was resurfacing on local radio stations in the late 1960s that I really first discovered who Jack Benny really was.
It was when I was becoming more mentally discerning that I had latched onto Jack’s deft comedic skills. I started to fathom his virtuosity and his escalated absurdist vision of the world he inhabited, which constantly plagued him and bordered on the surreal. This rewarded audiences with not only what he espoused but also how he expressed his finely calculated wit. Such was the sum total of his greatness as a communicator. I had grown to understand and cherish the subtleties as well as the broad mental conjuring that only Benny’s radio comedy could evoke so superbly and unfailingly – and which had been translated so organically and envisioned so imaginatively when adapted for television. As a writer, I also have a true reverence for the scribes Benny employed who helped shape, hone and perfect Jack’s peerless humor for the ear as well as the eye.
In adulthood, I appreciated most the genuineness and universality of his comedy that other more astute pundits and mavens of comedy have already attested more eloquently and precisely. After over 45 years, the more I listen and watch Mr. B, the more I am in sheer awe of his depth, influence and humanity.
Radio Archives: What is the background/history of the International Jack Benny Fan Club?
Laura: I started the club when I was 10, and have to credit Jay Hickerson for giving it the first boost of publicity. Once upon a time there was no Internet (*GASP!*), and you had to get the word out by connecting to other people and groups who were interested in the same kinds of things that you were! Through 32+ years of accumulating members, shows, information, technology…progressively everything comes together. Today we have an extensive Web site, monthly chats, a newsletter that is published three times per year, audio and video libraries, and lots of resources to help members connect with the things they love most about Jack Benny, his life, and his work.
Radio Archives: What do you think there is about the legacy and work Jack Benny has left behind that still makes him popular today?
Laura: The major factor is that his comedy was based on character, not topical humor. Everyone still knows someone who is cheap, who thinks they do something very well (like play the violin) when they really don’t, someone who is silly and naive (like Dennis), etc. The characters are people to whom you can relate immediately without running for Wikipedia (“Who was Wendell Wilkie again?”). I have had many members tell me how they enjoy listening to the shows with their children, and even use them as bedtime stories.
Martin: Jack’s esteem in the pantheon of American entertainment is celebrated to this day for a variety of reasons. First and foremost was his “everyman” character persona that was so empathetic, sincere and endearing to audiences. His comic logic of inflating his own sense of self and in reacting to the inanities of life that unmercifully and hilariously confronted him revealed his mastery of humor and his ingenuity in connecting with audiences. On a larger scale, Jack’s influence and legacy stemmed from the acknowledged achievements that he innovated or epitomized on radio: character-driven humor, the running gag and the ensemble comedy.
Admittedly, there are a good many people, mostly under thirty, who have never seen or even have heard of Jack Benny. However, when they delight in the uproarious antics of sitcom favorites such as The Mary Tyler Moore Show, Cheers, Seinfeld, Friends and 30 Rock, they indirectly know who Jack is because he set the standards for the character-driven, ensemble comedy. And when these same deprived viewers are treated for the first time to Jack’s unique brand of humor, whether from radio or TV, they most always are rewarded with belly laughs, a true sense of appreciation for such a comedic talent and an earnest desire for more Mr. B.
By far the greatest testament to Jack’s comedy legacy is readily apparent in late night network talk shows. As learned author and television scholar David Marc observed in his essay, “Lending Character to American Comedy,” hosts such as Johnny Carson, Dick Cavett, David Letterman (and more recently Jay Leno and Conan O’Brien) are “heirs to the mechanics of the Benny inheritance.” He perceptively noted that these stars (and well as other post-primetime “desk-and-sofa” scions since Marc’s 1993 observations) have developed their own versions of the “Benny stare” to minimally express “their personal aggravation with onstage occurrences” and in beseeching viewer support, all while “creating identity with audiences and picking up laughs in the bargain.” In one regard they are like Benny in that each is an “everyman” who tries to make sense of the world around them, all while juggling the vainglorious as well as the self-deprecating within their comic repertoire. Carson was the most vocal on air about his love for Jack and the influence Benny’s comedy wielded in shaping Johnny’s own comic vision, which in turn still serves as the hallmark for any successful comedy-variety talk show on late night TV.
