Batman
Archie: The First Fifty Years
November 18, 2009
by David Krell
david@davidkrell.com
(This entry is an abridged version of an article featuring Archie. For the expanded article, click here.)
He doesn’t have superpowers resulting from a yellow sun like Superman or a radioactive spider bite like Spiderman.
He’s not a quasi-vigilante hero avenging the death of loved ones like Batman or the Lone Ranger.
And he never saved the universe like Flash Gordon or Buck Rogers.
In fact, his extraordinary characteristics appear to be his uncanny ability to get in trouble and his immense inability to choose between two extremely attractive girls.
Who is this mere mortal?
Archie Andrews, of course. The All-American Teenager and Riverdale’s favorite son.
As the United States entered World War II in December of 1941, Archie debuted in Pep #22 as a supporting feature. This initial Archie story also features Jughead and Betty.
MLJ Comics published Pep, the arena for its contribution to the superhero genre -- The Shield. Three publishing colleagues formed MLJ. They named the company after their initials -- Maurice Coyne, Louis Silberkleit, and John Goldwater complemented each other with their experience as an accountant, publisher, and reporter/editor respectively.
Artist Bob Montana gave the Archie universe its center. He drew upon his own experiences growing up in Haverhill, Massachusetts.
Bob Montana drew. Vic Bloom wrote. Harry Shorten edited.
Truth be told, though, Montana gave the Archie stories their heart, soul, and ultimate appeal.
In the retrospective book Archie: The First 50 Years, Charles Phillips credits Montana.
A rootless child who loved his high school years, Montana gave more than the statue of The Thinker, the hometown soda shop, and a number of his teenage pals to Riverdale. He gave the strip the emotional strength of his own nostalgia to create an idealized picture of teenage life that we all recognize but none of us quite lived.
Montana and the creative team behind Archie added new characters in the adventures of Riverdale’s red-headed Romeo. Waldo Weatherbee -- Riverdale High School’s beloved, bald, benign principal -- first appeared in Jackpot #5 (Spring 1942). The story contains the mainstay Archie elements of slapstick, Weatherbee’s rotund shape, and Archie’s penchant for getting in hot water with “the Bee.”
Jackpot #5 also introduces, albeit briefly, Reggie Mantle.
Pep #26 (April 1942) introduces rich girl Veronica Lodge and compares her to Egypt’s Cleopatra and Hollywood’s Hedy Lamarr. Although Pep #26 showcases Veronica’s first appearance, Archie #1 (Winter 1942) revisits the origin of Veronica in the story Prom Pranks.
Prom Pranks sets the foundation for a well-known Archie hallmark -- the Archie-Veronica-Betty love triangle.
Where familiar themes provide reliability, stability, and continuity, signs of the times reflect an ever-changing society. They continually challenge Archie writers to pace fads, norms, and popular culture.
In the 1950’s, Archie stories frequently paralleled benchmarks of the rock and roll decade -- hula hoops, sock hops, beatniks.
Celebrities, fictional and real, also enjoy depictions in Archie stories -- Elvis Presley, Fonzie, Tom Cruise.
Social conscience features prominently in one story from the 1970’s -- A Matter of Prejudice. The story sends a powerful message about the dangers of prejudging the views of others. When Veronica explains that some of Archie’s friends are not welcome at her party because they simply don’t fit in, Archie immediately thinks the reference points to Chuck Clayton, a black student at Riverdale High.
In fact, Veronica likes Chuck. She declares, He’s welcome at my house any time he pleases to come.
Jughead, on the other hand, needs to change his slovenly ways for the party. Chuck and Archie tell him that Veronica is prejudiced...against slobs!
Expanding into other media was inevitable for the Archieverse. It occurred almost from the beginning. Archie and the gang found success on a radio program in the 1940’s.
In the late 1960’s and throughout the 1970’s, Archie characters found success in Saturday morning animation.
In 1978, two live-action music and comedy specials on ABC featured the characters. Dennis Bowen plays Archie.
Riverdale High’s 15-year reunion served as the basis for the 1990 NBC tv-movie To Riverdale and Back. Archie returned to Riverdale, reunited with friends, and reignited passions for Betty and Veronica. This time, he’s in Riverdale to stay. But the choice between Veronica and Betty remains undecided.
Some things never change.
The best things never do.
(For an expanded article on Archie, click here.)
david@davidkrell.com
(This entry is an abridged version of an article featuring Archie. For the expanded article, click here.)
He doesn’t have superpowers resulting from a yellow sun like Superman or a radioactive spider bite like Spiderman.
