Hollywood360 Radio

View Details

What a great movie for families with a strong message for all, ‘Kindness Wins!’ During the Viking Age, in he opening scene on the Island of Berk, we are introduced to a young teenage boy named Hiccup (MasonThames), the son of the Viking chief (Gerard Butler). The elders hunt the dragons as they wreak havoc ontheir village. Teens are taught to kill dragons at the Berk Dragon Training Academy, as young Vikings also learn about dragon training. This academy transitions from focusing on fighting and slaying dragons to training them in film. The main human character is a teenage boy named Hiccup, who is not comfortable killing dragons; in fact, he befriends a dragon named Toothless and hides it from others.

Hiccup (Mason Thames) and Astrid (Nico Parker) DreamWorks Animation and Marc Platt Productions and distributed by Universal Pictures.

We cringe at times, as Hiccup has a significant burden to carry, being the son of the Viking chief, and he’s uncomfortable with his expected duties. Hiccup Horrendous Haddock III is his full name. His age is 16, and he has become a recluse as he learns blacksmithing from Gobber; thus, tapping into his creative mind, he begins to invent mechanical devices to overcome his physical weakness. Again, this is why the film is so great, as it teaches kids and teens to use their creative abilities to solve problems. We see him construct different saddle designs as well as devices such as wings for the dragons to fly faster and into the narrow surroundings.

Viking chief (Gerard Butler) DreamWorks Animation and Marc Platt Productions and distributed by Universal Pictures.

I’ve always been a fan of strong female characters, and Astrid is a competitive, tough, and outspoken character who is extremely loyal to her cause and those she cares about. She’s described as quick-thinking, intelligent, and resourceful, and she values skill, strategy, and precision. A natural leader and strategist, and is second in command at the Berk Dragon Academy. She’s a talented dragon trainer whose expertise is in the Deadly Nadders variety. She’s considered the best warrior in her class. Here, she wears French braids and colorful clothes. She is Hiccup’s love interest and cares about him deeply; she listens to him, although at times, she shakes her head at his unorthodox methods.

On a side note, if any of you are interested in the time period in which the Viking Age occurred, here are some facts. The Viking Age is generally considered to have lasted from 793 to 1066 CE. It began with the attack on the Lindisfarne monastery in 793 and effectively ended with the Battle of Stamford Bridge in 1066, which resulted in the death of the Norwegian king Harald Hardrada, often regarded as the last prominent Viking leader. This period is characterized by Scandinavian seafarers raiding, trading, and settling in various parts of Europe. I’ll be visiting Scandinavia in three weeks and plan to visit the Viking Ship Museum in Oslo, Norway. Stay tuned for updates.

I can’t rave about this movie enough, as it’s great for so many reasons. The storylines are strong, showing creativity, resourcefulness, and leadership. Both Mason Thames and Gerard Butler are great in their roles. I loved the line that’s said to Hiccup: “It’s not what you think you look like on the outside, it’s what’s inside. So stop trying to be someone you’re not.

Additionally, the movie’s scenery is gorgeous, thanks to the very detailed set designs. The flying scenes, featuring people and dragons, are breathtaking and very realistic; you can almost feel the wind blowing on your face. It’s a feel-good, heartfelt movie that’s wonderful for the entire family.

Sarah Knight Adamson© June 15, 2025

Hollywood 360 Radio podcast will post after it airs this week.

View Details

https://www.hollywood360radio.com/wp-content/uploads/2025/06/lilo-and-stitch.mp3Lilo (Maia Kealoha) in Disney’s live-action LILO & STITCH. Photo by Matt Kennedy. © 2025 Disney Enterprises Inc. All Rights Reserved.

Have your kids ever struggled with finding a best friend? In the heartwarming live-action remake of “Lilo & Stitch,” we learn how a young girl’s dreams come true when she sees an alien friend named Stitch. The movie is the live-action remake of the 2002 carton version created by Disney animator Chris Sanders. Here’s the very cool part: Sanders is the voice of Stitch! He made a gamble at the time with a budget of 80 million, and the 2002 movie went on to make over $273.1 million worldwide. Due to the success of the movie, three sequel films were produced, as well as several television series, books, and toys.

The live-action rendition of “Lilo & Stitch” is a faithful remake of the 2002 film, with only a few minor additions. For those new to the character of Stitch, he’s an alien created illegally through a genetic experiment. He escapes the Galactic Federation and crashes on Earth; Stitch wakes up in a dog rescue center. The main problem with adopting Stitch and bringing him into a family is that he was designed to be mischievous, and his primary function is to destroy everything he touches. He is bulletproof, fireproof, shockproof, and can think faster than a supercomputer.

At the center, Stitch convinces six-year-old Lilo Pelekai (Maia Kealoha) to adopt and bring him home. Stitch and Lilo have a great time getting to know each other. Although his pranks are harmless, they don’t look like great parenting for Lilo’s older sister, Nani (Sydney Elizabeth Agudong), as she may lose her guardianship as she’s being monitored. Also, there’s the threat of Agent Pleakley (Billy Magnussen) and Stitch’s creator, Dr. Jumba Jookiba (Zach Galifianakis), who have traveled from space to retrieve him.

First and foremost, Hawaii is the perfect setting for “Lilo & Stitch,” as the swaying palm trees, beautiful beaches, and surfing are all delightful to view. The story is poignant as well as the sisters have lost their parents and are living on their own, with Nani trying to make money so they can survive. A great quote in the film is when Stitch says after living with the girls awhile: “This is my family. I found it all on my own. It’s little, and broken, but still good. Yeah, still good.” Both girls are great in their roles; Lilo has a vast amount of emotions to play, from total exaltation to extreme sadness. Nani plays concerned and worried, as well as shocked and awed by Stitches’ antics she observes.

his enjoyable, fast-paced, family-friendly gem is for all to enjoy; that probably explains why the girls seated next to me were in their early 20s.’

@Sarah Knight Adamson June 13, 2025 Lilo&StitchSBP

View Details

NEWSLETTER | VOL. 51, July 2025 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHello everyone! Here’s the Hollywood 360 newsletter, July 2025 / Vol. 51. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. The week of July 5th, we’ll broadcasting a chilling episode of Inner Sanctum hosted by Paul McGrath (pictured here). Other great radio shows scheduled for July include: Philo Vance, Detective, The Bickersons, The Six-Shooter, The Adv. of Sam Spade, Detective, Chandu the Magician, The Mysterious Traveler, The Shadow, Gunsmoke, Duffy’s Tavern, Fibber McGee & Molly and many others. Thank you for helping to keep these amazing radio programs alive! Stay safe. Blessings, Carl Amari INNER SANCTUM MYSTERY by Carl AmariDid you know that radio series have persisted into the age of podcast?By the early 1960s, most listeners had turned to watching television. But in the 1970s, a few radio dramas returned — Rod Serling’s The Zero Hour and General Mills Radio Adventure Theater. National Public Radio produced radio treatments of Star Wars and The Hitchhiker’s Guide to the Galaxy.

CBS Radio Mystery Theater originally aired from 1974 until 1982 and produced 1,399 episodes. Hosted by E.G. Marshall and Tammy Grimes, it was created by the legendary radio producer Himan Brown. Each episode opened and closed with the ominous sound of a creaking door slowly opening at the beginning of each broadcast and slowly closing at the conclusion.

Brown first used this sound effect on his earlier horror series Inner Sanctum Mystery, whichran 511 episodes between 1941 and 1952. The squeaking, creaking door became the trademark for both shows, ushering radio listeners into a terrifying domain.

CBS Radio Mystery Theater ran weeknights in 45-minute installments and was pitched originally as a bit of nostalgia for old-time radio buffs. The show soon attracted younger listeners caught up in the ’50s nostalgia fad inspired by the movie American Graffiti.

Years ago, I had the great pleasure of dining with Himan Brown in New York and we talked, at length, about both series. “A door to a basement studio groaned and creaked whenever anyone opened it, so I decided to make that door a star,” Himan said.

Inner Sanctum Mystery gave its audience a weekly diet of thrills, chills and black humor. Screen icons Boris Karloff, Peter Lorre, Raymond Massey, Lon Chaney, Jr. and many others with the necessary sepulchral tones appeared before the microphone, their creepy voices projected into listeners’ homes through a glowing radio speaker.

The celebrated boogeyman of Inner Sanctum Mystery was Raymond Edward Johnson, a horror host with a unique delivery that set him apart from other show hosts. His standard introduction on every episode included ghoulish jokes with a sinister chuckle. “We received hundreds of letters each week from listeners and soon learned that fans of the show were more drawn to the host than the creepy stories” said Brown.

I asked Himan who the biggest star to appear on Inner Sanctum Mystery was. He said that that he once cast Frank Sinatra in a 1949 Christmas broadcast. The future Chairman of the Board portrayed Sir Benjamin, a mischievous Yuletide ghost.

LEND ME YOUR EARS by Lisa WolfCRAZY LOVE, by Van MorrisonRELEASED: 1970Watch On YouTube

“Crazy Love” is by Van Morrison, released in 1970 on his breakthrough album Moondance. Known for its soft acoustic sound, the song reflects Morrison’s blend of soul, folk, and rhythm and blues. It has become one of his most recognized and widely used songs in popular culture.

Van Morrison, born in Belfast, Northern Ireland, started his music career in the 1960s with the band Them, known for hits like “Gloria.” He launched a solo career soon after, gaining attention for his songwriting. His 1968 album Astral Weeks was critically praised but not commercially successful. That changed with Moondance in 1970. “Crazy Love” was part of that shift. The lyrics describe someone finding peace and strength in their partner’s love, with lines like “She gives me love, love, love, love, crazy love.”

The song has been featured in various films and TV shows, including Phenomenon (1996) and Parenthood (1989), and The Wedding Crashers (2005) helping introduce it to new generations. It’s also been covered by artists like Ray Charles (with Van Morrison) and Michael Bublé.

Watch On YouTube

Ray Charles: Crazy Love, with Van Morrison

HOLLYWOOD 360 Broadcast Schedule for July 2025 (episodes subject to change): 7/5/25

PHILO VANCE, DETECTIVE 7/12/49 The One Cent Murder Case w/ Jackson Beck

X MINUS ONE 3/7/56 A Gun for Dinosaur w/ Alistair Duncan

THE BICKERSONS 7/10/51 Gooseby Vacation w/ Don Ameche and Frances Langford

INNER SANCTUM 1/15/46 The Edge of Death w/ host, Paul McGrath

THE SIX-SHOOTER 12/27/53 Cora Plummer Quincy w/ James Stewart

7/12/25

THE RED SKELTON SHOW 11/25/41 Types of Drivers w/ Red and all his gang

STRAIGHT ARROW 3/16/50 The Carpetbag w/ Howard Culver

THE ADV. OF SAM SPADE, DETECTIVE 1/26/51 The Chateau McCloud Caper w/ Steven Dunne

CHANDU, THE MAGICIAN 8/9/50 The Dress Designer w/ Tom Collins

THE MYSTERIOUS TRAVELER 5/11/48 I Won’t Die Alone w/ Maurice Tarplin

7/19/25

THE SHADOW 2/2/41 Nightmare at Gallberry w/ Bill Johnstone

THE ADV. OF PHILIP MARLOWE 3/5/49 The Friend From Detroit w/ Gerald Mohr

GUNSMOKE 3/26/55 Horse Deal w/ William Conrad

THE SPIKE JONES SHOW 11/7/47 w/ guest, Jan August

THE VOYAGE OF THE SCARLET QUEEN 10/9/47 The Tattooed Beaver and Baby Food for Pare Pare w/ Elliott Lewis

7/26/25 (Labor Day)

DUFFY’S TAVERN 5/9/44 w/ Ed “Archie” Gardner and guest, Adolph Menjou

THE BLACK MUSEUM 1950s The Canvas Bag w/ Orson Welles

FIBBER McGEE & MOLLY 4/1/41 Molly Leaves a Fender w/ Jim and Marian Jordan

MR. & MRS. NORTH 12/9/47 Call Me Chu-Chu w/ Joseph Curtain and Alice Frost

FRONTIER GENTLEMAN 11/9/58 Holiday w/ John Dehner

TO RECEIVE A WEEKLY EMAIL (EVERY MONDAY) WITH THE FULL 5-HOUR HOLLYWOOD 360 SHOW AND 40-MINUTE RADIO RARITIES PODCAST VIA DIGITAL DOWNLOAD LINKS THAT NEVER EXPIRE, LOG ON TO: https://www.hollywood360radio.com/product/hollywood-360-weekly-podcast-subscription/

View Details

https://www.hollywood360radio.com/wp-content/uploads/2025/06/1-karate-kid-legends.mp3The popular martial arts drama movie “Karate Kid: Legends” (PG-13) is now playing in theaters. It’s the sixth installment of the ‘Karate Kid’ franchise, continuing the story from the 2010 film “The Karate Kid” and the 2018 television series “Cobra Kai.” I’m excited to share that the talented Jackie Chan, whom I had the pleasure of interviewing in Chicago a few years ago, reprised his role as a Kung Fu trainer.

Jackie Chan “Karate Kid” April 2010, Chicago, Photo Credit: Sarah Knight Adamson

Newcomer Ben Wang stars as the new karate kid, Li Wen, who is both a skilled fighter and an endearing young man. The film is enjoyable primarily due to its cast. An amusing aspect is that Li is referred to as the “Chinese Peter Parker,” and I can easily envision him in a role similar to that of Tom Holland in “The Karate Kid.” The supporting cast is also strong; Li’s mother, played by Ming-Na Wen, is unhappy about her son’s karate training and fears that he might compete in a match. We learn that she lost a son in a fight years ago, which adds depth to her character. After moving from China to New York City, she hopes that Li’s fighting days are behind him.

Sony Pictures Karate Kid: Legends” 2025

The film begins with a scene from “The Karate Kid Part II,” featuring the wise Mr. Miyagi, played by Pat Morita, as he shares his family’s karate journey with his student, Daniel LaRusso, portrayed by Ralph Macchio. This scene is expanded to highlight that Miyagi-go karate is also influenced by kung fu.

“The Karate Kid” April 2010, Chicago, Sarah_Knight_Adamson_reporting_Photo Credit: Sarah Knight Adamson

Early in the film, Li encounters Mia, played by Sadie Stanley, a local girl who works with her father, played by Joshua Jackson, a former kung fu fighter who now owns a pizzeria. Li assists Mia in delivering pizzas, which does not sit well with Mia’s ex-boyfriend, the former city karate champion.

The film is quite predictable, as it’s clear early on that it will culminate in a kung fu match with the protagonist’s nemesis, which serves as the central theme. However, I actually enjoyed these scenes, particularly because they were filmed on a rooftop with a stunning view of New York City. I also appreciated the appearance of William Zabka, the former Cobra Kai star who played Johnny Lawrence near the end of the film. It left me wondering if there might be another film featuring Zabka. While “Karate Kid: Legends 2” has not been confirmed, it could potentially be released in the next couple of years.

Sarah Knight Adamson© June 3, 2025

View Details

https://www.hollywood360radio.com/wp-content/uploads/2025/06/1-mission-impossible-the-final-reckoning.mp3We’ve waited two years for the second half of the latest Mission: Impossible adventure, starring the daredevil stuntman Tom Cruise as Ethan Hunt. I can confidently say that it has been worth the wait. Picking up where ‘Dead Reckoning’ ended, Ethan Hunt has an enormous mission to complete as The Entity, a powerful AI’s whose goal is to take over the world and destroy it. Not to worry, as you’ll also see his signature full-speed running several times during the film with his elbows bent to a 90-degree angle, pushing him forward.

Angela Bassett, Paramont Pictures

The stunt work is awe-inspiring here, as you’ll be wowed by the biplane sequence featured in the trailers, although you’ll have to wait a bit as it’s near the end. The runtime is a little long, as I thought. Near the middle of the film, it dragged, especially with the lengthy submarine scenes; however, the second time I saw the movie, it didn’t seem as long. It’s refreshing to see strong, significant women in roles such as Angela Bassett, who delivers a fabulous performance as the no-nonsense U.S. president and has a good amount of screen time. I also enjoyed Haley Atwell as Grace; she adds a softness to the more intense scenes and excels in hand-to-hand combat, which was challenging and entertaining to watch. Lastly, I must mention Pom Klementieff, who plays a blonde character that adds much-needed humor to the film. I always enjoy her performances, as she brings a quirky charm to her roles in both films.

There are other comical lines, one that the always great Simon Pegg, who plays Benji, makes a joke about “Going Nuclear,” which garnered a good laugh from the audience. He’s always helpful as the problem solver and Ethan’s loyal friend. Luther (Ving Rhames), a tech genius, works on problem-solving to save the planet from destruction. Last but not least, the villain is Esai Morales, who plays Gabriel, a debonaire cipher whose relationship to the evil AI remains puzzling. We wonder if the Entity has brainwashed Gabriel into devoting his life to working as its embodied human representative. Or is he attempting to take it for himself? A line from the film regarding the technology is described as a truth-eating digital parasite. Morales effectively portrays this villain, making him interesting to watch as he delivers his lines with a glint of mischief in his eye.

Once again, Tom Cruise brilliantly brings his character full circle as we see him navigate through various challenging situations, always managing to find a way out. That’s the excitement of these films: Cruise is repeatedly faced with circumstances that would typically be lethal for anyone else, yet he finds inventive solutions. I also appreciated the musical score composed by Max Arui and Alfie Godfrey in this installment. The jaw-dropping scene featured in the trailer—a thrilling aerial chase where Cruise first clings to the outside of a World War II-era biplane as it takes off, then leaps to a second biplane piloted by the Entity’s collaborator, Gabriel—truly makes the film worth seeing.