Radio Archives: Comedy is a slippery slope as far as timeliness. Does Benny’s work transcend that and if so, what about his work appeals to a modern audience?
Laura: Many things don’t age well because people simply don’t understand them any more, or can’t relate them to their own personal experience. For example, consider immigrant humor of the early 20th century. People understood it in the context of that society, and experiencing it today can provide a sociological study of how people were struggling to make the transition into American society. Yet the Irish washerwoman or the Yiddish peddler is largely an artifact of the past, inspiring question marks over the heads of most people who don’t have a first-hand memory of the Reagan administration (and many who do).
While you get the very occasional topical joke on Jack’s program, it’s in the larger context of character with which people can connect. Stinginess aside, who doesn’t laugh at Jack playing a broken-down Tarzan opposite Carol Burnett as his put-upon Jane? It’s still character-based, with the humor of a robust young couple growing older in amusing ways.
Martin: The timeliness of Jack’s comedy lies in the individuality of Jack’s persona and how he is simply trying to rationalize the world around him, regardless of the scenario. How Jack interprets and reacts to a situation or a condition under one pretense while cleverly revealing his true motivation or hidden agenda resonates with and relates to audiences across all generations because it speaks to our emotional make-up and traits in its many shades through the prism of human behavior.
On the whole, people aspire to the same things Jack does: we want to be loved, we want to excel, we want to be respected, we want to know the how and why of situations affecting us, etc. His comic slant is predicated on and motivated by these universal desires and goals. Moreover, Jack’s exaggerated and likeable comic outlook was tinged with self-deprecating humor, yet he carried the veneer of a vulnerable, genteel and harmless fussbudget. The dynamics of Benny’s outward appearance clashing but coexisting with his visceral inner agenda only enhanced the hilarity. Again, comedy emerging out of a well-developed character.
This contrasts to comedy that heavily relies on topical references that are soon dated and eventually rendered arcane or obtuse. True, Benny did use topical references and idioms of the day, but the contexts were so broadly used that latter-day audiences unfamiliar with such timely citations could usually get the gist of the joke or outrageous allegory regardless of the era when they first occurred or still had prominence in the then-current culture.
Jack Benny endures as an eloquent comic presence and influence who appeals to modern audiences because he was most human and humane of them all in the 20th century. And thanks to the wonders of digital entertainment and the internet, Jack will continue to attract, amuse and amaze legions of new fans in the generations ahead.
Radio Archives: What is the goal and purpose of the Fan Club as well as your mission in terms of sharing Jack Benny with today’s listeners/readers/fans?
Laura: We are a 501(c)(3) educational non-profit, with the official purpose being to educate people about the life and work of Jack Benny and his associates. We do so by preserving and making material available through our libraries, online resources, and other publications. We also do ongoing research for books such as the 39 Forever series and the newsletter to provide a growing body of knowledge about Jack Benny, expanding the context of understanding who he was as a person, an artist, and one of the foremost comedians of the 20th century.
Learn about one of the greatest comedic talents in history by visiting the International Jack Benny Fan Club’s page in the Pulp Book Store!
Who knows what evil lurks in the hearts of men? The Shadow knows! The pulp era’s greatest crimebuster journeys to Maine on golden quests in two thrilling pulp novels by Walter Gibson writing as “Maxwell Grant.” First, The Shadow and G-man Vic Marquette hunt enemy agents sabotaging maritime shipping from a mysterious Castle of Crime. Then, a sea captain’s dying words lead to serial slayings along the long-buried trail to a Dead Man’s Chest and Cuban gold! This instant collector’s item reprints the classic color cover paintings by George Rozen and Graves Gladney and the original interior illustrations by Edd Cartier and Paul Orban, with historical commentary by Will Murray. Yours for only $14.95!