He’s not a quasi-vigilante hero avenging the death of loved ones like Batman or the Lone Ranger.
And he never saved the universe like Flash Gordon or Buck Rogers.
In fact, his extraordinary characteristics appear to be his uncanny ability to get in trouble and his immense inability to choose between two extremely attractive girls.
Who is this mere mortal?
Archie Andrews, of course. The All-American Teenager and Riverdale’s favorite son.
As the United States entered World War II in December of 1941, Archie debuted in Pep #22 as a supporting feature. This initial Archie story also features Jughead and Betty.
MLJ Comics published Pep, the arena for its contribution to the superhero genre -- The Shield. Three publishing colleagues formed MLJ. They named the company after their initials -- Maurice Coyne, Louis Silberkleit, and John Goldwater complemented each other with their experience as an accountant, publisher, and reporter/editor respectively.
Artist Bob Montana gave the Archie universe its center. He drew upon his own experiences growing up in Haverhill, Massachusetts.
Bob Montana drew. Vic Bloom wrote. Harry Shorten edited.
Truth be told, though, Montana gave the Archie stories their heart, soul, and ultimate appeal.
In the retrospective book Archie: The First 50 Years, Charles Phillips credits Montana.
A rootless child who loved his high school years, Montana gave more than the statue of The Thinker, the hometown soda shop, and a number of his teenage pals to Riverdale. He gave the strip the emotional strength of his own nostalgia to create an idealized picture of teenage life that we all recognize but none of us quite lived.
Montana and the creative team behind Archie added new characters in the adventures of Riverdale’s red-headed Romeo. Waldo Weatherbee -- Riverdale High School’s beloved, bald, benign principal -- first appeared in Jackpot #5 (Spring 1942). The story contains the mainstay Archie elements of slapstick, Weatherbee’s rotund shape, and Archie’s penchant for getting in hot water with “the Bee.”
Jackpot #5 also introduces, albeit briefly, Reggie Mantle.
Pep #26 (April 1942) introduces rich girl Veronica Lodge and compares her to Egypt’s Cleopatra and Hollywood’s Hedy Lamarr. Although Pep #26 showcases Veronica’s first appearance, Archie #1 (Winter 1942) revisits the origin of Veronica in the story Prom Pranks.
Prom Pranks sets the foundation for a well-known Archie hallmark -- the Archie-Veronica-Betty love triangle.
Where familiar themes provide reliability, stability, and continuity, signs of the times reflect an ever-changing society. They continually challenge Archie writers to pace fads, norms, and popular culture.
In the 1950’s, Archie stories frequently paralleled benchmarks of the rock and roll decade -- hula hoops, sock hops, beatniks.
Celebrities, fictional and real, also enjoy depictions in Archie stories -- Elvis Presley, Fonzie, Tom Cruise.
Social conscience features prominently in one story from the 1970’s -- A Matter of Prejudice. The story sends a powerful message about the dangers of prejudging the views of others. When Veronica explains that some of Archie’s friends are not welcome at her party because they simply don’t fit in, Archie immediately thinks the reference points to Chuck Clayton, a black student at Riverdale High.
In fact, Veronica likes Chuck. She declares, He’s welcome at my house any time he pleases to come.
Jughead, on the other hand, needs to change his slovenly ways for the party. Chuck and Archie tell him that Veronica is prejudiced...against slobs!
Expanding into other media was inevitable for the Archieverse. It occurred almost from the beginning. Archie and the gang found success on a radio program in the 1940’s.
In the late 1960’s and throughout the 1970’s, Archie characters found success in Saturday morning animation.
In 1978, two live-action music and comedy specials on ABC featured the characters. Dennis Bowen plays Archie.
Riverdale High’s 15-year reunion served as the basis for the 1990 NBC tv-movie To Riverdale and Back. Archie returned to Riverdale, reunited with friends, and reignited passions for Betty and Veronica. This time, he’s in Riverdale to stay. But the choice between Veronica and Betty remains undecided.
Some things never change.
The best things never do.
(For an expanded article on Archie, click here.)
Uncle Miltie's Lifetime Contract
September 03, 2009
by David Krell
david@davidkrell.com
When did Milton Berle debut as the host and star of Texaco Star Theatre on NBC?
Before.
Before Jackie Gleason introduced Ralph Kramden.
Before Lucille Ball began a 20+ year career on network television sitcoms bearing the shortened version of her name -- Lucy.
Before Phil Silvers showed the art of con artistry as Sergeant Ernie Bilko.
Milton Berle was the first television star. He made his television debut in 1948.
Berle had a rich history in show business prior to 1948. He started at the age of five in silent movies.