Sarah Knight Adamson© June 3, 2025

View Details

NEWSLETTER | VOL. 50, June 2025 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHello everyone! Here’s the Hollywood 360 newsletter, June 2025 / Vol. 50. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. The week of June 14th, we’ll broadcasting an episode of Have Gun-Will Travel starring John Dehner (pictured here). Other great radio shows scheduled for June include: Barrie Craig-Confidential Investigator, Dimension X, Hopalong Cassidy, The Adv. of Ozzie & Harriet, Richard Diamond-Private Detective, Escape, The Adv. of Nero Wolfe, Suspense and Broadway Is My Beat. Thank you for helping to keep these amazing radio programs alive! Stay safe. Blessings, Carl Amari *HAVE GUN-WILL TRAVEL*Starring John DehnerHave Gun-Will Travel followed the adventures of Paladin, a soldier of fortune-turned-hired gunfighter, played by John Dehner. Paladin preferred to settle problems without violence, yet, when forced to fight, excelled. He lived at the swanky Carlton Hotel in San Francisco, where he dressed in formal wear, ate gourmet food, attended the opera and enjoyed the company of beautiful women. When working as a gun-for-hire, he dressed in all black, used calling cards and wore a holster, decorated by a characteristic chess knight emblem. The knight symbol was in reference to his name and his occupation as a champion-for-hire. One of radio’s best-loved Westerns, Have Gun-Will Travel lasted on radio until 1960 and was televised from 1957 through 1963.

Help us save the classic radio series FAVORITE STORY hosted by Ronald Colman. We only have until June 13th to raise the funds necessary to transfer all 118 episodes of Favorite Story. We hope you’ll consider pledging to help us meet our funding goal and if so, you’ll receive all 118 episodes of Favorite Story via digital download or on 59 audio CDs.

When you pledge we will not charge your credit card unless we hit our funding goal. So to be clear, if we do not hit our funding goal, you will be charged nothing. Time is of the essence. Please help us save this prestigious series. We have all 118 master transcription discs of Favorite Story from producer Frederic W. Ziv’s personal archives. They’ve been stored in a temperature-controlled warehouse for more than 75 years. We are standing by to professionally transfer these recordings and preserve them for generations to come. Please help us reach our funding goal and as a thank you, you’ll be sent all 118 episodes, including fully-dramatized episodes of Little Women, Jane Eyre, Huckleberry Finn, Dr. Jekyll and Mr. Hyde, A Tale of Two Cities, Gulliver’s Travels, Withering Heights, David Copperfield, Moby Dick, Frankenstein, Alice in Wonderland, Oliver Twist and many more Favorite Story episodes! Click here to be taken to our FAVORITE STORY Kickstarter page to learn more about this series and how to pledge. BTW – If you missed out on our other Kickstarter campaigns, you can receive the complete runs of BOLD VENTURE, BOSTON BLACKIE and I WAS A COMMUNIST FOR THE FBI at this page:https://www.kickstarter.com/projects/boldventure/favorite-story-w-ronald-colman-118-radio-programs-complete LEND ME YOUR EARS by Lisa WolfSISTER GOLDEN HAIR, by AmericaRELEASED: 1975Watch On YouTube

Gerry Beckley remembered writing the song by starting with the first line: “Well I tried to make it Sunday, but I got so damn depressed”

Sister Golden Hair by America was written by band member Gerry Beckley. The song blends soft rock and folk music, with its catchy melody and smooth harmonies. It quickly became a favorite on the radio, reaching No. 1 on the Billboard Hot 100 chart for a week.

The song tells the story of a man who is reflecting on a past relationship and expressing his desire for the woman he loves to come back. Today, Sister Golden Hair continues to be loved by fans new and old. It often appears in movies, TV shows, and commercials, including a 2001 episode of The Sopranos, “Another Toothpick.” The song also appears in the movies Cherish (2002), Radio (2003) and All the Boys Love Mandy Lane (2006).

The success of Sister Golden Hair helped solidify America’s place in music history. The band gained popularity with hits like A Horse with No Name and Ventura Highway. Sister Golden Hair was part of their Holiday album. While America’s commercial success peaked in the 1970s, Sister Golden Hair remains their most well-known track.

HOLLYWOOD 360 Broadcast Schedule for June 2025 (episodes subject to change): 6/7/25

BARRIE CRAIG-CONFIDENTIAL INVESTIGATOR 8/24/54 Blood Money w/ William Gargan

THE BING CROSBY SHOW 11/2/49 w/ Bing Crosby and guest, Bob Hope

CRIME CLASSICS 7/20/53 The Death of a Picture Hanger w/ Lou Merrill

DIMENSION X 7/21/50 Beyond Infinity w/ host, Norman Rose

HOPALONG CASSIDY 6/23/51 Run, Sheep, Run w/ William Boyd

6/14/25 (Father’s Day)

THE ADV. OF OZZIE & HARRIET 1/22/54 PTA Treasurer w/ Ozzie and Harriet Nelson

THE GREAT GILDERSLEEVE 6/21/42 Father’s Day Chair w/ Hal Peary

MR. CHAMELEON 11/3/48 The Case of the Fatal Impersonation w/ Karl Swenson

HAVE GUN-WILL TRAVEL 2/8/59 The Killer’s Widow w/ John Dehner

THE WEIRD CIRCLE #11 A Passion in the Desert w/ Philip Clarke

6/21/25

RICHARD DIAMOND-PRIVATE DETECTIVE 7/26/53 The Mona Lisa Murder w/ Dick Powell

THE ADV. OF RED RYDER 3/3/42 Trouble at Bouillon Bend w/ Reed Hadley

THE STAN FREBERG SHOW 10/13/57 Ep. #14 w/ Stan Freberg and all his gang

ESCAPE 4/11/48 The Brute w/ Parley Baer

THE NEW ADV. OF NERO WOLFE 1/12/51 The Case of the Killer Cards w/ Sydney Greenstreet

6/28/25 (Independence Day)

LIFE WITH LUIGI 7/4/50 July 4th Parade w/ J. Carroll Naish

THE CAVALCADE OF AMERICA 7/3/44 My Friend McNair w/ Jose Ferrer

THE CBS RADIO WORKSHOP 6/30/57 Battle at Gettysburg w/ Raymond Burr

BROADWAY IS MY BEAT 6/23/50 Ruth Larson w/ Larry Thor

SUSPENSE 10/4/45 Death on Highway 99 w/ George Murphy

View Details

https://www.hollywood360radio.com/wp-content/uploads/2025/05/1-the-residence.mp3I truly believe a star has been born in the Netflix TV-MA rated series “The Residence” starring Uzo Aduba as Cordelia Cupp a consultant with the Metropolitan Police Department. Yes, she’s that remarkable and steals every scene she’s in. To some up her demeaner, she’s highly intuitive, brilliant and unconventional. Yes, a perfect combination for an engaging detective character.

Courtesy of Netflix 2025

“The Residence” is based on the book written by Kate Anderson Brower “The Residence: Inside the Private World of the White House.“ Uzo Aduba as Cordelia Cupp and co-star Randal Park as an FBI Special Agent try to solve the death of the Chief butler, (Giancarlo Esposito) who dies during a state White House dinner. The entertainment for the evening is provided by Kylie Minogue the ‘Pop Princess‘ of Australia as she plays herself.

Yes, it’s the United States White House which actually has enough screen-time to be a ‘character‘ in this who-dunnit, comedy-drama 8 Episode series. The engaging cast of suspects and characters, such as Susan Kelechi Watson, Lilly Schumacher, and Ken Marino, are also co-stars. I enjoyed this Clue-themed series located in the White House, as we acquire a bird’s eye view of the 132 rooms and the complicated staff that it takes to manage the ultra-mansion. The mixture of humor is excellent, as the lightheartedness of the show rings loud and clear. Cordelia Cupp is an intelligent and very intuitive character who is, oh, so much fun to watch.

The Residence can be described as a whacky Clue-like mystery, or Rian Johnson’s “Knives Out“ set in the upstairs, downstairs, and backstairs of the White House, among the eclectic staff of the world’s most famous mansion. Fans of “Only Murders in the Building,“ will be instantly captivated by the murder mystery and fascinated with the characters, all starting with the quirky Cordelia Cupp. The whole series plays like Agatha Christie mixed with White Lotus humor. It’s satire at its best, with unique characters, each with their own quirks and secrets, that offer a little something for everyone.

Sarah Knight Adamson© May 4, 2025

View Details

https://www.hollywood360radio.com/wp-content/uploads/2025/04/1-the-amateur.mp3I’m a huge fan of Rami Malek’s work, as his Academy Award-winning portrayal in “Bohieman Rapsady’s ( 2018) as Freddy Mercury was fantastic. Rami knows how to embody a character and make it his own. In “The Amateur,” (2025) his role is that of a somewhat nerdy tech guy thrown into the world of espionage—again, Malek is highly believable. Based on the book of the same name by Robert Littell, here, he is out for revenge as he witnesses his wife’s death in a supposed terrorist attack.

At the CIA’s Decryption and Analysis division, Charlie’s friend, a field agent, has access to classified files that reveal information he needs to track down her exact killer or killers. Soon, Charlie grieves and bestows his own conclusions, and his mission for revenge continues. We view numerous flashbacks of Sarah’s killing as she was taken hostage. Using his extremely classified documents, he identifies the suspects — Belarusian criminal Mishka Blazhic, South African ex-special forces operative Ellish, former Armenian intelligence officer Gretchen Frank, and obscure architect Horst Schiller, Sarah’s killer. The entire film is centered on Rami’s determination, despite the odds, to find the killer and shoot him.

20th Century Fox Studios “The Amateur”It’s actually not easy to carry an entire film on your own, yet Rami is spot-on in his performance. The flashbacks of their lives together add soft touches to this tragically sad film. Rami pleads with the CIA to train him; he demands to have resources to hunt down all four attackers. Of course, they try and reason with him, although to no avail. Even though Director Alex Moore camouflaged this politically motivated drone strike as a suicide bombing, they agreed to his demands and watched every move he made.

With outstanding actors Laurence Fishburne, Jon Bernthal, and Rachel Brosnahan, the film also takes us on a worldwide excursion to Marseille, Istanbul, and Madrid. It’s a wild ride with fantastic set pieces; check out the trailer with the hotel’s night-lite glass rooftop pool as the rigged scuba equipment decompresses the air between the pool’s sheets of glass. Yes, it shatters the glass and sends the person nosediving to an automatic death.

Again, Rami makes the role his own and is very believable. The film could have been shorter, as a few scenes could have been condensed although director James Hawes had different ideas. If you’re looking for a spy thriller, then “The Amateur” is for you!

Sarah Knight Adamson© April 24, 2025

View Details

https://www.hollywood360radio.com/wp-content/uploads/2025/04/1_the-penguin-lessons.mp3“The Penguin Lessons” is the true story of ‘Thomas Mitchell,’ played by the remarkable English and Irish actor Steve Coogan. He’s a grieving, burned-out 50-something British High School teacher in Argentina in the year 1976, during a government dictatorship. Tom lives in St. George’s, a boarding school for wealthy children, where he teaches his students English daily. Despite his sadness, he discovers hope and healing through an unexpected friendship with a wounded penguin.

Steve Coogan stars in “The Penguin Lessons” Lionsgate PhotoI enjoyed watching this slowly paced film that keeps its secrets until the very end. Believe me, by doing so, we become intrigued and are all the more drawn in by studying Tom’s every nuance. So many questions. Why did he leave England? Why the dour demeanor? Why live in Argentina whilst during a military coup, with tens of thousands of citizens who are taken away and then simply disappear?

Steve Coogan and Jonathan Pierce in “The Penguin Lessons” Lionsgate PhotoTom’s boss (Jonathan Pryce) is an irritable administrator who wants to keep the revolution outside the school’s walls and away from the male students as they are children of wealthy Argentinians. The job isn’t easy as muffled gunshots can be heard over the walls and the school’s maintenance and cleaning staff, who are locals, arrive daily with reports of new brutalities outside.

As Tom’s first semester at the school ends it appears that he or his students are inspired to learn. In a random moment, he decides to go to Paraguay for a weekend vacation with a co-worker, his science teacher friend Tapio, played by Björn Gustafsson. What seemed like a great start in meeting a lovely woman with whom he’d like to get to know better, turned into her leaving him after they rescued a penguin coated with oil from an offshore spill that was nearly dying. Next, she’s leaving, and he’s stuck with a penguin who won’t stop following him.

The scenes of Tom trying to smuggle the penguin back across the border, then sneaking him into his apartment on the school grounds, and most comical of all finding ways to keep him quiet during the day are madcap and aptly silly. Coogan’s at his best: the poker-faced, uptight Brit struggling to soldier through the most outrageous and sometimes humiliating situations with a dignified stiff upper lip. Obviously, he can only keep his penguin buddy a secret for long, and when he does make an appearance in his everyday life, it’s pure joy.

The film delves into the many subplots, although every time his penguin is on-screen, you can’t help to be amused. Be sure to stay for the ending credits, as you’ll see a 1970s clip of Tom’s penguin swimming in his outdoor pool. I enjoyed this heart-warming film that teaches kindness, empathy, and caring.

Director: Peter Cattaneo

Screenplay: Jeff Pope

Sarah Knight Adamson© April 13, 2025

View Details

NEWSLETTER | VOL. 49, May 2025 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHello everyone! Here’s the Hollywood 360 newsletter, May 2025 / Vol. 49. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. The week of May 31st, we’ll broadcast an episode of Boston Blackie starring Dick Kollmar and Maurice Tarplin (pictured here from the Mutual WOR radio studios in New York). This radio episode we’ll be airing came directly from Frederic W. Ziv’s personal 16 inch transcription disc master (Ziv was the producer and syndicator of the series). Other great radio shows scheduled for May include: The Dean Martin & Jerry Lewis Show, Lights Out!, Life With Luigi, Blondie, Mr. Keen-Tracer of Lost Persons, Bold Venture, Dragnet, Suspense, The Whistler, The Man Called X and an hour long episode of Dick Tracy in B-Flat on Command Performance starring Bing Crosby, Frank Sinatra, Dinah Shore, Jimmy Durante, Bob Hope and many others! Thank you for helping to keep these amazing radio programs alive! Stay safe. Blessings, Carl Amari

BOSTON BLACKIE by Carl Amari and Martin Grams The character of Boston Blackie was created by Jack Boyle in a series of short stories beginning in 1914. Blackie was a former safecracker who was rehabilitated while serving time and used his knowledge of the underworld to fight crime as an amateur detective.

Known as an “enemy to those who make him an enemy, friend to those who have no friend”, Blackie’s exploits were successfully adapted to films, radio and television. In 1941, Columbia Pictures launched a highly successful series of B-movies starring Chester Morris. Because Blackie had a checkered past, the police tagged him for just about every unsolved crime committed in the big apple, requiring Blackie to solve the case before landing in jail.

NBC brought the character to radio in 1944 with Chester Morris reprising his screen role. Morris’ film commitments kept him from continuing his radio portrayal beyond one summer season, so in 1945, radio producer Fredrick W. Ziv retooled the entire cast. Ziv signed Broadway actor Richard Kollmar to the radio role of Boston Blackie. FYI: Kollmar was married to famed journalist and reporter Dorothy Kilgallen. Kollmar brought just the right amount of sarcastic wit and charm to the character, starring in more than 200 radio episodes produced between 1945 and 1950.

Ziv also produced a televised version starring likeable B-movie leading man, Kent Taylor. The television series was an extension of the movies and long-running radio show chronicling the adventures of the ex-crook with a heart of gold.

SUPER EXCITING NEWS FROM CARL AMARI:I licensed all 41 complete radio series produced by Frederic W. Ziv, the most prolific radio syndicator in history. All 10,000+ radio episodes have been preserved on Mr. Ziv’s personal 16 inch master transcription discs. So far, I’ve launched three different Kickstarter campaigns to raise the funds necessary to professionally transfer these 16 inch discs so that the complete series for each can be enjoyed for generations to come in brilliant sound quality!

If you have pledged to help save these important radio series, thank you! If not, feel free to learn about these three radio series and their campaigns by clicking the links below. All three of these Kickstarter campaigns were successful and are now closed. If you missed out on obtaining these complete radio series, call me to order them on audio CDs or via digital download links. FYI: The cost is slightly higher than the Kickstarter pricing. To order, call 1-815-900-7535.

Bold Venture (all 78 episodes)

https://www.kickstarter.com/projects/boldventure/bold-venture-complete-50s-radio-show-w-bogart-and-bacall

Boston Blackie (all 219 episodes – the Kickstarter says 218 but it is actually 219 episodes)

https://www.kickstarter.com/projects/boldventure/boston-blackie-radio-series-1945-49-w-dick-kollmar-complete

I Was a Communist for the FBI (all 78 episodes)

https://www.kickstarter.com/projects/boldventure/i-was-a-communist-for-the-fbi-the-complete-radio-series

WE ARE CURRENTLY WORKING ON FAVORITE STORY HOSTED BY RONALD COLMAN. You can help by pledging and receive all 119 episodes! Check out our Kickstarter Page by searching FAVORITE STORY KICKSTARTER in your search engine.

LEND ME YOUR EARS by Lisa WolfANGIE, by The Rolling StonesRELEASED: 1973“People began to say that song was written about David Bowie’s wife but the truth is that Keith wrote the title. He said, ‘Angie,’ and I think it was to do with his daughter. She’s called Angela. And then I just wrote the rest of it.” ~Mick Jagger

“Angie,” released in 1973 as the lead single from “Goats Head Soup,” stands as one of the Rolling Stones’ most beloved ballads. Built around Keith Richards’ acoustic guitar and Mick Jagger’s vocals, the song marked a departure from their harder rock sound.

Written primarily by Richards and recorded in Jamaica, “Angie” topped charts worldwide, reaching number one in the US, Canada, and Australia. Its commercial success helped propel “Goats Head Soup” to the top of album charts globally.