The pulp era’s greatest superman returns in classic pulp thrillers by Laurence Donovan and Lester Dent writing as “Kenneth Robeson.” First, Doc and Patricia Savage attempt to discover the secret behind the baffling series of “black spot murders” that confounds the law. Then, an auction gallery bidding war leads to the abduction of Monk Mayfair. Can the Man of Bronze uncover the sinister secret of The Terrible Stork in time to save his right-hand aide? This special collectors edition showcases the original color pulp covers by Walter M. Baumhofer and Modest Stein, Paul Orban’s classic interior illustrations and a behind-the-scenes article by Will Murray, writer of nine Doc Savage novels. Yours for only $14.95!
The double life of Police Commissioner James Gordon is explored in a pair of two-fisted thrillers that inspired classic Batman stories! First, The Whisperer goes undercover to close down a “School for Murder” that prepares teenagers for criminal careers! Then, Wildcat Gordon investigates corruption in the trucking industry in “Murder on the Line.” BONUS: an adventure of Norgil the Magician by The Shadow’s Maxwell Grant! This historic collector’s item showcases both original color pulp covers by Spider artist John Newton Howitt, classic interior illustrations by Paul Orban and golden-age great Creig Flessel, and historical commentary by Will Murray and Anthony Tollin. Now at Radio Archives for $14.95!
Pulp fiction’s legendary Master of Men returns in two classic novels from the Golden Age of Pulp Fiction, written by Norvell Page under the pseudonym of Grant Stockbridge. First, in “Overlord of the Damned” (October 1935), the Boss unleashes horrible death with his demonic acid guns… with a vat of the same deadly corrosive reserved for those who talk too much! With his beloved Nita van Sloan a hostage to a terrible doom, the Spider faces the soul-tearing prospect of planting the Spider seal on his friend Stanley Kirkpatrick, Commissioner of Police! Then, in “Dictator’s Death Merchants!” (July 1940), The jaws of death gape open when El Crocodilo feasts! With uncanny skill, he forestalls even the Spider’s best attempts to trap him. Striking without mercy, this menace from the past rises anew by demolishing a banking institution each night, in a mad scheme to take control of nothing less than all of America’s finances! This volume is available in two editions and features the original artwork from the October 1935 or the July 1940 edition of “The Spider” magazine. Both versions feature reformatted text and original interior illustrations to accompany each story. Available now for $14.95!
Classic Reprints! New Pulp Tales! History, Pop Culture, and Much More! Where do you find the finest of these? In the Pulp Book Store! And in the Treasure Chest, you find unbelievable deals from the following Publishers!
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Four scientists were stranded on Cormoral Island when the Kendall Foundation of St. Louis that funded their expedition went bust. They were rescued by a passing ship, the Meg Finegan. It should have been a coincidence, but one of the scientists KNEW it would find them. He also started knowing a lot of other things before they happened. Professor Macbeth Williams was a hydrologist and the heir to a 500 million dollar fortune. He had taken the job on the expedition to escape from the pressure of managing his family fortune. He did not think his judgment skills were up to par. Now he was literally predicting poker hands before they were dealt and showing keen insight into future events. But Professor Williams was a man of science and did not place any stock in such things as precognition. But even after landing in Miami, the prediction kept coming. His fellow stranded scientists see this as a good thing and they insist to Williams that maybe he does have enough in sight to manage his vast fortune. But he was frightened that he might be losing his mind. He needed to get professional help to set his mind at ease. So he decided to call on the greatest Psychiatrist of his time: Dr. Clark Savage Jr.