Vaudeville, nightclubs, and films followed.
Berle's deep experience as a Master of Ceremonies in nightclubs gave him a nice foundation for keeping the attention of the live audience of Texaco Star Theatre, a variety show.
And Berle dominated America's attention in the infant days of television on Tuesday nights at 8:00pm.
A television soon became a household necessity, not merely a luxury, thanks to Uncle Miltie.
And it replaced radio as the primary medium of entertainment.
With relatively little competition, Berle was a sensation.
So sensational that NBC gave him a lifetime contract.
Signed on May 3, 1951, the exclusive contract bound Berle to NBC for $200,000 per year for thirty years.
Locking America's Uncle Miltie into an exclusive deal showed the confidence that NBC had in its first television personality.
And it showed the confidence that Berle had in NBC.
The glory days of television looked endless with a corresponding limitless reign of its king.
But like all good things, it came to an end.
In 1953, the show changed sponsors.
The Buick-Berle Show a.k.a. The Milton Berle Show aired until 1956.
With increasing competition, Berle could never recapture the wonder of America that he enjoyed as the country's first television superstar.
Because of the exclusive contract with NBC, Berle could not appear on other networks.
And his program offerings diminished.
Jackpot Bowling was one of them.
To expand his possibilities, Berle renegotiated with NBC in 1965 and the exclusive contract became a non-exclusive contract. And the yearly salary of $200,000 became $120,000.
The end date of 1981 stayed.
Berle appeared rather steadily on television as a guest star during the remainder of the contract, including appearances on Here's Lucy, The Joey Bishop Show, The Mod Squad, Batman, Love, American Style, Mannix, and The Love Boat.
But the record will show that his greatest television contribution was his first. So great that he got a 30-year deal.
david@davidkrell.com
When did Milton Berle debut as the host and star of Texaco Star Theatre on NBC?
Before.
Before Jackie Gleason introduced Ralph Kramden.
Before Lucille Ball began a 20+ year career on network television sitcoms bearing the shortened version of her name -- Lucy.
Before Phil Silvers showed the art of con artistry as Sergeant Ernie Bilko.
Milton Berle was the first television star. He made his television debut in 1948.
Berle had a rich history in show business prior to 1948. He started at the age of five in silent movies.
Vaudeville, nightclubs, and films followed.
Berle's deep experience as a Master of Ceremonies in nightclubs gave him a nice foundation for keeping the attention of the live audience of Texaco Star Theatre, a variety show.
And Berle dominated America's attention in the infant days of television on Tuesday nights at 8:00pm.
A television soon became a household necessity, not merely a luxury, thanks to Uncle Miltie.
And it replaced radio as the primary medium of entertainment.
With relatively little competition, Berle was a sensation.
So sensational that NBC gave him a lifetime contract.
Signed on May 3, 1951, the exclusive contract bound Berle to NBC for $200,000 per year for thirty years.
Locking America's Uncle Miltie into an exclusive deal showed the confidence that NBC had in its first television personality.
And it showed the confidence that Berle had in NBC.
The glory days of television looked endless with a corresponding limitless reign of its king.
But like all good things, it came to an end.
In 1953, the show changed sponsors.
The Buick-Berle Show a.k.a. The Milton Berle Show aired until 1956.
With increasing competition, Berle could never recapture the wonder of America that he enjoyed as the country's first television superstar.
Because of the exclusive contract with NBC, Berle could not appear on other networks.
And his program offerings diminished.
Jackpot Bowling was one of them.
To expand his possibilities, Berle renegotiated with NBC in 1965 and the exclusive contract became a non-exclusive contract. And the yearly salary of $200,000 became $120,000.
The end date of 1981 stayed.
Berle appeared rather steadily on television as a guest star during the remainder of the contract, including appearances on Here's Lucy, The Joey Bishop Show, The Mod Squad, Batman, Love, American Style, Mannix, and The Love Boat.
But the record will show that his greatest television contribution was his first. So great that he got a 30-year deal.
Cesar Romero
June 16, 2009
by David Krell
david@davidkrell.com
Heath Ledger's chilling, sinister, and violent portrayal of the Joker in 2008's The Dark Knight earned him a Golden Globe Award for Best Supporting Actor -- Motion Picture and a posthumous Academy Award for Best Supporting Actor.
Ledger continued the standard of excellence in portraying the character.
Jack Nicholson owned the role in 1989's Batman.
And Cesar Romero owned it in the 1960's camp version of the Batman franchise on ABC's Batman.