The song has maintained cultural relevance through appearances in films like Scorsese’s “The Departed” and TV shows including “The Americans.” The identity of the song’s namesake has sparked enduring speculation among fans and music historians. The most persistent theory suggests the song refers to David Bowie’s first wife, Angela, fueled by rumors of a Jagger-Bowie affair. Others believed it was written for Keith Richards’ daughter Dandelion Angela or actress Angie Dickinson, while some interpreted “Angie” as Richards’ metaphor for his heroin addiction. Richards finally addressed these theories in his 2010 autobiography “Life,” revealing that the name simply came to him while detoxing from heroin in Switzerland

Nearly fifty years later, “Angie” remains evidence of the Stones’ artistic versatility beyond their rock image, cementing its status as one of the finest ballads in rock music history.

HOLLYWOOD 360 Broadcast Schedule for May 2025 (episodes subject to change): 5/3/25

VE-DAY SPECIAL 5/8/45 w/ Bob Hope, Bing Crosby, Dinah Shore, Judy Garland and others!

THE DEAN MARTIN & JERRY LEWIS 1/25/52 w/ guest, Alexis Smith

FORT LARAMIE 4/29/56 Quince’s Capture w/ Raymond Burr

LIGHTS OUT! 4/6/43 Superfeature w/ Arch Oboler

THE RED SKELTON SHOW 12/2/41 Waking Up w/ Red Skelton and all his gang

5/10/25 – Mother’s Day

CURTAIN TIME 9/27/47 Grandmother Knew Best w/ Harry Elders and Nanette Sargent

LIFE WITH LUIGI 5/2/50 Sootho’s Cough Syrup w/ J. Carrol Naish

BLONDIE 1/26/49 Uncle Kermit’s Inheritance w/ Arthur Lake and Penny Singleton

KEEN, TRACER OF LOST PERSONS 4/23/52 The Mother’s Plea Murder Case w/ Phillip Clarke

WHISPERING STREETS 12/17/58 Ann Dillon w/ Cathy Lewis

5/17/25

COMMAND PERFORMANCE 2/15/45 Dick Tracy in B-Flat w/ Bing Crosby, Dinah Shore, Bob Hope, Frank Sinatra Pt. 1

COMMAND PERFORMANCE 2/15/45 Dick Tracy in B-Flat w/ Bing Crosby, Dinah Shore, Bob Hope, Frank Sinatra Pt. 2

BOLD VENTURE 5/28/51 Sailor Framed for Murder w/ Humphrey Bogart and Lauren Bacall

THE STAN FREBERG SHOW 10/6/57 Program 13 in the series w/ Stan Freberg and all his gang

DRAGNET 8/18/49 Sixteen Jewel Thieves w/ Jack Webb

5/24/25 – Memorial Day

THE CAVALCADE OF AMERICA 6/12/44 My Fighting Congregation w/ Brian Donlevy

PROUDLY WE HAIL 3/14/54 A Hole in the Ground w/ Larry Haines

THE MAN CALLED X 5/12/51 The Search for George Karloff w/ Herbert Marshall

THE LUM & ABNER SHOW 2/27/49 Who Called Lum? w/ Chester Lauck and Norris Goff

GANG BUSTERS 1/31/48 The Bandit Brothers w/ Gary Merrill

5/31/25

BOSTON BLACKIE 11/26/47 The Murdock Gang w/ Dick Kollmar

GUNSMOKE 3/19/55 The Mistake w/ William Conrad

THE SHADOW 2/1/42 The Return of Anatole Chevanic w/ Bill Johnstone

THE BURNS & ALLEN SHOW 1942 Hosting a Luncheon for her Club w/ George Burns and Gracie Allen

THE WHISTLER 11/27/49 Clever Mr. Farley w/ Gerald Mohr

View Details

NEWSLETTER | VOL. 43, November 2024 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHappy November everyone! Here’s the Hollywood 360 newsletter, November 2024 / Vol. 43. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. The first week of this month on Hollywood 360 we’ll feature the famous science-fiction story “A Saucer of Loneliness” written by Theodore Sturgeon on X Minus One from January 9, 1957 starring Elaine Rost (pictured). When a flying saucer is found in New York’s Central Park, the woman who receives a message from outer space refuses to say what it is. Everyone pressures her to reveal the message, but after all these years she’s finally got something that’s her very own. The story first appeared in Galaxy Science Fiction magazine February, 1953. It was adapted for X Minus One in 1957 and then again in 1986 (this time for TV) on Rod Serling’s The Twilight Zone starring Shelley Duvall. In 2004, “A Saucer of Loneliness” was nominated for a “Retro Hugo” for Short Story 1954 (Hugo Award for Best Short Story). It was also the title of the seventh book in the anthology series The Collected Short Stories of Theodore Sturgeon, published in 2000. Don’t miss this broadcast, it’s quite fascinating! Happy Thanksgiving!

X MINUS ONE, radio’s greatest series of adult science-fiction!By Carl Amari“X Minus One” was a half-hour science fiction radio series broadcast from April 24, 1955 until January 9, 1958 over NBC. Initially a revival of NBC’s “Dimension X” (1950-51), “X Minus One” is widely considered among the finest science fiction dramas ever produced for radio. The first 15 episodes were new versions of “Dimension X” episodes, but the remainder were adaptations by NBC staff writers, including Ernest Kinoy and George Lefferts, of newly published science fiction stories by leading writers in the field, including Isaac Asimov, Ray Bradbury, Philip K.

“X Minus One” was a half-hour science fiction radio series broadcast from April 24, 1955 until January 9, 1958 over NBC. Initially a revival of NBC’s “Dimension X” (1950-51), “X Minus One” is widely considered among the finest science fiction dramas ever produced for radio. The first 15 episodes were new versions of “Dimension X” episodes, but the remainder were adaptations by NBC staff writers, including Ernest Kinoy and George Lefferts, of newly published science fiction stories by leading writers in the field, including Isaac Asimov, Ray Bradbury, Philip K. Dick, Robert A. Heinlein, Frederik Pohl and Theodore Sturgeon, along with some original scripts by Kinoy and Lefferts. The program opened with announcer Fred Collins delivering a “Countdown for blastoff… X minus five, four, three, two, X minus one… Fire! From the far horizons of the unknown come transcribed tales of new dimensions in time and space. These are stories of the future; adventures in which you’ll live in a million could-be years on a thousand may-be worlds. The National Broadcasting Company in cooperation with Street and Smith, publishers of Astounding Science Fiction presents… “X Minus One.”

SPECIAL ANNOUNCEMENT: WE HAVE LAUNCHED OUR LATEST KICKSTARTER CAMPAIGN TO SAVE …I WAS A COMMUNIST FOR THE FBI starring Dana Andrews WE ONLY HAVE UNTIL NOVEMBER 22ND, 2024 TO RAISE THE FUNDS NECESSARY TO TRANSFER ALL 78 HALF-HOUR EPISODES. PLEASE HELP US SAVE THIS INCREDIBLE SPY/ACTION SERIES AND RECEIVE ALL 78 RADIO EPISODES (THE COMPLETE RUN) VIA DIGITAL DOWNLOAD LINKS OR ON 39 AUDIO CDS.

CLICK HERE FOR ALL THE INFORMATION AT OUR KICKSTARTER PAGE: VIEW THE PAGE

SPECIAL NOTE: BOLD VENTURE and BOSTON BLACKIE fans – THANK YOU – we saved both series!As most of you know, I have licensed the entire Frederic W. Ziv library of more than 10,000 original radio shows. Mr. Ziv was one of radio’s premiere radio producers and syndicators.

The Ziv library contains 41 different radio series including the entire runs of BOLD VENTURE, BOSTON BLACKIE, I WAS A COMMUNIST FOR THE FBI, PHILO VANCE, THE CISCO KID, MR. DISTRICT ATTORNEY, FAVORITE STORY and many more.

Mr. Ziv preserved these radio shows on “unplayed” 16 inch transcription discs, which have been stored in a climate-controlled warehouse for more than 60 years. If these episodes are not transferred, they will never be heard by the world.

We worked with Kickstarter to save the complete runs of two amazing radio series, BOLD VENTURE starring Humphrey Bogart and Lauren Bacall and BOSTON BLACKIE starring Richard Kollmar.

We have all 78 BOLD VENTURE radio episodes available for digital download ($250) or via 39 audio CDs ($300) and we also now have all 219 BOSTON BLACKIE radio episodes available via digital download ($500) or via 110 audio CDs ($775).

Every episode has been transferred directly from the master 16 inch disc for brilliant sound quality! To order, simple call me on my direct line 847-915-5510 or email me carlpamari@gmail.com with your phone number and I’ll call you to take your order. Thank you for helping to keep these theater-of-the-mind radio shows thriving! Sincerely, Carl Amari

LEND ME YOUR EARS by Lisa WolfTake It Easy, by the EaglesRELEASED: 1972 Watch On YouTube

Thanks to the line, “Standing on a corner in Winslow, Arizona,” music lovers have made this Southwest town a popular stop on their road trips. Winslow is on Route 40 in northern Arizona, making it a great place to stop if you’re traveling from California to New Mexico.

“Take It Easy,” The Eagles’ debut single, was released in May, 1972 and quickly became a defining song of the 1970’s rock era. Co-written by Jackson Browne and Eagles’ founding member Glenn Frey, the song encapsulates the laid-back, reflective vibe of the California rock scene.

The song’s creation has a storied history. Jackson Browne initially started writing “Take It Easy,” but struggled to complete it. Glenn Frey, his neighbor and friend, helped finish the lyrics, adding the famous line “It’s a girl, my Lord, in a flatbed Ford, slowin’ down to take a look at me.” This collaboration marked the beginning of the partnership between Browne and The Eagles.

Jackson Browne released his own version of “Take It Easy” on his second album, For Everyman, in 1973.

Watch On YouTube

HOLLYWOOD 360 Broadcast Schedule for September 2024 (episodes subject to change): 11/2/24

BOX THIRTEEN 9/12/48 Time for Drama Radio Show w/ Alan Ladd

THE BICKERSONS 3/2/47 Business Trip w/ Don Ameche & Frances Langford

ROCKY JORDAN 9/18/49 The Nile Runs High w/ Jack Moyles

THE STAN FREBERG SHOW 9/1/57 Episode 8 w/ Stan Freberg and all his gang

X MINUS ONE 1/9/57 Saucer of Loneliness w/ Elaine Rost

11/9/24 (Veteran’s Day)

THE BOB HOPE SHOW 1/5/43 w/ guest, Rita Hayworth

THE SCREEN DIRECTOR’S PLAYHOUSE 4/17/49 The Best Years of Our Lives w/ Dana Andrews

COMMAND PERFORMANCE 1/25/45 w/ Frank Morgan

THE BURNS & ALLEN SHOW 11/28/44 Philadelphia Bond Rally w/ George Burns & Gracie Allen

MAIL CALL 8/9/44 w/ Don Wilson, Frank Sinatra, Rudy Vallee and others

11/16/24

THE LIVES OF HARRY LIME 8/10/51 See Naples and Live w/ Orson Welles

JEFF REGAN, INVESTIGATOR 8/27/50 Gentleman Prefer Horses w/ Frank Graham

INNER SANCTUM MYSTERY 9/4/45 The Murder Profit w/ Wendy Barrie

THEATER FIVE 4/7/65 Mirror, Mirror on the Wall w/ Martha Scott

THE GREAT GILDERSLEEVE 11/21/51 Inviting Thanksgiving Guests w/ Willard Waterman

11/23/24 (Thanksgiving)

LET GEORGE DO IT 11/20/50 Cause for Thanksgiving w/ Bob Bailey

OUR MISS BROOKS 11/19/50 Alone for Thanksgiving w/ Eve Arden

THE JIMMY DURANTE SHOW 11/26/47 Thanksgiving w/ Jimmy Durante and all his gang

FAMILY THEATER 2/4/53 Home for Thanksgiving w/ Joan Leslie

THE ALDRICH FAMILY 11/23/52 The Thanksgiving Turkey w/ Bobbie Ellis

11/30/24

SUSPENSE 9/20/45 The Library Book w/ Myrna Loy

THE GREEN LAMA 6/5/49 The Man Who Never Existed w/ Paul Frees

NICK CARTER, MASTER DETECTIVE 7/1/45 The Man Who Lived Too Long w/ Lon Clark

THE GREAT GILDERSLEEVE 12/2/53 Christmas Money w/ Willard Waterman

THE JACK BENNY PROGRAM 12/21/47 Last Minute Christmas Shopping w/ Jack Benny and all his gang

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/09/transformers-one.mp3Chris Hemsworth (Orion Pax/Optimus Prime), left, and Brian Tyree Henry (D-16/Megatron) star in PARAMOUNT ANIMATION and HASBRO Present In Association with NEW REPUBLIC PICTURES A di BONAVENTURA PICTURES Production A TOM DESANTO / DON MURPHY Production A BAY FILMS Production “TRANSFORMERS ONE”

“Transformers One” is the 8th movie since the series began in 2007; yes, I’ve seen all of them. They are based on Hasbro toys and can be changed to any form. The robots change to a car, plane, or even a bumblebee, which includes superpowers of flight and strength. The powers are controlled by a round cog that is located in their chest. The exciting news is about the new director, Oscar® winner Josh Cooley (Toy Story 4); he says the goal is to create a movie that will appeal to most ages. You can imagine my excitement when I read the press notes as, finally, we can enjoy a kid-friendly Transformers movie.

The script is based on the origin story of Transformer legends Optimus Prime and Megatron. The setting is the alien world of Cybertron, and the younger versions have different names; Prime is Orion Pax, voiced by Chris Hemsworth, and Megatron, and D-16 is voiced by Brian Tyree Henry. The young friends dream of earning their own cogs someday so they can transform and have powers.

There’s so much to champion here, starting with the vision of director Josh Cooley to the groundbreaking animation; the set designs introduce a new level of cinematic artistry to the franchise as the new look is stunning, not to mention realistic. The artistry is gorgeous, as each character that’s introduced is given a signature look and unique script lines. The animation, in particular, is a visual feast, with each frame a testament to the skill and dedication of the animators. The voice cast also includes Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, Laurence Fishburne, and Jon Hamm.

The back story gives us the reasons why Optimus Prime and Megatron are at odds, as their world as mining bots in the alien world Cybertron is pretty dismal. They both hope that Sentinel Prime (Jon Hamm) will someday let them earn cogs so they will have the ability to transform. Although, when an act to prove their worth lands them in an even lower, more depressing level of the mines, they discover the only way is to find the Matrix of Leadership themselves on the planet’s surface. Their mining supervisor, Elita (Scarlett Johansson), goes along for the ride as they discover the hidden truths of their stratified society, including the unfair distribution of resources and the suppression of individuality.

The voice cast is excellent; I was pleased to see that Elita (Scarlett Johansson) was given so much screen time and a central character as she helps in their plan. Here, for the first time, she becomes an authentic female Transformer. Bumblebee is mostly a silent character in other films, although director Cooley wanted to feature him as well. Saying, “We decided to make him extremely talkative. In fact, he never stopped talking, and I immediately thought of Keegan for the role. While watching the film, the line I wrote on my notepad about Bumblebee is when his captors say, Lita asks, “Why is he gaged?” the reply is, “He wouldn’t stop talking!” Lita says, “Even when he was unconscious?” the reply, “Especially when he was unconscious.” This brought uproarious laughter from the audience, which included myself.

“Transformers On” is the best of the series. It is relatable to all ages, humorous, and features fully fleshed-out characters. The gorgeous animation is the icing on the cake. Just know that the word “Hell” is said a few times. The characters are not just robots, they are individuals with their own hopes, dreams, and struggles, making them easy to connect with.

Sarah Knight Adamson© September 22, 2024

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/09/beetlejuice-two.mp3I met Michael Keaton in 2022 at an awards ceremony, he was wonderful to speak with. Photo Credit: Sarah Knight Adamson

Beetlejuice, Beetlejuice” is the sequel to the original 1988 film “Beetlejuice,” with Tim Burton returning as director and Michael Keaton reprising his role as the beloved Beetlejuice. Keaton shines throughout the film with his nuanced performance, bringing the character to life with subtle gestures and expressions that evoke laughter and applause from the audience. In many ways, this movie outshines the original as Keaton’s presence is prominent from start to finish, and he exceeds all expectations with his portrayal of Beetlejuice.

The script by Alfred Gough and Miles Millar brings back familiar faces from the original cast and introduces Jenna Ortega as Astrid, the daughter of Lydia Deetz (Winona Ryder). The story begins with Delia (Catherine O’Hara) informing Lydia about her father’s death, with an interesting use of stop-motion animation to explain the character’s fate. However, this part of the movie felt a bit lengthy, especially since Jeffrey Jones, who played Charles in the original, is not part of the film due to past controversies. Despite this, his character’s face is shown several times, which I found excessive, and another actor was hired to voice him.

As for Alec Baldwin and Geena Davis, who played Adam and Barbara Maitland, Lydia reveals that they have found a way to move on permanently, although new characters are introduced. The main plot unfolds as Lydia summons Beetlejuice to help with her daughter’s supernatural troubles, leading to an unexpected alliance between them. Alongside Lydia’s engaging storyline, Beetlejuice also navigates his own challenges, including evading his vengeful ex-wife, played by Monica Bellucci, adding another layer of intrigue to the plot.

The introduction of new characters, like Lydia’s fiancé Rory (played by Justin Theroux) and Willem Dafoe’s dual roles, adds to the film’s quirky and entertaining nature. Burton expands on the visually stunning Afterlife, presenting creative and inventive set designs that constantly change, providing comedic opportunities. The film cleverly weaves three major plot threads together, each captivating in its own right. Danny Elfman’s score perfectly complements the film, heightening its enchanting qualities. Overall, “Beetlejuice, Beetlejuice” offers a multi-layered and compelling experience that warrants multiple viewings.