But as he attempted to make contact with Doc Savage, strange things start happening. The telegrapher who took his initial message was murdered. Thugs in New York attacked Doc at his headquarters to prevent him from going to Macbeth Williams’ aid. Doc Savage becomes intrigued. There is an enormous fortune at stake, and its unwilling heir suddenly manifests almost supernatural insight which he thinks is a sign of madness. Meanwhile nefarious influences are working to isolate this heir from Doc Savage’s help. Something does not add up.
Can Doc Savage figure out this puzzle? Is Macbeth Williams really a prophet? Why are criminal elements interested in him? Is this an elaborate scam to get access to the Williams family fortune?
This was the penultimate adventure of the original Doc Savage pulp series. The story harkens back to the heyday of the series with the literary polish that marked many of the later stories. Don’t miss this one! Get it and another Doc Classic today in Doc Savage #15 for $12.95 from Radio Archives!
Comments From Our Customers!
Dominick Cancilla:
Thanks again for the assistance and for the great customer service (as usual). I have a six-hour drive tomorrow for work and The Green Llama will be keeping me company. I will certainly continue to buy every pulp audiobook you put out.
Eugene Dungan:
I am getting ready to order The Green Lama audiobook. I have all of the audiobooks that you have published. I sure am enjoying all of the audiobooks that you have put out so far.
Bobby McGowen Jr.:
I have been getting all of The Spider ebooks and I love them.
Bryan Pears from the United Kingdom:
Do you have any Operator 5 eBooks available? I have just bought The Spider eBook “City of Flaming Shadows” and was really impressed.
If you’d like to share a comment with us or if you have a question or a suggestion send an email to Service@RadioArchives.com. We’d love to hear from you!
The products you’ve read about in this newsletter are just a small fraction of what you’ll find waiting for you at RadioArchives.com. Whether it’s the sparkling audio fidelity of our classic radio collections, the excitement of our new line of audiobooks, or the timeless novels of the pulp heroes, you’ll find hundreds of intriguing items at RadioArchives.com.
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Every now and then, we here at ComicMix like to look at books and movies beyond our normal pop culture purview to examine people who helped build the foundations of modern storytelling. We were reminded of this when 20th Century Home Entertainment sent us a Blu-ray edition of The Apartment for review. This 1960 release, out now, won five Academy Awards including Best Picture, and is a brilliant assemblage of director, performers, and story.
The movie comes from Billy Wilder who directed, produced and co-wrote the screenplay (with I.A.L. Diamond) and is a bit of settling old business. Back in the 1940s, he wanted to deal with adultery but the Hays Production Code forbade that so he finally got his chance in this story, partly inspired by Noel Coward’s Brief Encounter.
The story features Consolidated Life Insurance’s C.C. Baxter (Jack Lemmon), who has been lending his conveniently located apartment to his superiors — Dobsich (Ray Walston), Eichelberger (David White), and Vanderhoff (Willard Waterman) — for clandestine affairs. His generosity has resulted in a variety of undeserved promotions that brought him to the attention of company president J.D. Sheldrake (Fred MacMurray) who now wants to use the place to bed elevator operator, and object of Baxter’s affection, Fran Kubelik (Shirley MacLaine). The film then explores how Lemmon can win the girl without losing his job while regaining his sense of dignity. (more…)
I have never warmed up to Sacha Baron Cohen’s style of satire. The concepts are great while I find the execution in Bruno, Borat and now The Dictator, to be crude and unfunny. In both cases, I found the clever marketing more interesting and enjoyable than the actual films. The Combo Pack (Blu-ray, DVD, Digital Copy) from Paramount Home Video came with a nice letter from Admiral General Shabazz Aladeen with bribe bucks from Wadiya. If only the film itself was as funny.
Laura: The short version is that it all started for me with the 1958 Warner Brothers’ cartoon The Mouse That Jack Built. It portrayed many of the classic radio characters as mice, and included a rare live-action sequence with Jack at the end. Later, I was drawn to reruns of Jack’s programs on a Detroit station in the late 1970s, and then decided it was high time to start the Jack Benny Fan Club.