With his maniacal laugh, wide smile, and refusal to shave his mustache, Cesar Romero lit up the screen when he was the Special Guest Villain. White makeup somewhat covered up the mustache, but we could still see it. It added to the character's bizarre qualities.
But Cesar Romero did much more than embody the Joker, the character with the most guest appearances on Batman.
He was a serious dramatic actor with credits forming a terrific body of work, including the movie The Thin Man. He plays a villain opposite William Powell.
And he plays Duke Santos, a highly significant role in the 1960 Rat Pack movie Ocean's 11.
Santos is the fiancé of the mother of Jimmy Foster, played by Peter Lawford.
Santos is also a reformed gangster who figures out that Foster and his buddies pulled a New Year's Eve heist on five Las Vegas casinos. He becomes a thorn in their side as he pledges to the casino owners that he will get the money returned, provided he gets a percentage.
Besides Batman, Romero guest starred on several iconic television programs.
In an episode from the 1960's spy series The Man From U.N.C.L.E., he plays the head of U.N.C.L.E.'s rival spy agency T.H.R.U.S.H.
He played Gilberto, Chico's absentee father, in the Chico and the Man episode Chico's Padre.
He also guest starred on The Golden Girls, Charlie's Angels, Fantasy Island, Magnum p.i., The Love Boat, and Ironside.
In addition, Romero had recurring roles on Alias Smith and Jones and in Disney's Medfield College starring Kurt Russell.
He also played Peter Stavros for a few seasons of the 1980's CBS nighttime soap opera Falcon Crest.
But for baby boomers who saw the original 1960's television show Batman in its initial run and the Generation Xers who saw it in reruns, Romero's defining role is the Dark Knight's greatest villain -- the Joker.
david@davidkrell.com
Heath Ledger's chilling, sinister, and violent portrayal of the Joker in 2008's The Dark Knight earned him a Golden Globe Award for Best Supporting Actor -- Motion Picture and a posthumous Academy Award for Best Supporting Actor.
Ledger continued the standard of excellence in portraying the character.
Jack Nicholson owned the role in 1989's Batman.
And Cesar Romero owned it in the 1960's camp version of the Batman franchise on ABC's Batman.
With his maniacal laugh, wide smile, and refusal to shave his mustache, Cesar Romero lit up the screen when he was the Special Guest Villain. White makeup somewhat covered up the mustache, but we could still see it. It added to the character's bizarre qualities.
But Cesar Romero did much more than embody the Joker, the character with the most guest appearances on Batman.
He was a serious dramatic actor with credits forming a terrific body of work, including the movie The Thin Man. He plays a villain opposite William Powell.
And he plays Duke Santos, a highly significant role in the 1960 Rat Pack movie Ocean's 11.
Santos is the fiancé of the mother of Jimmy Foster, played by Peter Lawford.
Santos is also a reformed gangster who figures out that Foster and his buddies pulled a New Year's Eve heist on five Las Vegas casinos. He becomes a thorn in their side as he pledges to the casino owners that he will get the money returned, provided he gets a percentage.
Besides Batman, Romero guest starred on several iconic television programs.
In an episode from the 1960's spy series The Man From U.N.C.L.E., he plays the head of U.N.C.L.E.'s rival spy agency T.H.R.U.S.H.
He played Gilberto, Chico's absentee father, in the Chico and the Man episode Chico's Padre.
He also guest starred on The Golden Girls, Charlie's Angels, Fantasy Island, Magnum p.i., The Love Boat, and Ironside.
In addition, Romero had recurring roles on Alias Smith and Jones and in Disney's Medfield College starring Kurt Russell.
He also played Peter Stavros for a few seasons of the 1980's CBS nighttime soap opera Falcon Crest.
But for baby boomers who saw the original 1960's television show Batman in its initial run and the Generation Xers who saw it in reruns, Romero's defining role is the Dark Knight's greatest villain -- the Joker.
Law & Order
June 04, 2009
by David Krell
david@davidkrell.com
Last night, Law & Order completed its 19th season.
The current detectives on NBC's long-running Law & Order came to Manhattan's fictional 27th precinct with rich resumes.
Jeremy Sisto plays Cyrus Lupo. But fans of HBO's Six Feet Under will recognize Sisto as the actor who plays Billy, brother of Brenda and sometimes bane of the existence of Brenda's significant other, Nate.
Sisto brings depth, pain, and reality to Billy, a truly three-dimensional character with three-dimensional mental issues.
He intrigued us and inspired our empathy.
He scared us and inspired our curiosity.
He welcomed us and inspired our interest in the causes, effects, and monitoring of mental illness.