Sarah Knight Adamson© September 9, 2024

View Details

NEWSLETTER | VOL. 42, September 2024 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHappy October everyone! You know what that means … tons of Halloween-type shows all month! Here’s the Hollywood 360 newsletter, October 2024 / Vol. 42. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. This month we’ll feature not one, but two radio shows with Bela Lugosi! During the golden age of radio, Lugosi was a very busy film actor and didn’t have much time to appear on radio. To have two of his handful of radio broadcasts in one month is a real (trick or) treat! Lugosi is a guest on THE FRED ALLEN SHOW the week of October 5th, and a guest on THE ABBOTT & COSTELLO SHOW the week of October 12th. And also, DO NOT MISS a special two-part chilling story of SUSPENSE starring Orson Welles in “Donovan’s Brain” the week of October 26th. Happy Halloween everyone!

SPECIAL ANNOUNCEMENT FROM CARL AMARI: BOLD VENTURE and BOSTON BLACKIE fans – THANK YOU – we saved both series!As most of you know, I have licensed the entire Frederic W. Ziv library of more than 10,000 original radio shows. Mr. Ziv was one of radio’s premiere radio producers and syndicators.

We worked with Kickstarter to save the complete runs of two amazing radio series, BOLD VENTURE starring Humphrey Bogart and Lauren Bacall and BOSTON BLACKIE starring Richard Kollmar.

Our next Kickstarter is I WAS A COMMUNIST FOR THE F.B.I and we will soon have a Kickstarter website up with more information so check often for our Kickstarter website by searching “Kickstarter” and “I Was A Communist for the F.B.I.”

LEND ME YOUR EARS by Lisa WolfTake It Easy, by the EaglesRELEASED: 1972 Watch On YouTube

Jackson Browne released his own version of “Take It Easy” on his second album, For Everyman, in 1973.

Watch On YouTube

HOLLYWOOD 360 Broadcast Schedule for September 2024 (episodes subject to change): 10/5/24

THE FRED ALLEN SHOW 4/24/43 w/ guest, Bela Lugosi

THE ADV. OF SHERLOCK HOLMES 10/12/46 The Adv. of the Stuttering Ghost w/ Tom Conway

ESCAPE 1/31/50 Present Tense w/ Vincent Price

THE MYSTERIOUS TRAVELER 7/27/47 The Man the Insects Hated w/ Maurice Tarplin

UNDER ARREST 8/1/48 The Spook of Sherwood Mansion w/ Joe DeSantis

10/12/24

THE ABBOTT & COSTELLO SHOW 5/5/48 w/ guest, Bela Lugosi

THE SHADOW 2/22/42 Death Gives an Encore w/ Bill Johnstone

SUSPENSE 9/1/49 Nightmare w/ Gregory Peck

INNER SANCTUM MYSTERY 10/2/45 The Shadow of Death w/ Richard Widmark

THEATER FIVE 3/12/65 The Janitor w/ Frederick O’Neal

10/19/24 (repeat of 10/24/22 show)

THE SEALED BOOK 7/8/45 Till Death Do Us Part w/ Phillip Clarke

THE MOLLE’ MYSTERY THEATER 5/24/46 Goodbye, Darling w/ Bernard Lenrow

THE MYSTERIOUS TRAVELER 4/4/50 The Man From Singapore w/ Maurice Tarplin

THE WHISTLER 4/21/47 Blacklash w/ Howard Duff

THE HALL OF FANTASY 6/1/53 The Tell-Tale Heart w/ Richard Thorne

10/26/24

SUSPENSE 5/18/44 Donovan’s Brain (Part 1) w/ Orson Welles

SUSPENSE 5/25/44 Donovan’s Brain (Part 2) w/ Orson Welles

THE ADV. OF OZZIE & HARRIET 10/31/48 Haunted House w/ Ozzie & Harriet Nelson

THE SEALED BOOK 5/20/45 Welcome Home w/ Phillip Clarke

QUIET PLEASE 10/31/48 Calling All Souls w/ Ernest Chappell

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/09/ripley.mp3As the prestigious Emmy Awards draw near, ‘Ripley,’ the TV series, stands out with an impressive 13 nominations. This acclaimed series, now available for streaming on Netflix, promises a viewing experience of the highest caliber.

“Ripley” is a mystery drama miniseries based on Patricia Highsmith’s 1955 crime novel The Talented Mr. Ripley. It’s an 8-part series rated TV-MA for Mature Audiences and unsuitable for kids and teens.

Set against the backdrop of 1960s Italy, ‘Ripley’ follows the story of Tom Ripley, portrayed by the talented Andrew Scott, who is tasked with bringing a wealthy man’s son back to the US. The series also features the stellar performances of Dakota Fanning and Johnny Flynn.

The series, a masterpiece written and directed by Steven Zaillian, an Oscar winner for Schindler’s List, and Robert Elswit, the director of photography, an Oscar winner for “There Will Be Blood,” is a unique blend of classic noir, Hitchcock, and Italian cinema giants. Shot in black and white, the series is a visual treat and a lesson in beautiful filmmaking.

The Bottom Line: I’m in 3 ½ stars out of four. I watched the show because of Andrew Scott’s performance. His portrayal of Tom Ripley is not just incredible, but also absolutely terrifying. His performance alone is worth the watch, and I found myself so enthralled with the series that I binge-watched it. Just know that there is murder and violence throughout.

Sarah Knight Adamson@ September 8, 2024

View Details

NEWSLETTER | VOL. 41, September 2024 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHappy September everyone! Here’s the Hollywood 360 newsletter, September 2024 / Vol. 41. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. The week of September 14th on Hollywood 360, we’ll present a 1950 episode of Tales of the Texas Rangers called “Blood Relative” starring Joel McCrea. Here’s some information on this wonderful true-crime western series and a photo that Stacy Keach, Sr. (the creator/producer of Tales of the Texas Rangers) gave me years ago. It is Joel McCrea (star of the series) on the left, Stacy Keach, Sr. in the middle and Homer Garrison, Jr. the Chief of the Texas Rangers on the right taken at NBC studios in Hollywood.

TALES OF THE TEXAS RANGERS by Carl Amari Westerns were a very popular genre on both radio and television. Whereas most western-themed shows took place from the time period between The Battle of the Alamo (1836) and The Mexican Revolution (1920), Tales of the Texas Rangers was unique in its contemporary setting with Western-style tradition and ideals.

The role of The Texas Rangers in Texas History was especially significant during the Mexican Revolution when nasty cross-border attacks were prominent. They are an important part of the mythology of the Wild West and today there are still over 100 Rangers actively serving the State of Texas.

Like Dragnet, Tales of the Texas Rangers was a procedural drama based on actual modern Texas Rangers. Star Joel McCrea lead as “Texas Ranger Jayce Pearson, who used forensic science to track and identify criminals. Though most of the criminals used automobiles, the plots would often necessitate Pearson riding his faithful horse, Charcoal.

Producer-director Stacy Keach, Sr. traveled to Texas and worked with Texas Ranger Captain Manuel “Lone Wolf” Gonzaullas, who was said to have killed thirty-one men during his 30-year career as a Texas Ranger. Gonzaullas served as the show’s advisor giving the drama an unmistaken realism. The slant was modern with cases spanning the time from 1928-1948.

Sponsored by Wheaties, Tales of the Texas Rangers aired from 1950 to 1952, spawning a popular television version (mainly targeted at children), which ran from 1955 and 1957.

SPECIAL ANNOUNCEMENT FROM CARL AMARI: BOLD VENTURE and BOSTON BLACKIE fans – THANK YOU – we saved both series! As most of you know, I have licensed the entire Frederic W. Ziv library of more than 10,000 original radio shows. Mr. Ziv was one of radio’s premiere radio producers and syndicators.

The Ziv library contains 41 different radio series including the entire runs of BOLD VENTURE, BOSTON BLACKIE, I WAS A COMMUNIST FOR THE FBI, PHILO VANCE, THE CISCO KID, MR. DISTRICT ATTORNEY, FAVORITE STORY and many more.

We launched two Kickstarter campaigns to raise the funds to transfer all 78 BOLD VENTURE and all 219 BOSTON BLACKIE radio shows. Thanks mostly to YOU the HOLLYWOOD 360 listeners, we were successful in saving both of these series. We already made the transfers for the 78 BOLD VENTURE shows and for all 219 BOSTON BLACKIE shows.

If you did NOT pledge and you’d like to receive the complete runs of BOLD VENTURE and BOSTON BLACKIE via digital download or audio CDs, call us at 815-900-7535 and speak to a live operator. Because BOSTON BLACKIE is 219 episodes, we are offering a 3-pay option.

Our next Kickstarter is I WAS A COMMUNIST FOR THE F.B.I and we will soon have a Kickstarter website up with more information so check often for our Kickstarter website by searching “Kickstarter” and “I Was A Communist for the F.B.I” (tune in to two episodes of I Was a Communist for the F.B.I. this month on Hollywood 360).

LEND ME YOUR EARS by Lisa WolfME AND MRS. JONES, by Billy PaulRELEASED: 1972 Watch On YouTube

“This guy used to come into the bar every day…The next day he came in again, and every day after he’d come in, this girl would come in 10-15 minutes after he’d get there, and they’d sit in the same booth, then go to the jukebox and play the same songs. We said, ‘That’s me and Mrs. Jones.’ Then, when they’d get ready to leave, he would go his way and she would go hers. It could have been his daughter, his niece, anybody, but we created a story that there was some kind of romantic connection between these people, so we went upstairs to our office and wrote the song.” ~ Kenny Gamble, Writer

“Me and Mrs. Jones” was written by Kenny Gamble, Leon Huff, and Cary Gilbert. This songwriting team was part of Philadelphia International Records, a label known for producing a string of hits during the 1970s. The song was a part of Billy Paul’s fourth studio album, “360 Degrees of Billy Paul,” and it quickly became the standout track, earning Paul a Grammy Award for Best Male R&B Vocal Performance in 1973.

At its core, “Me and Mrs. Jones” tells the story of an extramarital affair. The lyrics describe a man and a woman, both involved with other partners, meeting for their forbidden relationship. The song expresses both the excitement and the guilt associated with their secretive rendezvous.

Upon its release, “Me and Mrs. Jones” became an instant hit, reaching number one on the Billboard Hot 100 chart. It has since been covered by numerous artists, including Michael Bublé, whose 2007 rendition introduced the song to a new generation.

Watch On YouTube

HOLLYWOOD 360 Broadcast Schedule for September 2024 (episodes subject to change): 9/7/24

YOURS TRULY, JOHNNY DOLLAR 6/18/61 The Big Date Matter

CHAMELEON 9/22/48 The Case of the Game of Death

THE CISCO KID 4/17/58 Stage to Silver City

THE STAN FREBERG SHOW 8/25/57 Ep. 7 of 15

I WAS A COMMUNIST FOR THE FBI 6/3/53 The Crossed Heart

9/14/24

TALES OF THE TEXAS RANGERS 11/12/50 Blood Relative

THE RED SKELTON SHOW 4/21/42 Sketches about Animals

WHITEHALL 12-12 12/16/51 The Man Who Murdered His Wife

THEATER FIVE 2/26/65 Little Girl, Little Girl

PHILO VANCE, DETECTIVE #47 The Red Duck Murder Case

9/21/24

THE SHADOW 9/4/38 The Black Buddah

THE BOB HOPE SHOW 11/13/53 w/ guest, Burt Lancaster

X MINUS ONE 10/24/56 Pictures Don’t Lie

THE ADV. OF SAM SPADE, DETECTIVE 9/12/48 The Lazarus Caper

PHILCO RADIO TIME 1/5/49 w/ guest, Betty Grable

9/28/24 (repeat of 9/24/22 show)

THE ADV. OF THE SAINT 8/27/50 The Tony Cartage Case

THE ABBOTT & COSTELLO SHOW 5/2/46 Napoleon and Josephine

THE CISCO KID 4/23/53 Chain Lightening

THE JACK BENNY PROGRAM 2/13/49 Jack’s Birthday is Tomorrow

I WAS A COMMUNIST FOR THE FBI 5/18/52 American Kremlin

8/31/24

THE SHADOW 2/22/42 Death Gives an Encore

THE JACK BENNY PROGRAM 2/6/44 From Terminal Island

DIMENSION X 5/27/50 To the Future

DRAGNET 5/10/53 The Big Joke

LIGHTS OUT 2/9/43 He Dug It Up

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/07/1-beverly-hills-cop-axel-f.mp330 years after its original, “Beverly Hills Cop: Axel F” (2024) continues all the laughs with new conflicts and characters while still incorporating fan favorites. Detroit’s favorite cop, Axel Foley, returns to Beverly Hills to protect his estranged daughter, Jane Saunders. Jane, a defense attorney, unknowingly took on a case that was tied to multiple dangerous groups, ultimately leading her to become a target. Axel, with the help of Detective Bobby Abbott, Jane’s ex-boyfriend, teams up with his old friends to uncover the mysterious forces behind the case and keep Jane safe.

The film pays homage to its predecessors through several iconic songs, shots, and lines that are sure to trigger strong nostalgic feelings for long-time viewers, creating a sense of connection and sentimentality. Although it helps to see the others beforehand in order to understand specific references, the film does well on its own. Just as Taggart says in the final fight scene, “Some things never change.” It was well-focused on the central plot and kept the timeline relatively easy to follow. The humor of the film stays light-hearted throughout but manages to balance well with the serious themes of father-daughter relationships and work-life balance. Although at times it did feel a little preachy due to the way the lines were written, the overall messages were nice. The fight scenes are intense and fun to watch while still keeping the comedy as the primary focus.

For a comedy, the acting was adequate overall; however, in the more serious moments, I felt like it fell flat. While Jane’s character is supposed to be rather serious and down to earth, generally, she comes across as empty. I didn’t feel any complexity with her besides what was explicitly shown and discussed in the film. There didn’t seem to be much behind her besides a complicated relationship with her father. Detective Abbott felt more balanced, as we learned a lot about his history and motivations throughout the film, and the returning characters were also well-rounded.

Director: Mark Molloy

Studio: Netflix, Eddie Murphy Productions, Don Simpson/Jerry Bruckheimer Films

Actors: Eddie Murphy, Joseph Gordon-Levitt, Taylour Paige, Judge Reinhold, John Ashton, Kevin Bacon

Writers: Danilo Bach, Daniel Petrie Jr., Will Beall

Runtime: 1 hr 58 min

View Details

NEWSLETTER | VOL. 40, August 2024 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHappy August everyone! Here’s the Hollywood 360 newsletter, August 2024 / Vol. 40. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. The week of August 3rd on Hollywood 360, we’ll present a 1945 episode of The Whistler called “The Return of the Innocent.” Here’s some information on this wonderful mystery series and a photo of a live broadcast of The Whistler at CBS studios in Hollywood (Paul Frees and Peggy Webber are standing before the microphone and the man with his back to us is probably Joseph Kearns but we can not say for certain. The man sitting at the table is Jay Novello and we do not know who the woman sitting is).

THE WHISTLERby Carl Amari and Martin Grams “The Whistler” was one of radio’s top mystery programs airing from May 16, 1942 until September 22, 1955 sponsored by the Signal Oil Company. The Whistler was an ominous narrator who opened each episode with: I am the Whistler, and I know many things, for I walk by night. I know many strange tales, many secrets hidden in the hearts of men and women who have stepped into the shadows. I know the nameless terrors of which they dare not speak. The opening dialog was heard over the echo of footsteps and Wilbur Hatch’s haunting signature 13-note theme, whistled each week by Dorothy Roberts. The stories followed an effective formula in which a person’s criminal acts were typically undone by their own missteps. The Whistler narrated, often commenting directly upon the action in the manner of a Greek chorus, taunting the criminal from an omniscient perspective. One of the show’s trademarks was the ironic twist endings that helped serve as a payoff for the listener. Bill Forman had the title role of host and narrator the longest. Others who portrayed the Whistler included: Gale Gordon (Lucille Ball’s future television nemesis), Joseph Kearns (Mr. Wilson on TV series Dennis the Menace), Marvin Miller (soon to be television’s Michael Anthony on The Millionaire), Bill Johnstone (The Shadow on radio from 1938-1943) and Everett Clarke.

SPECIAL ANNOUNCEMENT FROM CARL AMARI: BOLD VENTURE and BOSTON BLACKIE fans – THANK YOU – we saved both series! As most of you know, I have licensed the entire Frederic W. Ziv library of more than 10,000 original radio shows. Mr. Ziv was one of radio’s premiere radio producers and syndicators.

We launched two Kickstarter campaigns to raise the funds to transfer all 78 BOLD VENTURE and all 218 BOSTON BLACKIE radio shows. Thanks mostly to YOU the HOLLYWOOD 360 listeners, we were successful in saving both of these series. We already made the transfers for the 78 BOLD VENTURE shows and are in the process of making the transfers for all 218 BOSTON BLACKIE shows.

If you were one of the 200+ Kickstarter pledgers for BOLD VENTURE you have your digital downloads or audio CDs by now. If you pledged toward BOSTON BLACKIE you will receive your digital downloads or audio CDs as soon as we’ve completed the transfer of all 218 episodes, which we expect to be before June 2024.

Our next Kickstarter is I WAS A COMMUNIST FOR THE F.B.I. Check for our Kickstarter website by searching “Kickstarter” and “I Was A Communist for the F.B.I.”

LEND ME YOUR EARS by Lisa WolfMIDNIGHT TRAIN TO GEORGIA, by Gladys Knight & the PipsMIDNIGHT TRAIN TO GEORGIA, by Gladys Knight & the PipsWatch On YouTube

“The song actually came about after a phone call I had with Farrah Fawcett. Lee Majors was a friend of mine. We’d played in the Flag Football League together in L.A. He had just started dating Farrah. One day I called Lee and Farrah answered the phone. We were just talking and she said she was packing. She was gonna take the midnight plane to Houston to visit her folks. So, it just stayed with me. After I got off the phone, I sat down and wrote the song probably in about 30 to 45 minutes. Something like that. Didn’t take me long at all, ’cause I actually used Farrah and Lee as kind of like characters I guess. A girl that comes to L.A. to make it and doesn’t make it and leaves to go back home. The guy goes back with her. Pretty simple little story, but it felt real to me. It felt honest to me. I played it for them and they loved it. I cut it on my first album as Midnight Plane To Houston.” ~ Jim Weatherly

“Midnight Train to Georgia,” a classic soul song by Gladys Knight & the Pips, was released in 1973. Written by Jim Weatherly, the song narrates the story of a man who gives up his dreams of fame in Los Angeles to return to Georgia. The song achieved commercial success, reaching number one on the Billboard Hot 100 and winning a Grammy Award for Best R&B Vocal Performance by a Duo, Group, or Chorus.

The song’s creation has an interesting backstory. Weatherly, originally a quarterback turned songwriter, penned “Midnight Plane to Houston” after a casual conversation with Farrah Fawcett, who mentioned she was taking a midnight plane to Houston to visit her family. When the song was offered to Cissy Houston, she requested the change to “Midnight Train to Georgia,” aligning better with her roots. This version caught the attention of Gladys Knight & the Pips, who recorded it, and their rendition became the definitive hit.

Artists like Neil Diamond, Kelly Clarkson, and Jennifer Hudson have performed their versions, highlighting its influence across different music genres.

Watch On YouTube

In her autobiography, Between Each Line of Pain and Glory, Gladys Knight wrote that she hoped the song was a comfort to the many thousands who come each year from elsewhere to Los Angeles to realize the dream of being in motion pictures, television or music, but then fail to realize that dream and plunge into despair.

HOLLYWOOD 360 Broadcast Schedule for August 2024 (episodes subject to change): 8/3/24

THE ADV. OF PHILIP MARLOWE 6/21/50 The Gold Cobra

WILD BILL HICKOK 11/26/52 The Red River Mutiny

THEATER FIVE 2/23/65 The Elevator

OUR MISS BROOKS 4/1/51 Another Economy Drive

THE WHISTLER 4/2/45 The Return of the Innocent

8/10/24

THE NEW ADV. OF SHERLOCK HOLMES 1/18/48 The Case of the Lucky Shilling

THE STAN FREBERG SHOW 8/18/57 Episode 6 in the series

SUSPENSE 10/18/45 Summer Storm

MY FRIEND IRMA 1/3/49 Double Date

TWO THOUSAND PLUS 11/15/50 Alone

8/17/24

THE JACK BENNY PROGRAM 6/27/48 w/ guest, Fred Allen

DANGER, DR. DANFIELD 9/15/46 A Shooting in the Summer House

SOMEBODY KNOWS 7/27/50 Frank J. Christenson Murder

THE CISCO KID 1950s Robbery on the Railroad

THE GREEN LAMA 8/20/49 The Adv. of the Perfect Prisoner

8/24/24

MR. & MRS. NORTH 2/9/54 Collector’s Item

SUSPENSE 4/28/49 The Lie

MR. & MRS. BLANDINGS 8/25/51 Year Anniversary in their Dream House

THE DAMON RUNYON THEATER 3/6/49 Breach of Promise

FORT LARAMIE 2/12/56 The Woman at Horse Creek

8/31/24

THE SHADOW 2/22/42 Death Gives an Encore

THE JACK BENNY PROGRAM 2/6/44 From Terminal Island

DIMENSION X 5/27/50 To the Future

DRAGNET 5/10/53 The Big Joke

LIGHTS OUT 2/9/43 He Dug It Up

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/07/the-bear-season-three-FROM-BROADCAST.mp3Hi Carl and hello to all of our listeners out there, tonight I’m going to review the TV series “The Bear” Season 3 that’s rated R, and streaming on Hulu, there are ten episodes.

In ‘The Bear’ season 3, Jeremy Allan White stars as Carmy, an award-winning New York head Chef who returns to his hometown of Chicago to run his late brother’s failing restaurant, The Beef. In season three, Carmy and the cast continue with the new upscale restaurant named The Bear. The first episode is a visual feast, with beautifully shot food that’s almost too beautiful to eat. As a former food critic with the Chicago Tribune, I was in culinary heaven! Some may find it slow, but I savored every dish.

Episode 6, ‘Napkins’, is a standout among the 10 Episodes. It delves into the back-story of Liza Colón-Zayas’s character, Tina, the struggling line cook. Her unwavering loyalty to Mikey Berzatto, played by Jon Bernthal, is a central theme. We witness her journey from The Beef to culinary school, where she now serves as a sous chef. The portrayal of her story is so moving it brought me to tears. The introduction of her husband, David, played by her real-life husband, David Zayas, known for his work on the TV series ‘Dexter ‘, adds another layer of depth. Ayo Edebiri’s direction of this compelling narrative is truly commendable.

Episodes 7, ‘Legacy’ and 8, ‘Ice Chips, ‘ feature Sugar, played by Abby Elliott. Natalie ‘Sugar’ Berzatto focuses on the baby she’s been carrying, motherhood, and birth. It’s best not to give away any details of these two Episodes, as they’re much better left to unfold naturally. There’s so much to appreciate in Season 3, and I can’t help but express my personal enjoyment of it. I truly savored every moment of ‘The Bear’ season 3.

Sarah Knight Adamson© July 13, 2024

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/07/despicable-me-four.mp3“Despicable Me 4” (2024), the newest installment in Illumination’s fan-favorite franchise, continues its predecessors’ fun, fast-paced, and visually appealing structure. The film’s stunning animation, vibrant colors, and attention to detail are sure to captivate fans of the ‘Despicable Me’ franchise. Beginning with a high-stakes brawl at Gru’s school reunion, the main antagonist is quickly established as Maxime Le Mal, an old nemesis determined to take his revenge for the wrongs Gru committed against him when they were at school together. This major threat to their safety forces Gru and his family, with the addition of Gru Jr., to relocate to an inconspicuous new town full of interesting neighbors with mysterious motives.

The family finds themselves in several sticky situations as they try to blend in and lay low, resulting in plenty of hilarious chase scenes sure to keep you entertained.
While Gru has always been a role model for his girls, ‘Despicable Me 4 ‘delves deeper into his character. We witness his growth as a mentor, particularly in his evolving relationship with his son and the children around him. His journey to earn Gru Jr.’s approval, despite the initial resistance, is a heartwarming aspect of the film.

The film’s pacing is designed to keep young viewers engaged. There’s always something happening on screen, whether it’s advancing the central conflict or adding a humorous side plot. The timeline is easy to follow, and new characters and their motives are introduced understandably for a younger audience. Despite its target audience, the film cleverly incorporates jokes that older viewers can appreciate. Moments like, “If you think I’m above fighting children, you picked the wrong dojo,” demonstrate the film’s versatile humor. And, of course, the antics of the minions keep the atmosphere light and everyone laughing.

In line with the previous ‘Despicable Me’ movies, the soundtrack was outstanding. Pharell Williams continued his work for the franchise with the phenomenal track ‘Double Life,’ a funky, bass-driven tune that sets the mischievous tone of the film and is sure to get stuck in your head. Williams is joined alongside originals from Teezo Touchdown and Lil Yachty while engaging an older audience with songs such as ‘Sweet Child O’ Mine’ and ‘Everybody Wants To Rule The World’ from Guns N’ Roses and Tears For Fears, respectively. The film’s soundtrack, ranging from K-pop to hip-hop and even to classical rock, caters to different age groups, ensuring there’s something for everybody that stays true for the movie.

Directors: Chris Renaud, Patrick Delage

Studio: Universal Studios, Illumination

Actors: Steve Carell, Kristen Wiig, Will Ferrell, Pierre Coffin, Joey King, Sofia Vergara, Stephen Colbert, Miranda Cosgrove, Chloe Fineman, Steve Coogan, Chris Renaud, Dana Gaier, Madison Polan

Writers: Mike White, Ken Daurio

Runtime: 1 hr 35 min

Kathryn Rachford © July 4, 2024 written review

Sarah Knight Adamson Hollywood 360 Network Radio July 6, 2024

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/06/1-inside-out-two.mp3“Inside Out 2” not only maintains its predecessor’s core inner balance theme but also delves into the realm of teen anxiety with a unique twist of ‘imperfection ‘. The movie is a visual treat, showcasing the trademark eye-popping, spontaneous, and innovative animation of Disney PIXAR.

The movie Fast-forwards to Riley, now age 13, highlights the core inner balance theme of a teen’s Anxiety with ‘imperfection as she navigates life situations. In this family-friendly sequel, you’ll view the eye-popping, spontaneous, and innovative animation of Disney PIXAR’s trademark film-making. Viewers, especially teenagers and parents, will find the characters and their struggles highly relatable, mirroring their own experiences of balancing emotions and dealing with life’s challenges. Younger audience members will enjoy the antics of the characters Joy, signified by the color blue, voiced by Amy Poehler; Sadness, blue Phyllis Smith; Anger, Red (Lewis Black), purple Tony Hale; Disgust, green Liza Lapira, Ayo Edebiri Envy, blue-green, Maya Hawke as Anxiety, a new orange anxious emotion. Ennui (bored), blue-purple, Adèle Exarchopoulos.

Riley’s a hockey-loving kid whose parents broke the news that she’ll be moving from Minneapolis to San Francisco. Believe me when I say yikes, as I moved starting at age 11. I lived in sunny LA, California, and moved at the beginning of 6th grade to Greenfield, Ohio, next at age 13 to Downers Grove, Illinois, and next at age 14 to Scottsbluff, Nebraska, where I transferred my junior year to a different High School. I know firsthand all the emotions that go hand-in-hand with being the new girl in school, and believe me, the heartbreak of saying goodbye to my friends and leaving ‘my beaches’ of Huntington and Santa Monica. Luckily, Riley and I had loving and caring parents, which does help in times of Anxiety and discovering more about how to balance emotions. A great constant for Riley is her sport of hockey; for me, participating in sports such as track, volleyball, cheerleading, and pom squad and being the lead in the Senior Class play as a Freshman were ways to make new friends and learn new skills.

Joy is typically in charge of the emotions, although Sadness plays a more significant role in the sequel along with Anxiety, who is non-stop troubled by just about everything. We see how our brain argues, considers options, and then decides. It’s a creative visual approach to helping kids and teens see what is happening inside their bodies. Along with parents who are wondering, what is happening here? PIXAR also shows intriguing new regions of Riley’s mental landscape, like the giant ravine that fuels her condescending side called the ‘Sar-chasm,’ which symbolizes the communication gap that appears during the teenage years when words come out in a completely different way to how the teen feels. This movie provides valuable insights into the teenage experience, enlightening both teenagers and parents about the complexities of this stage of life.

I suggest that you stay for the closing credits as a secret that Riley’s been keeping is the Deep Dark Secret is revealed in a scene with Joy leading the charge, says it’s okay now to spill the beans. During my screening, the kids were laughing and cheering for Riley, although there were scenes in which she was totally sobbing. All in all, the movie is so great for everyone despite the focus on teens.

Sarah Knight Adamson©June 14, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/06/acapulco-season-three.mp3Upon watching the series “Acapulco” in October of 2021, I was hooked as I enjoy multi-generational stories. I also appreciate family-friendly stories. The series follows the lives of the staff at an extravagant resort in Acapulco named the Las Calinas. Each character has their own unique story, from the aspiring fashion designer trying to make a name for herself, to the hopeful manager navigating the challenges of running a high-end resort. Boasting an excellent cast, including one very well-known actor, Eugenio Derbez, as Maximo, the characters are both humorous and well-meaning, although most importantly, well-developed. We see the inner workings of the resort and the personal and professional struggles of the staff. Yes, viewing the pool supervisor, and the singing musical duo—the characters just may steal your heart.

“Acapulco,” Season 3 is streaming now on Apple TV+ it starts with a recap of Season 2, showing the now, billionaire Maximo retelling his story of success to his nephew Hugo and what happened to him at the Las Calinas resort in 1985. Next, we see he and Hugo being greeted at a door by a woman who calls Maximo ‘Dad.’

Switching back to 1985, we view the younger Maximo (Enrique Arrizon) as the manager climbing the ladder of success. The relationships he’s worked so hard to build with his friends are now compromised. He finds out it’s not so easy being in charge of your friends. Young Max (Enrique Arrizon) is about to start his new position as the Assistant Head of Operations, working under his idol Don Pablo (Damián Alcázar). Everyone is happy for him, including his best friend Memo (Fernando Carsa), who has been promoted to head pool boy. Julia ((Camila Perez), his girlfriend, even sewed a new uniform shirt for him. And while they’re public with Max’s family, Julia still wants to keep their relationship quiet at Las Calinas.

The Bottom Line: I’m in, the family-friendly series is entertaining, as the characters are written so that we know their personalities. We see the behind-the-scenes of running a large resort with all the trials and tribulations. I especially liked Maximo’s rise to manager this season, as the job is not as easy as it looks. New Episodes drop every Wednesday until June 19.

Sarah Knight Adamson© June 9, 2024

View Details

NEWSLETTER | VOL. 39, July 2024 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHappy July everyone! Here’s the Hollywood 360 newsletter, July 2024 / Vol. 39. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. The week of July 27th on Hollywood 360, we’ll present a 1946 comedy episode of DUFFY’S TAVERN starring Ed “Archie” Gardner, with special guest, Alan Ladd. Here’s a some information on this hilarious series and a fun picture to boot.

DUFFY’S TAVERNby Carl AmariDUFFY’S TAVERN was a radio situation comedy series first heard in 1940. The tavern itself was a flea-infested dive located on Third Avenue and 23rd Street in New York City, where the “elite meet to eat.” The co-creator and writer (Ed Gardner) played Archie, the manager of “Duffy’s Tavern”. His use and abuse of the English language was beyond anything heard on THE DAMON RUNYON THEATER and quickly became a favorite with New Yorkers everywhere. Gardner was a theatrical veteran, whose wife (well-known stage and screen actress, Shirley Booth) appeared as Duffy’s man-hungry daughter Miss Duffy. When Booth left the series in 1943, the role was voiced by Florence Halop, Sandra Gould, Hazel Shermet and others. Duffy himself was never heard on the show, he was an absentee owner who left the daily operations to Archie. Regulars on the show included: Clifton Finnegan, the classic village idiot (played by Charlie Cantor), Eddie the waiter (played by Eddie Green) and Clancy the cop (played by Alan Reed). Archie was always trying to get rich quick and his harmless schemes often involved weekly guest stars like: Boris Karloff, Shelley Winters, Dinah Shore, Lucille Ball, Alan Ladd, Mickey Rooney, Vincent Price and Marlene Dietrich to name a few. Some of radio’s sharpest comedy was penned for “Duffy’s Tavern” by top Broadway and TV veterans, including: Abe Burrows, Larry Marks, Larry Gelbart, and Dick Martin, but Ed Gardner was final script editor. DUFFY’S TAVERN was broadcast live in New York until 1949, when Gardner moved the show offshore to Puerto Rico for tax advantages. The show’s popularity spawned a 1945 film and a 1954 TV series. Years ago, when I licensed this series from Ed Gardner’s widow Simone Hegemann, she offered to sell me the apron worn by Gardner during each broadcast. Over the years, the guest stars would sign the apron and by the end of the radio run, it had 100+ celebrity signatures on it (see picture below). Because the signatures were fading away over time, Simone sewed over each signature with thread so that they could always be seen. Unfortunately, I did not end up buying the apron, but I sure would have treasured it!

SPECIAL ANNOUNCEMENT FROM CARL AMARI: BOLD VENTURE and BOSTON BLACKIE fans – THANK YOU – we saved both series! As most of you know, I have licensed the entire Frederic W. Ziv library of more than 10,000 original radio shows. Mr. Ziv was one of radio’s premiere radio producers and syndicators.

LEND ME YOUR EARS by Lisa WolfTOM SAWYER, RushRELEASED: 1981Watch On YouTube

“I remember being disappointed in the studio, thinking we really didn’t capture the spirit of the song. We thought it was the worst song on the record at the time – but it all came together in the mix. Sometimes you don’t have the objectivity to know when you’re doing your best work.” ~ Frontman Geddy Lee

Rush, the rock trio consisting of Geddy Lee, Alex Lifeson, and Neil Peart, emerged onto the music scene in the early 1970s. However, it was their 1981 release, “Tom Sawyer,” that catapulted them into the stratosphere of rock greatness.

Formed in Toronto in 1968, Rush underwent several lineup changes before solidifying into the trio that would define their sound. Drawing inspiration from diverse influences ranging from science fiction to philosophy, Rush’s music transcended traditional boundaries.

“Tom Sawyer” was born out of a collaboration between Neil Peart and lyricist Pye Dubois. Dubois presented the band with a poem titled “Louis the Lawyer,” which Peart reshaped into the iconic lyrics that would become synonymous with the song.

Its inclusion in films, television shows, and video games has solidified its status as a timeless classic. In the film “I Love You, Man,” the song is humorously referenced as Peter Klaven struggles to master its intricate bassline.