Sisto's film career began with the 1991 film Grand Canyon where he enjoys a stellar cast including Kevin Kline, Mary McDonnell, Steve Martin, Mary-Louise Parker, and Danny Glover.
In the film, Kline and McDonnell play the parents of Sisto's character, Roberto. Inspired by baseball great Roberto Clemente, Kline's character names his son after the Pittsburgh Pirates legend.
Although he plays a relatively small part, Sisto stays pace with the veteran actors/
In addition to Law & Order, Sisto delves into another fictional crime fighting world with its own iconic status.
He voices Bruce Wayne and Batman in the 2008 direct-to-video offering Justice League: The New Frontier.
Anthony Anderson plays Kevin Bernard in Law & Order. Bernard is a recently transferred detective from Internal Affairs. Anderson has big gumshoes to fill as he succeeds Jesse Martin. Martin debuted as Ed Green in Season 10. He left in Season 18.
Martin's Ed Green left the NYPD after Bernard investigated him because of a shooting. At the time, Bernard worked for Internal Affairs.
Although the department dropped the charges, Green left the force rather than fight disciplinary action.
Anderson recently starred in K-Ville where he paired with Cole Hauser. This buddy cop show on FOX was set in New Orleans. It incorporated the aftermath of Hurricane Katrina into the story line.
Anderson also played a significant, recurring role in The Shield -- drug kingpin Antwon Mitchell.
Back in prison after enjoying a brief stay on the outside, Mitchell reinforces his status as a player. Indeed, when the cops from the fictional Farmington section of an unnamed southern California city need a favor on the inside, they must strike a deal with their sometimes nemesis, sometimes ally Antwon Mitchell.
Anderson's comedy roles include a part in Malibu's Most Wanted, a hysterical, perhaps politically incorrect film starring Jaime Kennedy as a wannabe boy from the hood. Ryan O'Neal and Bo Derek play Kennedy's parents.
Anderson's film resume includes King's Ransom, Big Momma's House, and Scary Movie 3.
Additionally, he had a short-lived sitcom on the WB -- All About the Andersons.
david@davidkrell.com
Last night, Law & Order completed its 19th season.
The current detectives on NBC's long-running Law & Order came to Manhattan's fictional 27th precinct with rich resumes.
Jeremy Sisto plays Cyrus Lupo. But fans of HBO's Six Feet Under will recognize Sisto as the actor who plays Billy, brother of Brenda and sometimes bane of the existence of Brenda's significant other, Nate.
Sisto brings depth, pain, and reality to Billy, a truly three-dimensional character with three-dimensional mental issues.
He intrigued us and inspired our empathy.
He scared us and inspired our curiosity.
He welcomed us and inspired our interest in the causes, effects, and monitoring of mental illness.
Sisto's film career began with the 1991 film Grand Canyon where he enjoys a stellar cast including Kevin Kline, Mary McDonnell, Steve Martin, Mary-Louise Parker, and Danny Glover.
In the film, Kline and McDonnell play the parents of Sisto's character, Roberto. Inspired by baseball great Roberto Clemente, Kline's character names his son after the Pittsburgh Pirates legend.
Although he plays a relatively small part, Sisto stays pace with the veteran actors/
In addition to Law & Order, Sisto delves into another fictional crime fighting world with its own iconic status.
He voices Bruce Wayne and Batman in the 2008 direct-to-video offering Justice League: The New Frontier.
Anthony Anderson plays Kevin Bernard in Law & Order. Bernard is a recently transferred detective from Internal Affairs. Anderson has big gumshoes to fill as he succeeds Jesse Martin. Martin debuted as Ed Green in Season 10. He left in Season 18.
Martin's Ed Green left the NYPD after Bernard investigated him because of a shooting. At the time, Bernard worked for Internal Affairs.
Although the department dropped the charges, Green left the force rather than fight disciplinary action.
Anderson recently starred in K-Ville where he paired with Cole Hauser. This buddy cop show on FOX was set in New Orleans. It incorporated the aftermath of Hurricane Katrina into the story line.
Anderson also played a significant, recurring role in The Shield -- drug kingpin Antwon Mitchell.
Back in prison after enjoying a brief stay on the outside, Mitchell reinforces his status as a player. Indeed, when the cops from the fictional Farmington section of an unnamed southern California city need a favor on the inside, they must strike a deal with their sometimes nemesis, sometimes ally Antwon Mitchell.
Anderson's comedy roles include a part in Malibu's Most Wanted, a hysterical, perhaps politically incorrect film starring Jaime Kennedy as a wannabe boy from the hood. Ryan O'Neal and Bo Derek play Kennedy's parents.