Watch On YouTube

HOLLYWOOD 360 Broadcast Schedule for July 2024 (episodes subject to change): 7/6/24

THE JACK BENNY PROGRAM 3/4/51 Going to the Dentist

ESCAPE 8/21/54 Two and Two Make Four

DIMENSION X 7/19/51 Dwellers in Silence

THE STAN FREBERG SHOW 8/11/57 Episode #5

NIGHT BEAT 9/4/52 The Bomb on Flight 63

7/13/24

INNER SANCTUM MYSTERY 12/11/45 The Dark Chamber

THE DEAN MARTIN & JERRY LEWIS SHOW 1/18/52 w/ guest, Frank Sinatra

THE LINE-UP 7/27/50 The Paradise Murder Case

THEATER FIVE 1/19/65 Across the River From Grandma’s House

THE CHARLIE McCARTHY SHOW 3/14/43 w/ guest, Greer Garson

7/20/24

PAT NOVAK, FOR HIRE 3/6/49 Fleet Lady

THE RED SKELTON SHOW 3/24/42 A Hike in the Park

SUSPENSE 5/12/49 The Light Switch

GANG BUSTERS 10/4/47 The Case of the Kidnapped Paymaster

THE WEIRD CIRCLE 1/9/44 The Lifted Veil

7/27/24

YOURS TRULY, JOHNNY DOLLAR 1/20/57 The Blooming Blossom Matter

DUFFY’S TAVERN 1/4/46 w/ guest, Alan Ladd

GUNSMOKE 5/7/55 Potato Road

THE ALDRICH FAMILY 10/26/52 Parents Day at School

CLOAK & DAGGER 9/1/50 War of Words

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/05/if.mp3“IF” tells the story of Bea (Cailey Fleming), a 12-year-old girl who is spending time with her grandmother (Fiona Shaw) while her single father (John Krasinski) prepares for heart surgery. Bea, whose mother died a few years ago due to cancer, insists that she is no longer a child, which is strange and somewhat weird. In reality, Bea appears as sad, lonely, and depressed; shockingly, no scenes include a parent discussion with her teachers at school or a trained psychological mental health professional. We see a silly father attempting to connect with her through imagination. We also view Bea rummaging through her grandmother’s apartment, seeking memories of her childhood to reminisce. She finds drawings of IFs, which stands for imaginary friends, and soon meets them as they begin to appear physically.

Despite boasting a formidable cast including Krasinski, Ryan Reynolds, Fleming, Fiona Shaw, Phoebe Waller-Bridge, Steve Carell, and the late Louis Gossett Jr., the film fails to fully capitalize on its potential. While charming and delightful in parts, it ultimately perishes to a dramatic and somewhat tedious very sad narrative.

The dark, downer scenes of Bea’s father in the hospital lying in a bed during most of the film paint a picture of impending death. We see her sadness and terror as she’s already experienced the death of her mother. I’m scratching my head as to why this storyline was created? Isn’t the death of one parent enough in a kid’s movie? And for that matter, why have any parent die? I’d never take my family to a sad film with this major theme. The amazing IFs are artistically great to view; their personalities are different, each with varied stories. It’s such a shame, as they should be enough to carry the film, along with Ryan Reynolds and the other human cast members. I absolutely loved their dazzling dance sequence on stage. I’m hoping for a sequel featuring the IFs, Bea and her father, with no death or sadness.

The IF’s personalities are varied and exciting. Calvin (Ryan Reynolds) is grumpy; he resents his job, although he’s clearly committed to helping forgotten IFs find new child companions. He guides Bea through New York city as they both work together to find matches. Benjamin is a 9-year-old who doesn’t let his troubles get him down; is upbeat and laidback, even though he’s in the hospital with many serious health issues. Louis (Louis Gossett Jr) is an elderly wise teddy bear who was once the leader of the IF program; teaches Bea how to access memories. IF assistant Blossom (Phoebe Mary Waller-Bridge) is calm, level-headed, hopeful, and truthful, she tries to help Bea realize her potential. Blue (Steve Carell), a huge furry monster, is sweet, perseverant, and optimistic.

The language is also considered unnecessary, especially when Bea’s mentor says, “What the hell?” Also, we don’t need the terms “good God,” “oh my God,” “swear to God,“ and “for God’s sake.“ The film should be rated PG-13, yet what teen will watch a movie about IFs? Writer Krasinski has made mistakes with kids before, as in “A Quiet Place: Chapter Two,“ when we view a child’s leg caught in the metal jaws of a steel bear trap. The agony of a child serves no purpose in the story and is a cop-out; if you’re going to have someone hurt, the adults are the ones who should have been injured. No one wants to see a child bloodied and screaming in agony. He lost my trust as a writer of films with kids years ago, and this one “IF” is atrocious.

To sum up, “IF“ has creative ideas concerning imaginary friends, although the main themes of death and impending death overshadow the script. The language needs to be more appropriate for kids. I would not recommend that kids watch this film.

Sarah Knight Adamson © May 17, 2024

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/05/1-the-fall-guy.mp3Ryan Gosling stars as a Hollywood stuntman and Emily Blunt portrays a film director, in “The Fall Guy” the movie is playing now in theaters. Before the film started there is a short introduction by director David Leitch who was actually a stunt man for Matt Damon and Brad Pitt, he said the movie is a ‘love letter’ to the stunt community. Colt Seavers, Ryan Gosling is a stunt performer in Hollywood, when he’s hurt on the job, he abandons his career and girlfriend Jody, played by Emily Blunt. In a nutshell, the film is entertaining, and a love letter to the ‘Stunt Community,” Gosling carries the film from start to drawn-out finish.

Ryan Gosling stars as a Hollywood stuntman and Emily Blunt portrays a film director, in “The Fall Guy” the movie is playing now in theaters. Before the film started there is a short introduction by director David Leitch who was actually a stunt man for Matt Damon and Brad Pitt, he said the movie is a ‘love letter’ to the stunt community. Colt Seavers, Ryan Gosling is a stunt performer in Hollywood, when he’s hurt on the job, he abandons his career and girlfriend Jody, played by Emily Blunt. In a nutshell, the film is entertaining, and a love letter to the ‘Stunt Community,” Gosling carries the film from start to drawn-out finish.

The movie is loosely based on the 1980s TV series of the same name starring Lee Major as Colt Seavers, the same name as Gosling’s character which is an ode to the series. And yes, Lee Majors does appear in the film, wait for his cameo during the closing credits. I enjoyed the banter between the leads although the repetitive hand-to-hand combat scenes with the same villains stuffs the script and takes away for the central theme of the film.

Writers: David Leitch, Drew Pearce

Director: David Leitch

Actors: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson. Hannah Waddingham, Teresa Palmer, Stephine Hsu, Winston Duke

Studio: Universal Pictures

Runtime: 2 hours 6 minutes

Sarah Knight Adamson© May 18, 2024

View Details

NEWSLETTER | VOL. 37, June 2024 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHappy June everyone! Here’s the Hollywood 360 newsletter, June 2024 / Vol. 38. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. The week of June 1st on Hollywood 360, we’ll present a thrilling 1951 radio western episode of Hopalong Cassidy starring William Boyd. Here’s some info on Hopalong Cassidy and be sure to check out the official Hopalong Cassidy website by clicking here: http://hopalongcassidy.com/

Hopalong Cassidy by Carl AmariFictional cowboy hero Hopalong Cassidy was created in 1904 by author Clarence E. Mulford in a series of short stories and novels based on the character. Beginning in 1935, William Boyd starred as Hoppy in 66 popular films. On screen, the white-haired Bill “Hopalong” Cassidy was clad strikingly in all black, rode a white horse named “Topper” and thwarted dishonest characters that took advantage of honest citizens. By 1946, Hopalong Cassidy became the first network Western television series. Capitalizing on the success of the films and TV series, Mutual radio began broadcasting a weekly radio version in 1950 starring William Boyd as Hoppy with Andy Clyde as his comedic sidekick “California Carlson.” By 1950 more than 100 companies were manufacturing $70 million of Hopalong Cassidy product, including children’s dinnerware, lunch-boxes, pillows, roller skates, soap, wristwatches and pocketknives.

*SPECIAL ANNOUNCEMENT FROM CARL AMARI: BOLD VENTURE and BOSTON BLACKIE fans – THANK YOU – we saved both series!* As most of you know, I have licensed the entire Frederic W. Ziv library of more than 10,000 original radio shows. Mr. Ziv was one of radio’s premiere radio producers and syndicators.

LEND ME YOUR EARS by Lisa WolfONLY THE GOOD DIE YOUNG, Billy JoelRELEASED: 1977Watch On YouTube

“That song was released as a single back in 1977, I think. It was not really doing very well, just languishing in the charts. Then it was banned by a radio station in New Jersey at a Catholic university. The minute the kids found out it was banned, they ran out in droves and it became a huge hit. If you tell kids they can’t have something, that’s what they want. I don’t understand the problem with the song. It’s about a guy trying to seduce a girl but, at the end of the song, she’s still chaste and pure and he hasn’t got anything. So I never understood what the furor was about. But I did write a letter to the archdiocese who’d banned it, asking them to ban my next record.” ~ Billy Joel

Billy Joel’s 1977 hit “Only the Good Die Young” has become one of the most iconic and enduring songs in his extensive catalog.At the heart of the song is a young man’s pursuit of a Catholic girl named Virginia. As the lyrics suggest, the narrator would “rather laugh with the sinners than cry with the saints”, believing that the “sinners are much more fun.” The song’s origins trace back to Joel’s own high school days, when he had a crush on a Catholic girl named Virginia Callahan. “When I wrote ‘Only the Good Die Young,’ the point of the song wasn’t so much anti-Catholic as pro-lust,” Joel explained. He brought the finished song to his band, where drummer Liberty DeVitto helped shape the song’s signature shuffle rhythm.

Upon the song’s release, some religious groups and Catholic schools, such as Seton Hall University, banned the song, perceiving it as an attack on their faith. But Joel maintained that the song was not meant to be anti-religious, but rather a celebration of youthful indulgence.

Melissa Etheridge performed her unique version of this song at a 2014 Billy Joel town hall event hosted by Howard Stern. Etheridge explained that she grew up playing Joel’s songs in piano bars and cover bands, but she never had the chance to perform this one, which was one of her favorites.

Watch On YouTube

HOLLYWOOD 360 Broadcast Schedule for June 2024 (episodes subject to change): 6/1/24

DEFENSE ATTORNEY 4/10/52 The Joshua Masters Case

THE GREAT GILDERSLEEVE 5/9/43 The Wedding List

HOPALONG CASSIDY 12/29/51 The Killers of Lion Canyon

CHAMELEON 9/15/48 The Case of Murder and the Man Who Saw Too Much

MYSTERY IN THE AIR 9/25/47 Crime and Punishment

6/8/24

LET GEORGE DO IT 11/19/51 Destination Danger

THE STAN FREBERG SHOW 8/4/57 Episode 4 of 15

DIMENSION X 9/22/50 Dr. Grimshaw’s Sanitorium

FORT LARAMIE 6/24/56 The Loving Cup

SUSPENSE 3/31/48 You Can’t Die Twice

6/15/24 (Father’s Day show)

FATHER KNOWS BEST 6/14/51 Father’s Day Picnic

THE ALDRICH FAMILY 11/30/52 Henry’s Father is Sick

THE GREAT GILDERSLEEVE 1/17/51 Expectant Father

BROADWAY IS MY BEAT 5/1/49 The Mary Murdock Murder Case

HAVE GUN-WILL TRAVEL 7/26/58 The Wager

6/22/24

THE JACK BENNY PROGRAM 5/22/49 Champion Set Up

BARRIE CRAIG-CONFIDENTIAL INVESTIGATOR 7/8/52 The Lone Way Home

THE SEALED BOOK 3/25/45 The King of the World

THEATER FIVE 12/18/64 Nuptial Flight

ROCKY JORDAN 5/22/49 Desert Betrayal

6/29/24 (Independence Day show)

THE GREAT GILDERSLEEVE 7/2/52 Fourth of July Speech

YOU ARE THERE 3/21/48 Philadelphia, July 4, 1776

COMMAND PERFORMANCE 4/19/42

THE MAN CALLED X 5/18/51 Haiti: Zombies

FIBBER McGEE & MOLLY 12/11/45 My Friend the Governor

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/04/palm-royale.mp3The comedy-drama series “Palm Royale” is steaming now on Apple TV, and it’s a total blast to view. The year is 1969; Kristen Wiig stars as Maxine Simmons Delacorte an outsider and former pageant queen to the high-society ladies of Palm Beach. She desperately wants to be accepted into the exclusive country club, the Palm Royale. Though she has neither an invitation nor the funds to cover the $30,000 initiation fee, she scales the brick barrier wall, and the series begins.

The head of the ‘insiders’ ladies’ group is Norma Delacorte, played by the iconic actress Carol Burnett. Incidentally, the last time we viewed Burnett on TV was in 2022, in the hit series “Better Call Saul.” Allison Janney plays Evelyn Rollins, along with Bruce Dern and his real-life daughter Laura Dern, lovingly portray father and daughter, along with the almost unrecognizable brown-haired actress Leslie Bibb, who’s usually a blonde plays the ding-bat character of Dinah Donahue, who marries older wealthy men for their money and engages in side-affairs. And let’s not leave out the ‘pool boy—waiter, the one and only Ricky Martin, Robert, as he’s in on everyone’s secrets.

Each episode is full of non-stop laughs and awkward and cringe-worthy dialogue. You can’t help but root for Maxine as Kristen Wiig steals the show and keeps it going until the very end. Despite her simple-minded pilot husband, Douglas, played by Josh Lucas, she has mastered the art of womanhood, using misogyny and the patriarchy for her gains. Despite her naïveté, her thirst for a lavish life continues to drive Maxine even in the face of secrets, blackmail, and a car crash. Amid the meanies and the continual dishonor, she plots her way inside Palm Beach’s inner circle on a quest to host the end-of-season Beach Ball, Norma’s self-appointed annual extravaganza.

The show’s creator is Abe Sylvia, who is known for The Eyes of Tammy Faye Baker and Dead to Me. The series is based on the book Mr. & Mrs. American Pie by Juliet McDaniel.

The Bottom Line: I’m in. Yes, the script is all over the place and, at times, very unrealistic, yet Kristen Wiig carries the show from start to finish. Carol Burnett is also a joy to watch. I’ve seen all 10 episodes; there’s a new one each Wednesday. I had so much fun viewing it and recommend watching it on Apple TV.

Sarah Knight Adamson© April 21, 2024

View Details

NEWSLETTER | VOL. 37, May 2024 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHappy April everyone! Here’s the Hollywood 360 newsletter, May 2024 / Vol. 37. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. The week of May 18th on Hollywood 360, we’ll present a thrilling 1938 radio episode of The Shadow starring Orson Welles. Welles had a fascinating career and much of his early work was on radio. Here’s an article about his radio work I hope you’ll enjoy.

ORSON WELLES and his Radio Work by Carl Amari and Martin Grams.Armed with the nickname “The Boy Genius,” Orson Welles graduated from the New York Stage to expand his creative talents in the radio industry, hoping to use the audio medium to promote his stage ventures. After creating a minor panic in the minds of radio listeners with his 1938 War of the Worlds broadcast, Welles graced front page headlines and attracted the attention of a movie studio that offered the actor the spotlights of tinsel town… resulting in Citizen Kane. Since the movie burst onto the American scene in 1941, it has been hailed as a paragon of filmmaking. Spellbinding photography, a brilliant script and superb direction, Citizen Kane is today regarded by many film buffs as the greatest motion picture ever made.

Orson Welles found his way to Broadway in 1934, forming a partnership with John Houseman, creating some of New York City’s most talked-about theatrical productions. Among their daring innovations was a version of Shakespeare’s Hamlet, with an all-black cast, in a Haitian voodoo setting. Newspaper columnists were quick to praise the variations-on-a-theme approach that Welles chose to apply simply because the fresh appeal differed from the usual stage productions.

Supplementing his pittance income, Welles followed the edict that most stage actors applied – he played supporting roles in hundreds of radio dramas produced by advertising agencies and the radio networks. Surviving from hand to mouth, Welles voiced characters at the radio microphone ranging from old men to schoolchildren. Virtually un-credited for hundreds of supporting roles on The March of Time and The Cavalcade of America, the peak of his performances was a scant three years: 1935 to 1938.

In the fall of 1937, Welles assumed the lead role of Lamont Cranston, alias The Shadow, a crime fighter adapted from a popular series of pulp magazines. Through powers he learned while living in the Orient, Cranston discovered the power to cloud men’s minds so they could not see him. The invisible avenger sought justice for the little man, while combating mad scientists, gangsters, racketeers and master criminals with plots so devious that radio listeners found themselves glued to their radio speakers.

Welles quickly discovered the ample opportunity to establish a name for himself in an industry that had an audience larger than the Broadway theaters could ever hold, would be impossible unless he could have complete control of his own productions. Approaching NBC with the possibility of an hour-long program, The Mercury Theater on the Air, featuring thirty minutes of drama and thirty minutes of music, the network rejected his proposal. Executives knew Welles wanted to name the program after his theater production company and cross-promotion was not accepted. CBS, on the other hand, welcomed the boy wonder with open arms and gave him the worst spot on the network’s prime time schedule: Sunday night at 8 pm. Ventriloquist Edgar Bergen and his wooden dummy, Charlie McCarthy, owned the same time slot on NBC and The Chase and Sanborn Hour was considered the highest-rated radio program that calendar year. Welles, however, was pleased to have an evening time slot and accepted the hour on a sustaining basis (no sponsor).

On the evening of July 11, 1937, Welles and his troupe offered an adaptation of Bram Stoker’s Dracula, which made a splash in the last twenties on Broadway and later a transition to motion-pictures in 1931 with Bela Lugosi in the title role. Week after week, Welles provided an hour-long adaptation of a best-selling novel, usually one in the public domain, receiving strong reviews from radio columnists after his production of Charles Dickens’ A Tale of Two Cities. Every week, as the lead narrator, Welles introduced the audience to the central character, the scenario, and invited the radio audience to participate in the drama as if they were the best friend of the lead protagonist. From Treasure Island to The Count of Monte Cristo, CBS gave NBC a run for their money – but radio audiences still preferred the comedy and music of a wooden ventriloquist dummy.

For the Halloween week’s broadcast, Welles wanted a spooky show and H.G. Wells’ novel, The War of the Worlds, was chosen because it featured a Martian invasion, mass genocide from poison gas, and was already an established classic in bookstores. After a failed attempt to adapt the novel into a believable period piece (and fears that most of the cast would not be capable of playing a convincing British accent), Houseman and scriptwriter Howard Koch decided to revise the adaptation as a current documentary drama and set it in the U.S. The story was told in a series of news bulletins, with cutaways to first-person narrative.

As Koch later recalled in his autobiography, “I realized I could use very little but the author’s idea of a Martian invasion and his descriptions of their appearance and machines. In short, I was being asked to write an almost entirely original play in six days.” The network’s censorship department, as was common during the time, reviewed the script and approved of the broadcast with minor revisions: President Roosevelt was replaced with “Secretary of the Interior.”

Welles never saw the script until Sunday evening’s dress rehearsal. Supposedly the actor found the entire story “childish” half-way through the rehearsal, but with no other options that evening, Welles proceeded with the usual routine of preparing for an hour-long broadcast meant to be a Halloween offering. A percentage of the radio listeners who tuned in to hear Edgar Bergen and Charlie McCarthy, began dial switching when, eight minutes into the broadcast, Nelson Eddy came to the microphone to sing an unpopular opera song. What many dialers heard were news bulletins about a Martian cylinder landing within the vicinity of Grovers Mill, a small town located in New Jersey. Poison gas and a Martian heat ray were killing people by the thousands, Martian machines were observed crossing into New York City, and a reporter on the rooftop of CBS described the sounds of traffic and witnessed a cloud of poison gas approaching the building.

Before the broadcast concluded at 9 pm, CBS was deluged with phone calls from radio listeners trying to confirm the authenticity of the news bulletins. Newspaper reporters were quick to find people on the street that offered testimony of the panic as they experienced it. Damages ranged from injuries while fleeing their apartment houses to next-door neighbors stock piling groceries in the basement. CBS was quick to offer apologies and on-air clarification that the drama was fictional. But the damage was already done. Government officials began an investigation. Princeton commissioned a study of the panic, published in 1940. The network established a policy never to use the words “news flash” unless the news was authentic.

Historians today believe the War of the Worlds broadcast created small pockets of panic, possibly numbering less than one million – a figure much smaller than people romantically believe today. The Martian Invasion broadcast brought Welles overnight fame in newspaper headlines. The old proverb that the only thing worse than bad publicity is no publicity rings true — the Mercury Theater gained huge publicity as a result of this particular radio broadcast. Within weeks, the program gained a sponsor: Campbell Soups. The name of the program was changed to The Campbell Playhouse.

Hollywood, not wanting to overlook any chance of piggyback marketing, took notice. Universal Studios quickly re-edited a cliffhanger chapter play, Flash Gordon’s Trip to Mars, into a theatrical movie, re-titled The Deadly Ray from Mars. Executives at RKO offered Welles a contract he could not turn down. Welles could write, direct and star in his own motion picture, with control over casting, script, production budgets, assignment of technical staff and final editing. The only thing Welles had no substantive involvement in was approval of the story. Welles compared the offer to a kid with the largest train set on Christmas morning. The result of the verbal handshake, and signed contract, was Citizen Kane.

Making the move to California, Welles continued to appear on radio programs, now established as a Hollywood actor and made numerous guest appearances on variety, comedy and dramatic programs. In 1943, when Jack Benny took ill, Orson Welles substituted for the comedian for four consecutive broadcasts. When the radio networks conducted War Loan Drives in the form of celebrity specials, throughout the Second World War, Welles was among the first to volunteer his time and talent to help raise necessary funds.

In 1941, and again in 1946, Welles starred in a chilling story titled “The Hitch-Hiker,” scripted by Lucille Fletcher, which 13 years later was adapted into a television episode of The Twilight Zone. Welles played the role of a cross-country motorist who repeatedly saw the same drifter along the side of the road, attempting to hitch a ride. How the ghostly figure was able to be ahead of the motorist, repeatedly, was a mystery that could only be solved when he stopped at a rest stop and phoned a family friend: the driver died a few days ago and the hitch-hiker is Mr. Death.

In the early fifties, when Welles was momentarily “blacklisted,” the actor moved to England and narrated the radio program, The Black Museum, and starred in The Lives of Harry Lime, a sequel to the Carol Reed classic, The Third Man, now regarded as one of the 100 best movies ever made.

In May of 1944, Welles returned to science-fiction when he played the lead in a two-part presentation based on Curt Siodmak’s novel, Donovan’s Brain, for the weekly anthology, Suspense. A determined scientist keeps a brain alive in a jar, once owned by the wealthy Mr. Donovan, unaware that the brain is slowly taking control of his mind and body. When the radio program was released on an LP in 1981, the record won a Grammy Award for “Best Spoken Word Album”– 37 years after Welles played the role, verifying the quality of an actor who made a big impact in the standards and practices of network broadcasting.

SPECIAL ANNOUNCEMENT FROM CARL AMARI: BOLD VENTURE and BOSTON BLACKIE fans – THANK YOU – we saved both series!

As most of you know, I have licensed the entire Frederic W. Ziv library of more than 10,000 original radio shows. Mr. Ziv was one of radio’s premiere radio producers and syndicators.

LEND ME YOUR EARS by Lisa WolfEVERYDAY, by Buddy HollyRELEASED: 1957Watch On YouTube

“Everyday” is a classic song by Buddy Holly, released in 1957 as part of his debut album, “Buddy Holly.” The song was written by Buddy Holly himself, along with his frequent collaborator Norman Petty. It was recorded at Petty’s studio in Clovis, New Mexico, during a prolific session that also produced other iconic tracks like “Peggy Sue” and “That’ll Be the Day.”

Lyrically, “Everyday” speaks to the universal themes of love and devotion. With lines like “Everyday, it’s a-gettin’ closer / Goin’ faster than a roller coaster,” Holly captures the emotions that come with being in love.

Beyond its lyrical and musical merits, “Everyday” holds significance as a pioneering example of recording innovation. Holly’s experimentation with double-tracking vocals and overdubbing instruments at Petty’s studio helped shape the sound of modern popular music, laying the groundwork for future generations of artists.

In addition to its musical legacy, “Everyday” has also left its mark on popular culture through its inclusion in various movies and television shows, including the film “Stand by Me” (1986).

Watch On YouTube

“Everyday” was recorded during Holly’s brief but influential career as a rock and roll pioneer. While it was not initially a major hit, it has since become one of Buddy Holly’s most enduring and beloved songs.

HOLLYWOOD 360 Broadcast Schedule for May 2024 (episodes subject to change):5/4/24

THE ADV. OF ARCHIE ANDREWS 6/12/48 Archie Fights a Cold

THE ADV. OF SHERLOCK HOLMES 4/11/48 The Adv. of the Empty House

THE BIG STORY 6/8/49 The Bitterest Man on Earth

THEATER FIVE 8/14/64 The Stranger

THE STAN FREBERG SHOW 7/28/57 Episode 3 of 15

5/11/24 (Mother’s Day)

THE LIFE OF RILEY 5/8/48 Mother’s Day Show

DRAGNET 11/9/50 The Big Mother

THE ADV. OF OZZIE & HARRIET 4/18/52 The Baseball Team

SUSPENSE 12/12/46 They Call Me Patrice

FAMILY THEATER 5/6/53 Mother of All

5/18/24

CHRISTIAN 6/6/51 The Runaway

THE SHADOW 3/13/38 The Silent Avenger

NIGHT BEAT 11/10/50 A Woman’s Tears

THE ABBOTT & COSTELLO SHOW 4/18/46 Pet Shop

RICHARD DIAMOND, PRIVATE DETECTIVE 7/5/50 The Mike Burton Case

5/25/24 (Memorial Day)

THESE ARE OUR MEN 2/17/45 Ernie Pyle’s Brave Men

THE CAVALCADE OF AMERICA 5/1/51 The Raft

MY FRIEND IRMA 3/7/49 Will Al Marry Irma?

LUKE SLAUGHTER OF TOMBSTONE 3/16/58 Page’s Progress

MURDER BY EXPERTS 8/15/49 Dig Your Own Grave

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/04/one-life.mp3“One Life” is a heartwarming film I screened during the Toronto Film Festival; it stars Anthony Hopkins as Nicholas Winton, an English stockbroker in a true story. In 1938 he helped save over 600 children during the holocaust by transporting them mainly by trains from Prague to London to escape death at the hands of the German Nazis.

The story takes place in two time periods. In 1987, the older Nicholas Winton is looking back on his life to determine if he could have done more to save the children. In 1938, Johnny Flynn plays the younger Winton as a determined person on a mission similar to “Schindler’s List.” The movie is based on the book It’s Not Impossible,” written by Winton’s daughter Barbara.

It begins with Winton in his 80s, when he finds papers that tell the story of how he helped save hundreds of children living in the Czech Republic. What makes this story more personal for me is that I have visited there and taken a tour of the concentration camp Terezin, where thousands of Jews were held until they were sent to the death camps of Auschwitz and Treblinka.

Director James Hawes introducing “One Life” at the Toronto Film Festival 2023 Sarah Knight Adamson Photo Credit

The film toggles back to a younger Winton who helps groups of Jewish children in German-occupied Czechoslovakia to hide and flee in 1938–39, just before the beginning of the war. He visited German-occupied Czechoslovakia, saying, “I have seen this for myself, and I can not unsee it.” He began by enlisting the help of his persistent mother, played by the talented Helena Bonham Carter, and other work colleagues, one saying, “Don’t start what you can’t finish.” Ultimately, he saved 669 children; of the 1,500 left, only 200 survived. It’s an unsung hero’s story and dedication to helping children and families.

I loved this movie! Every person in the photo above that is standing was saved by Nicholas Winton. Johnny Flynn did a fantastic job as the younger Nicholas, as did Anthony Hopkins. I strongly advise you to see this gem of a historical movie.

Director: James Hawes
Screenplay writers: Lucinda Coxon, Nick Drake
Cast:
Anthony Hopkins, Nicky Winton
Johnny Flynn, Young Nicky
Helena Bonham Carter, ‘Babi’ Babette / Barbara Winton
Lena Olin, Grete Winton
Romola Garai, Doreen Warriner
Alex Sharp, Trevor Chadwick
Studio: Warner Bros

Sarah Knight Adamson© April 14, 2024

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/03/shirley.mp3Here’s the best component of the movie “Shirley”—Regina King, the star who portrays Shirley Chisholm. Hands down, she embodies her actions, timing, and subtle nuances. Think Helen Mirren as Queen Elizabeth in her Oscar-winning performance in “The Queen.” Yes, she’s that good. And honestly, in a biopic, the subject has to be great, and here she is.

Oscar winner King won Best Supporting Actress in “If Beale Street Could Talk” (2007); here, she plays the first Black congresswoman, Shirley Chisholm, who in 1972 ran for President of the United States. In the film’s narrow time frame, we learn of her determination, as her performance garners honesty, power, and decisiveness to the legacy of Shirley Chisholm by delivering a captivating performance. Saying, “I’m paving the road for a lot of other people like me to get elected.”

Certainly, her statement holds true. Women wouldn’t be where we are today without those who broke barriers and blazed trails for others, and former Congresswoman Shirley Chisholm is undeniably one of those pioneers. In 1968, of the 435 elected representatives to the House of Congress, 11 were women, five were Black men, and none were Black women until Chisholm was elected. She had higher aspirations, and she made her dreams come true by compiling a group of people who would help her Presidential campaign.

Wesley “Mac” Holder, Lance Reddick, in one of his final roles, is her campaign advisor. He’s always looking on the safe side, while Shirley pushes him to take a risk. Their chemistry together is excellent to view. Stanley Thompson, Brian Stokes Mitchell, is her political strategist and campaign manager who questions whether she even has a chance at winning. Robert Gottlieb, Lucus Hedges, a former intern, is her youth coordinator, playing a wide-eyed newbie, who changes in strength and confidence as Shirley guides him to believe in himself. Lastly, Arthur Hardwick, Terrence Howard, a fundraiser and advisor to the campaign, is very supportive and her sounding board.

Director John Ridley blends in Chisholm’s family drama and her experiences with her strained husband Conrad, Michael Cherrie. Her sister Muriel St. Hill, Reina King, who is her actual sister and one of her toughest critics, is rude to her. We view her heartaches and stresses as she navigates her campaign, giving us a broader view of her as a person.

Director John Ridley keeps politics flowing as Chisholm makes deals with people in Washington. Walter Fauntroy Holland, a D.C. congressional delegate, is a question mark, as she never knows if she can trust him to secure more votes. King and André Holland are captivating to view, as their bogus smiles and chit-chat are all part of the game. We’re also reminded of the violence during that era, when Governor George Wallace was shot, leading herself and her campaigners with a new set of worries.

Upon finishing Shirley, you’ll be in awe of this trailblazing woman and the strength and courage she displayed in fighting tooth and nail for her place in the race. Ridley does a fine job of portraying a strong woman who can be considered a positive role model for all women. I appreciated her independent thinking and actions. Yes, she needed a team, but in the end, there was no male savior.

The Q&A afterward was insightful as actress and the film’s rising star, Christina Jackson, was in attendance. Also, the President and CEO of the Chicago Urban League, Karen Freeman-Wilson, Obama Foundation Executive VP/Chief Legal and People Officer Alfreda Bradley-Coar, moderated by WBEZ reporter Natalie Moore.

Cast: Regina King, Lance Reddick, Lucas Hedges, Brian Stokes Mitchell, Terrence Howard, Reina King, Christina Jackson.

Rating: PG-13

Genre: Drama, Biography

Director: John Ridley

Writer: John Ridley

Runtime: 1h 57m

Studio: Netflix

Sarah Knight Adamson© March 24, 2024

sarahsbackstagepass.com

View Details

NEWSLETTER | VOL. 36, April 2024 Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team! Carl’s Cornerby Carl AmariHappy April everyone! Here’s the Hollywood 360 newsletter, April 2024 / Vol. 36. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that will air on Hollywood 360. Beginning this month, we’ll present one monthly episode of the incredible anthology series THEATER 5. Each will be introduced by noted radio historian, and THEATER 5 expert Dr. Joseph Webb. THEATER 5 was produced in 1964 and 1965 and was ABC’s valiant attempt to bring back the golden-age of radio. Casts included many of the East Coast’s radio pros: George Petrie, Brett Morrison, Jackson Beck, Vicki Cola, Ed Begley, Robert Dryden, Bryan Raeburn and many more. Don’t miss our first presentation of THEATER 5 the week of April 20th. In Joe’s introductions for each monthly episode, he’ll give you background information and set the scene. Here’s an article on THEATER 5 — enjoy!

Theater 5 by Dr. Joseph WebbThis year is the sixtieth anniversary of THEATER 5, a major radio drama initiative of ABC Radio that has been unfairly treated by history, and deserves greater awareness and appreciation. In September 1962, CBS discontinued radio drama and ABC saw an opportunity to fill that vacuum with a weekday hour-long evening series. The new program would mainly present mysteries. Over the next months, after consultation with ABC affiliates, the idea was refined to become a half hour of syndicated content that included ABC news and four minutes of local commercial time. In Spring 1964, Ed Byron, who masterminded the great success of Philip H. Lord’s MR. DISTRICT ATTORNEY radio franchise, and was a radio and television executive in subsequent years, was hired to lead this new THEATER 5 initiative. Byron assembled a crew of producers, directors, production and music staff, from within ABC and supplemented them with outside hires. The program concept was broadened to an anthology series with comedy, drama, adventure, science fiction and fantasy, and other productions. THEATER 5 was viewed as a means for ABC to cultivate new writing talent that could use that experience in its television productions. There was big money behind the series: in today’s 2022 US dollars, each episode had an average budget of more than $18,000, making the annual budget more than $4 million (in US 2022). Writers were paid 40% more than union scale. In the end, more than 60 writers contributed the 260 scripts, with 13 of them authoring more than half of the programs.It is likely that Byron knew he had cancer when he was hired, and considered the THEATER 5 opportunity as his chance to re-establish network radio drama on the airwaves. Byron knew THEATER 5 had to be modern and not a continuation of “old” radio. He sought scripts and storylines that reflected early 1960s society and not the morays of the mid-1940s. THEATER 5’s scripts tackled social issues directly and in passing, with dialogue and situations that catered to the 10pm adult listener.Byron’s passing, after the eightieth broadcast, unfortunately disrupted the momentum that THEATER 5 had gained among ABC’s top executives. Before he died, Byron started an effort to recruit higher visibility stars to the program. That vision continued, and led to the hiring of actor, producer, and entrepreneur Lee Bowman, who had strong contacts in Hollywood as well as credibility among broadcast executives. The original 26-week funding was renewed for a second 26 weeks, and Bowman brought more “big names” to the program. In April 1965, it was believed the program would be renewed once more, but by the end of May 1965, it was clear that the new initiatives did not reach their desired objectives. ABC decided to close the THEATER 5 production down. That decision was announced in June. By the end of that Summer, ABC continued to market THEATER 5 to stations in and out of their network. The program could be heard in various markets until Spring 1969.In the end, THEATER 5 produced 260 episodes with 62 writers, and cast more than 240 actors in more than 1,100 roles. Just 16 ABC production staffers managed and mustered that much output, without ever resorting to running a repeat episode. The productions were augmented with original music with many bridges composed for specific scenes in individual episodes, and played by a symphony orchestra, is notable at a time when “canned” music had become the norm. THEATER 5 is an amazing story, only now being told, nearly 60 years later.Join me each month on HOLLYWOOD 360 for a journey I believe you’ll greatly enjoy!SPECIAL ANNOUNCEMENT FROM CARL AMARI: BOLD VENTURE and BOSTON BLACKIE fans – THANK YOU – we saved both series! As most of you know, I have licensed the entire Frederic W. Ziv library of more than 10,000 original radio shows. Mr. Ziv was one of radio’s premiere radio producers and syndicators.