Anderson's film resume includes King's Ransom, Big Momma's House, and Scary Movie 3.
Additionally, he had a short-lived sitcom on the WB -- All About the Andersons.
Lou's On First
May 26, 2009
by David Krell
david@davidkrell.com
Yesterday, Memorial Day marked the traditional, if unofficial, start to summer.
And that means one of America’s favorite pastimes will be in full swing.
Reading.
On planes, boats, and trains, you’ll find people deep into their books.
At the beach, the community swimming pool, or a park, you’ll find people learning, escaping, or merely enjoying through the wonders provided by the written word.
I suggest a heartfelt biography about Lou Costello written by his youngest child Chris along with Raymond Strait.
Lou’s On First is a no holds barred book about one of the entertainment industry’s greatest treasures – Lou Costello.
But that treasure came with an extremely high price.
The title is a takeoff on Abbott and Costello’s trademark comedy routine Who’s On First?
Lou’s On First recounts Costello’s life from his youngest daughter’s perspective.
You’ll learn about the rotund comedian’s early days as an athlete in Paterson, New Jersey.
You’ll learn the real story about how he and Bud Abbott formed their legendary partnership, rose to great successes, and dealt with the tension between them.
And you’ll learn how Costello dealt with massive obstacles to happiness in his life.
Being bedridden for a year because of rheumatic fever.
The death of his one-year-old son on the day Abbott & Costello were set to return to their radio show after Costello’s illness and Costello's consequent adherence to show business legend -- The show must go on.
IRS investigations.
Abbott & Costello dissolved their partnership in 1957. Lou Costello appeared as a solo act. He made several appearances on The Steve Allen Show where he recreated burlesque bits with regulars Tom Poston and Louis Nye.
Often, comedians make terrific dramatic actors.
Jackie Gleason in The Hustler.
Michael Keaton in Batman.
Steve Martin in Grand Canyon.
Lou Costello could have been in that category.
He started making some inroads with television dramas. He appeared in the Blaze of Glory segment of General Electric Theater.
Abbott & Costello’s former producer Howard Christie was producing Wagon Train at the same time. He asked Lou to continue dramatic acting in the Wagon Train episode The Tobias Jones Story.
Unfortunately, Lou Costello did not get the chance to spread his acting wings.
He died on March 3, 1959.
Lou’s On First explores Lou Costello’s life with respect for the comedian’s work, admiration for his generosity, and love for his gift of laughter.
It’s a behind the laughter look at a man with the extraordinary gift of comedy and the unfortunate burdens of tragedy.
Lou’s On First. Make it your first read of the summer.
david@davidkrell.com
Yesterday, Memorial Day marked the traditional, if unofficial, start to summer.
And that means one of America’s favorite pastimes will be in full swing.
Reading.
On planes, boats, and trains, you’ll find people deep into their books.
At the beach, the community swimming pool, or a park, you’ll find people learning, escaping, or merely enjoying through the wonders provided by the written word.
I suggest a heartfelt biography about Lou Costello written by his youngest child Chris along with Raymond Strait.
Lou’s On First is a no holds barred book about one of the entertainment industry’s greatest treasures – Lou Costello.
But that treasure came with an extremely high price.
The title is a takeoff on Abbott and Costello’s trademark comedy routine Who’s On First?
Lou’s On First recounts Costello’s life from his youngest daughter’s perspective.
You’ll learn about the rotund comedian’s early days as an athlete in Paterson, New Jersey.
You’ll learn the real story about how he and Bud Abbott formed their legendary partnership, rose to great successes, and dealt with the tension between them.
And you’ll learn how Costello dealt with massive obstacles to happiness in his life.
Being bedridden for a year because of rheumatic fever.
The death of his one-year-old son on the day Abbott & Costello were set to return to their radio show after Costello’s illness and Costello's consequent adherence to show business legend -- The show must go on.
IRS investigations.
Abbott & Costello dissolved their partnership in 1957. Lou Costello appeared as a solo act. He made several appearances on The Steve Allen Show where he recreated burlesque bits with regulars Tom Poston and Louis Nye.
Often, comedians make terrific dramatic actors.
Jackie Gleason in The Hustler.
Michael Keaton in Batman.
Steve Martin in Grand Canyon.
Lou Costello could have been in that category.
He started making some inroads with television dramas. He appeared in the Blaze of Glory segment of General Electric Theater.
Abbott & Costello’s former producer Howard Christie was producing Wagon Train at the same time. He asked Lou to continue dramatic acting in the Wagon Train episode The Tobias Jones Story.
Unfortunately, Lou Costello did not get the chance to spread his acting wings.
He died on March 3, 1959.
Lou’s On First explores Lou Costello’s life with respect for the comedian’s work, admiration for his generosity, and love for his gift of laughter.
It’s a behind the laughter look at a man with the extraordinary gift of comedy and the unfortunate burdens of tragedy.
Lou’s On First. Make it your first read of the summer.
Batman & Green Hornet
April 12, 2009
by David Krell
david@davidkrell.com
In the superhero multiverse, Batman and the Green Hornet parallel each other.
First, they’re not really superheroes. As mortals, they rely on cunning, logic, and detective work to solve crimes.
With a little help from younger sidekicks of course. Robin and Kato.
Second, their alter egos of Bruce Wayne and Britt Reid enjoy extreme wealth thanks to family fortune. The Reid fortune is based on a silver mine once owned by Britt Reid’s great-uncle, also known as the Lone Ranger!
The Wayne portfolio grew from the success of Bruce Wayne’s parents. Dr. and Mrs. Wayne.
Wealth allows Britt and Bruce to buy or invent high-tech gadgets, weapons, and cars. The Black Beauty for Mr. Reid. And the Batmobile for Mr. Wayne.
Third, Batman and the Green Hornet had 1960s television series built around their characters.
Batman had several elements unique to it.
Visual. Batman had a pop art look and reinforced the character’s visual roots in the comic book medium.
Cameos. Batman had a different celebrity open a window while the Dynamic Duo scaled a building. Dick Clark, Sammy Davis, Jr
Story structure. Batman used a formula in its two-part stories. The first part would end with a cliffhanger and the narrator teasing the audience to tune in tomorrow…same bat-time, same bat-channel.
Ed Robertson examined the formula in a two-part article for the Batman Television Series Fan Club Newsletter. Holy Simulacrum, Batman, Part One appeared in Volume 2, Number 3 in 1990 and Part Two appeared in Volume 3, Number 1 in 1991.
The Green Hornet, however, functioned primarily as a straightforward detective show.
Updated for the 1960’s, Britt Reid owned a television station, DSTV, in addition to The Daily Sentinel newspaper.
Reid’s wealth, status, and power allowed him to investigate crimes without arousing suspicion, later busting criminals as the Green Hornet.
After Batman debuted to great success in January of 1966, William Dozier capitalized on the Caped Crusader’s popularity by also producing The Green Hornet. The show debuted on Friday, September 9, 1966 at 7:30pm on ABC.
The scheduling was logical because Batman occupied the same time slot on Wednesdays and Thursdays.
Because it was straight rather than camp, The Green Hornet lacked the quirkiness, novelty, and appeal of Batman. No accident, this creative decision.
Van Williams played Britt Reid and he wanted to play a character, not a caricature.
On the public access show Welcome To Hal-Land in the early 1990s, Van Williams paid tribute to the Green Hornet’s beginnings on radio in the 1930’s.
He said, I told Dozier before I ever did the show, it was going to be straight. It wasn’t going to be the whip-wham-bam-zam that they did with the other thing. The Green Hornet was a successful radio show. We really had to follow that format.
Like its radio version, The Green Hornet villains were based in political corruption, graft, and business.
No outrageous costumed villains like the Riddler, the Joker, or the Penguin.
No seductresses like Catwoman or Siren.
No funny names like Louie the Lilac or Bookworm.
Just good, old-fashioned hero vs. bad guys stuff.
The detective genre utilized in The Green Hornet was familiar, whereas Batman offered something different, to say the least.
In addition, Batman used current pop culture elements. Hard to imagine the Green Hornet surfing or parodying the latest dance craze.
Perhaps the Batman / Green Hornet crossover best illustrates the difference between the two programs. In the Batman episodes A Piece of the Action and Batman’s Satisfaction, the Green Hornet and Kato visit Gotham City to apprehend Colonel Gumm, a goal shared by Batman and Robin.
For story purposes, the character crossover seemed plausible as the Green Hornet and Kato added a touch of ‘urban realism’ to the quaint metropolis Gotham City. If the reverse happened, would Batman and Robin have seemed plausible in the Green Hornet’s domain, a tough metropolis, or just plain silly?
Of course, Bruce Lee played Kato just a few years before he skyrocketed to worldwide fame as a martial arts master.
Legend dictates that Bruce Lee ordered a fight scene between Kato and Robin be rewritten. Apparently, he didn’t agree with the original outcome: Bruce Wayne’s ward defeating Britt Reid’s valet.
Ultimately, the writers negotiated a fight ending in a draw. And therein lies a telling tale about the difference between Batman and The Green Hornet.
Only in the surreal world of Batman, could one entertain the possibility, the mere fleeting thought, that Bruce Lee would encounter any difficulty in defeating the Boy Wonder.
david@davidkrell.com
In the superhero multiverse, Batman and the Green Hornet parallel each other.
First, they’re not really superheroes. As mortals, they rely on cunning, logic, and detective work to solve crimes.
With a little help from younger sidekicks of course. Robin and Kato.
Second, their alter egos of Bruce Wayne and Britt Reid enjoy extreme wealth thanks to family fortune. The Reid fortune is based on a silver mine once owned by Britt Reid’s great-uncle, also known as the Lone Ranger!
The Wayne portfolio grew from the success of Bruce Wayne’s parents. Dr. and Mrs. Wayne.
Wealth allows Britt and Bruce to buy or invent high-tech gadgets, weapons, and cars. The Black Beauty for Mr. Reid. And the Batmobile for Mr. Wayne.
Third, Batman and the Green Hornet had 1960s television series built around their characters.
Batman had several elements unique to it.
Visual. Batman had a pop art look and reinforced the character’s visual roots in the comic book medium.
Cameos. Batman had a different celebrity open a window while the Dynamic Duo scaled a building. Dick Clark, Sammy Davis, Jr
Story structure. Batman used a formula in its two-part stories. The first part would end with a cliffhanger and the narrator teasing the audience to tune in tomorrow…same bat-time, same bat-channel.
Ed Robertson examined the formula in a two-part article for the Batman Television Series Fan Club Newsletter. Holy Simulacrum, Batman, Part One appeared in Volume 2, Number 3 in 1990 and Part Two appeared in Volume 3, Number 1 in 1991.
The Green Hornet, however, functioned primarily as a straightforward detective show.
Updated for the 1960’s, Britt Reid owned a television station, DSTV, in addition to The Daily Sentinel newspaper.
Reid’s wealth, status, and power allowed him to investigate crimes without arousing suspicion, later busting criminals as the Green Hornet.
After Batman debuted to great success in January of 1966, William Dozier capitalized on the Caped Crusader’s popularity by also producing The Green Hornet. The show debuted on Friday, September 9, 1966 at 7:30pm on ABC.
The scheduling was logical because Batman occupied the same time slot on Wednesdays and Thursdays.
Because it was straight rather than camp, The Green Hornet lacked the quirkiness, novelty, and appeal of Batman. No accident, this creative decision.
Van Williams played Britt Reid and he wanted to play a character, not a caricature.
On the public access show Welcome To Hal-Land in the early 1990s, Van Williams paid tribute to the Green Hornet’s beginnings on radio in the 1930’s.
He said, I told Dozier before I ever did the show, it was going to be straight. It wasn’t going to be the whip-wham-bam-zam that they did with the other thing. The Green Hornet was a successful radio show. We really had to follow that format.
Like its radio version, The Green Hornet villains were based in political corruption, graft, and business.
No outrageous costumed villains like the Riddler, the Joker, or the Penguin.
No seductresses like Catwoman or Siren.
No funny names like Louie the Lilac or Bookworm.
Just good, old-fashioned hero vs. bad guys stuff.
The detective genre utilized in The Green Hornet was familiar, whereas Batman offered something different, to say the least.
In addition, Batman used current pop culture elements. Hard to imagine the Green Hornet surfing or parodying the latest dance craze.
Perhaps the Batman / Green Hornet crossover best illustrates the difference between the two programs. In the Batman episodes A Piece of the Action and Batman’s Satisfaction, the Green Hornet and Kato visit Gotham City to apprehend Colonel Gumm, a goal shared by Batman and Robin.
For story purposes, the character crossover seemed plausible as the Green Hornet and Kato added a touch of ‘urban realism’ to the quaint metropolis Gotham City. If the reverse happened, would Batman and Robin have seemed plausible in the Green Hornet’s domain, a tough metropolis, or just plain silly?
Of course, Bruce Lee played Kato just a few years before he skyrocketed to worldwide fame as a martial arts master.
Legend dictates that Bruce Lee ordered a fight scene between Kato and Robin be rewritten. Apparently, he didn’t agree with the original outcome: Bruce Wayne’s ward defeating Britt Reid’s valet.
Ultimately, the writers negotiated a fight ending in a draw. And therein lies a telling tale about the difference between Batman and The Green Hornet.
Only in the surreal world of Batman, could one entertain the possibility, the mere fleeting thought, that Bruce Lee would encounter any difficulty in defeating the Boy Wonder.