LEND ME YOUR EARS by Lisa WolfBOTH SIDES, NOW by Joni MitchellRELEASED: 1969Watch On YouTube

“I was reading Saul Bellow’s Henderson the Rain King on a plane and early in the book Henderson the Rain King is also up in a plane. He’s on his way to Africa and he looks down and sees these clouds. I put down the book, looked out the window and saw clouds too, and I immediately started writing the song. I had no idea that the song would become as popular as it did.” ~ Joni Mitchell

“Both Sides, Now” is a timeless ballad by Joni Mitchell, released in 1969 as part of her album “Clouds.” Born from a plane journey, the song explores the complexities of life and shifting perspectives. Mitchell’s Grammy-winning masterpiece has earned a place in the Grammy Hall of Fame, becoming a celebrated part of her musical legacy.

Joni Mitchell’s “Both Sides, Now” has been covered by numerous artists across various genres. One of the earliest and most notable covers was by Judy Collins in 1968, a year before Mitchell’s original release. Collins’ rendition played a crucial role in introducing the song to a broader audience and establishing it as a folk classic.

Watch On YouTube

Over the years, the song has been reinterpreted by artists from different musical backgrounds. Some notable covers include versions by Herbie Hancock, Frank Sinatra, Neil Diamond, Susan Boyle and Carly Rae Jepsen. These covers showcase the song’s versatility and enduring appeal, as it continues to inspire artists from diverse genres to put their unique spin on this Joni Mitchell classic.

“Both Sides, Now” is also heard in film and television, including “Love Actually,” “The Simpsons,” and “The West Wing.”

Watch On YouTube

HOLLYWOOD 360 Broadcast Schedule for April 20244/6/24 (repeat of 3/7/22 show)

SUSPENSE 6/29/44 The Walls Came Tumbling Down

BABY SNOOKS & DADDY 5/1/51 Report Card Blues

GENERAL ELECTRIC THEATER 7/9/53 Random Harvest

THE NEW ADV. OF NERO WOLFE 1/19/51 The Calculated Risk

OUR MISS BROOKS 11/21/48 Model American

4/13/24

PHILO VANCE, DETECTIVE 3/14/50 The Mathematical Murder Case

THE STAN FREBERG SHOW 7/21/57 Episode 2

THE LINE-UP 9/26/51 The Fur Flaunting Floozy

SPACE PATROL 2/28/53 The Strange Gift of the New Star

THE SCREEN DIRECTOR’S PLAYHOUSE 3/27/49 Suddenly It’s Spring

4/20/24

THEATER 5 8/4/64 A House of Cards

THE DEAN MARTIN & JERRY LEWIS SHOW 3/21/52 w/ guest, Marlene Dietrich

NICK CARTER, MASTER DETECTIVE 2/18/45 Mind Over Murder

HAVE GUN-WILL TRAVEL 5/10/59 The Statue of San Sebastián

WHITEHALL 1212 12/2/51 The Fournier Case

4/27/24 (Repeat of 4/25/22 show)

RICHARD DIAMOND, PRIVATE DETECTIVE 2/1/52 The Garibaldi Case

THE GEORGE BURNS & GRACIE ALLEN SHOW 10/26/43 w/ guest, Hedy Lamarr

DIMENSION X 6/10/50 The Green Hills of Earth

TOP SECRET 7/23/50 Midnight for Danger

WILD BILL HICKOK 12/26/52 Ruins of Black Canyon

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/03/dune-two.mp3Once in a while, a sweeping saga masterpiece comes along, such as 1977’s “Star Wars,” retroactively retitled “Star Wars: Episode IV – A New Hope” by George Lucas or Peter Jackson’s “The Lord of the Rings trilogy” 2001-2003 or James Cameron’s (2009) “Avatar”— “Dune: Part 2” is most definitely in the same league.

It not only continues the brilliance of the first film it sets a new bar for just how good sci-fi films should be. With an engaging story and a cast at their very best, along with stunning visuals, this is a masterpiece. As with the Oscar-winning first instalment, Villeneuve shows visual mastery of scale and scope, along with impressive cinematography.

Viewing the film in an IMAX theater with Dolby sound brought back memories of the prior films listed above. As a result, I recommend seeing it on the most giant screen possible. Based on Frank Herbert’s idolized sci-fi novel, some have said the movie could never be made due to the book’s complexities and the visual science fiction effects. I’m here to tell you it’s been done as director Dennis Villeneuve has succeeded in a colossal way.

Part 2 follows the journey of Paul Atreides (Timothee Chalamet) very closely after the first one ends, as he unites with Chani (Zendaya) and the Fremen, who are not free men. He’s also on a path of revenge against those who destroyed his family, with the help of a Fremen tribal leader named Stilgar (Javier Bardem), who is convinced that Paul is the chosen one. Stilgar believes the mythology points to Paul as the savior, the Emo King. Paul tries to blend with the Fremen, forming a relationship with a young warrior named Chani. He passes several tests given by the Fremen. He takes the tribal name of Muad’Dib, vowing vengeance against the Harkonnens for control of Arrakis and revenge for his father’s death.

During the combat scenes, watching bodies fall from the sky as colossal ships burst into flames appears virtually like an opera when looking at a film’s style. As Rabban Harkonnen, Dave Bautista is a wartime leader whose situation has exceeded his abilities, while Stellan Skarsgard has shades of Jabba the Hutt. I also enjoyed Bautista’s performance as he dug deep into the role, and it is eerily believable. You’ll feel immersion into vast worlds of endless sand that are only traveled with precise movements. Also, in a parallel scene, on another planet, Emperor Shaddam IV (Christopher Walken) and his daughter, a Princess, Irulan (Florence Pugh), speak with Bene Gesserit’s Reverend Mother (Charlotte Rampling) about the state of affairs. Irluan provides voice-over or narration to keep audiences up to speed on what is happening.

You may be wondering about Austin Butler’s psycho-path role as Feyd-Rautha, the evil villain and the star of the movie’s most haunting set, the Harkonnen’s home planet of Giedi Prime, shown in nearly all black and white with infrared imagery. There’s a Gladiator-style stadium that serves as an arena for maintaining his champion status as a butcherer of drugged-up prisoners. Baron Vladimir Harkonnen, the ultra-evil humongous blob, tests his worth by sending former Atreides soldiers to fight. Again, all of Butler’s scenes are filmed in black and white, delivering the feeling of everlasting doom and horror. He’s the sociopathic nephew of the Baron, who gives a realistic, organic performance.

I enjoyed seeing all of the famous stars in the film; Timothée Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Josh Brolin, Stellan Skarsgård, Dave Bautista, Javier Bardem, and Florence Pugh are all fantastic in their roles. Ultimately, Chalamet is the most transformed, taking on his new role of a leader with some surprises along the way. He rises to the occasion, speaking with astute confidence and determination; his transformation and stellar acting are exciting to view as Paul chooses between the love of his life and the fate of the known universe as he attempts to prevent a horrific future that only he can foresee.

If you haven’t seen “Dune: Part 1”, I’d suggest watching that first, as most of the characters are set up, especially Paul and his family’s transition. You will be blown away by “Dune: Part 2”, as it reminds you that a broad-scale blockbuster can be done with artistry and flair. You may also have flashbacks to other masterpiece-epic films of the past.

Denis Villeneuve director of “Dune: Part Two”

On a side note, I was invited to a Zoom Press conference with Denis Villeneuve, and found it very insightful. Especially when he was asked about the epic scope of the film yet keeping the emotional heartbeat.

He replied: It’s everything epic and the action, and that is not something that is that difficult to do. The thing that is difficult to do is to make sure that we don’t lose focus on the intimate relationship more precisely, the story between Paul and Chani. That’s the heartbeat, it’s like their relationship will unfold all drama of the film. Through the eyes of Chani and Paul, we feel the political pressure, the cultural pressure, the oppression. I really constructed the movie focused on the tension between them. I knew that and I kept saying to my crew, “If we don’t believe in their relationship, we don’t have a movie.” And that was my main focus during the whole shoot, to take care and to be as close to them as possible.

Directed By: Denis Villeneuve

Screenplay By: Denis Villeneuve and Jon Spaihts

Based On: The novel Dune by Frank Herbert

Produced By: Mary Parent, Cale Boyter, Denis Villeneuve, Tanya Lapointe and Patrick McCormick

Executive Produced By: Joshua Grode, Jon Spaihts, Thomas Tull, Herbert W. Gains, Brian Herbert, Byron Merritt, Kim Herbert, Richard P. Rubinstein and John Harrison, with Kevin J. Anderson serving as creative consultant

Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Souheila Yacoub, with Stellan Skarsgård, with Charlotte Rampling, and Javier Bardem

Rated: PG-13 for “sequences of strong violence, some suggestive material and brief strong language.”

Run Time: 166 minutes (2hr 46min)

Sarah Knight Adamson© March 18, 2024

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/03/ordinary-angels.mp3Set in 1993, with flashbacks, Ed (Alan Ritchson), a hard-working roofer’s treasured wife, Theresa (Amy Acker), has died of a congenital liver disease, biliary atresia, which their youngest daughter Michelle (Emily Mitchell) also has; she’s in desperate need of a lung transplant. Her medical bills keep adding up, and her condition worsens. Sharon Stevens (Hillary Swank) is fictionally written as a repenting alcoholic with an estranged grown son.

Sharon, a hairdresser, is eager to change her drunken ways and find something more significant than herself to focus on and give up all her drinking. Living in St. Louis, she hears of a man who needs help with his medical bills and helps to find a liver transplant for his daughter. She immediately swings into action. There is so much to champion in the film, although for myself, viewing Swank in a vital female role, one who is a mover and shaker, thinks outside the box, with endless determination, is precisely the kind of woman role model that filmmakers should be looking to highlight. Not to mention the fact that seasoned actor Hilary Swank is incredible in the role of a sassy do-getter—she’s convincing and authentic, which are key critical elements in believability as an actor.

Sharon finds her purpose in helping Alan with his bills. However, he rebuffs her from the beginning. She’s the type that doesn’t say no, including her craving for ‘the drink’ in her past. Eventually, she becomes their lifeline, starting a fundraiser and crusading for financial breaks, corporate donations, media awareness, and helping Ed find more work as a roofer. The story serves as an example of how to help people with dire situations they can’t handle alone. The filmmakers display sincere intentions, not preachy, and it’s a beautiful public service announcement for organ donors.

Swank’s prior roles have prepared her for metamorphosing into literally a force of nature—she’s nonstop in her quest to save this child. Watching this damaged woman’s journey is inspiring as she doesn’t give up and restores her faith in herself and her community. Director Jon Gunn allows Shank to shine, directing her in all the right ways, yes, she digs deep within her acting abilities, and we are the benefactors.

“Ordinary Angels” is playing now in theaters, and I suggest you bring Kleenex, yup, it’s a tearjerker, in a good way.

Cast: Hilary Swank, Alan Ritchson, Nancy Travis, Tamala Jones, Emily Mitchell and Skywalker Hughes

Director: Jon Gunn

Run Time: 1 hour, 56 minutes

Sarah Knight Adamson© March 10, 2024

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/02/1-bob-marley-one-love.mp3When Kinsley Ben-Adir brilliantly appears on stage during a concert as Bob Marley and the Wailers, it’s as if he was born to play the part. His lip-syncing is perfection, and his dancing to the music is nothing short of contagious. Yeah, Man, I found myself tapping, humming, and swaying in my seat during my big-screen movie theatre screening of “Bob Marley: One Love.” Being a fan of Bob Marley’s music and having visited Jamaica’s beautiful, lush country on two occasions, I was gleefully immersed in the film.

Before the start of the film, producer Ziggy Marley, his son, introduced the film, saying he hoped we’d learn a little more about his dad’s philosophies for his Jamaican people. As a fan, I knew a little of his messages of peace and to simply get along with each other. Although there were many aspects of his life I didn’t know, through viewing the film, I became enlightened. In particular, his wife, Rita Marley, portrayed by Lashana Lynch, is a singer and the mother of several of his children; Bob is known to be the father of 13 children, although Rita was his primary love.

Cedella, Rita and Bob’s daughter was instrumental in making the docu-drama as authentic as possible. She’d send footage to her mother and others to make comments. She said in the press notes, “We had people we could access to get their point of view on rehearsals, chilling, or having a party. People who had lived the story that made the story so right.

I knew of his “Rastafari faith” that is rooted in 1930s Jamaica as a response by Black people to white colonial oppression. The beliefs are a melding of Old Testament teachings and a desire to return to Africa. Its message was spread worldwide in the 1970s by Jamaican music icons Bob Marley and Peter Tosh, a friend and member of the Wailers. Therefore, what you see in the film is non-stop marijuana smoking by Marley and his band, known as ‘Ganja,’ native to the West Indies. A much more potent, hallucinogenic laced form of marijuana. Honestly, it’s not easy to watch anyone smoke non-spot these days, knowing what we know about lung cancer. Here, he does smoke non-stop, although it is part of the ‘Rasta’ lifestyle and a crucial aspect of his life.

Bob Marley’s music and philosophical teachings did command the attention of the world and his people’s plight. I enjoyed this love letter from his family to shed light on an important person in our world and what he did to send messages to a bureaucratic society—his message of Peace and Love.

Side Note: I remember when my first grandchild Calvin was learning to talk, my daughter played music to him all the time. He’d come over to me and say, “Play Bob, play Bob Marley.” He loved the song “Three Little Birds.”

Sarah Knight Adamson© March 3, 2024

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/02/masters-of-air.mp3Apple TV 9-Part Series, “Masters of the Air,” is a war drama centering on the actions of the 100th Bomb Group; you’ll also learn about the
Boeing B-17 Flying Fortress Bomber plane. The squad is led by Gale ‘Buck’ Cleven, played by Austin Butler, the star of “Elvis,” and John’ Bucky’ Egan, Callum Turner, the star of “The Boys in the Boat.” The series follows the airmen as they are sent on dangerous missions inside Nazi Germany. Based on the book “Air: America’s Bomber Boys Who Fought the Air War Against Nazi Germany” by Donald L. Miller.

You’ll see the intense realities of war, along with the friendships that are made. Yes, the realistic horrors of war, as well as the bravery. Steven Spielberg and Tom Hanks are the producers.

It’s been nearly a decade since executive producers Steven Spielberg and Tom Hanks brought the companion series “The Pacific” to HBO, and now they present the spiritual sequel “Masters of the Air,” a nine-part series airing on Apple TV+ that proves to be a worthy third chapter in the trilogy. This is a sprawling, pulse-pounding series that is augmented with spectacular modern-day VFX but also filled with the spirit, tone, and style of old-fashioned World War II movies.

The bottom line is I’m way in three and a half stars out of four. To be clear, this series would be rated R if it were a movie. It’s for adults and is a tribute to the airmen who risked and lost their lives fighting a dangerous air war during WWII.

Sarah Knight Adamson February 18, 2024

View Details

https://www.hollywood360radio.com/wp-content/uploads/2024/02/gloria-gaynor.mp3The final quote spoken by Gloria Gaynor in her new documentary film says it all: “I will survive and thrive.” If ever there was a role model for perseverance in the face of adversity, Gloria Gaynor could be the poster child. Her hit song, “I Will Survive” (1978), has served as an anthem of liberation, bravery, self-actualization, and faith. Here, we see many of the hardships and misfortunes she had in her life, not to mention the tremendous successes in her beautiful singing voice.

Betsy Schechter and editors David Zieff and Kieran Healy weave the film through photographs, posters, archival video footage of the renowned ‘Disco Queen’ performances, we see so many of concerts, television appearances, and interviews. What you’ll find out is that she fell backwards while onstage during a performance and seriously injured her spine. The film gives us the early history of injury and the pain and suffering that would plague her throughout her life. It was amazing to see the footage from all over the world and how much her fans mean to her as vice versa.

As a bonus, we are privy to her comeback and her road to switching music genres as she’s determined to record a gospel album. We learn that breaking into the tight circle isn’t easy, although Gloria’s steadfast commitment to the project is nothing less than inspirational. We see the other musicians involved as her unwavering path to her goal is accomplished. The end result is the icing on the cake; I’ll leave that as a surprise for viewers. Let’s say that in her late 60s and 70s, she soared, just as she had in her early career.

In 1979, at the 22nd Grammy Awards, she won Best Disco Recording “I Will Survive.” 2016 the Library of Congress inducted the song into the National Recording Registry. She enjoyed many accolades, yet her fall on stage plagued her throughout her life as the number of back surgeries was astounding. She speaks openly of being sexually assaulted at a young age twice by different people and the scars she carries from the abandonment of her father. She searched for approval and love while trying to be ‘good enough’ to deserve love.

Sarah Knight Adamson© February 18, 2024

View Details

    NEWSLETTER | VOL. 30, October 2023    Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team!  Carl’s Corner*by Carl Amari*Hello everyone and happy October! Here’s the Hollywood 360 newsletter, October 2023 / Vol. 30. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that we will be airing on Hollywood 360. Each month, I’ll provide historical information on one of the classic radio shows we’ll present on Hollywood 360. Throughout the month of October, we’ll have Halloween-oriented classic radio shows each week on Hollywood 360 — and we have a very special treat (no pun intended) for you on October 14th. At the start of our show we’ll interview actress Evelyn Rudy and talk about their career in radio, TV, movies and theater. Then, we’ll present a 1958 radio episode of Suspense which she starred in at the age of 8 (see photo)! And speaking of Suspense, here’s an article on this incredible mystery series.***Suspense*** by Carl Amari and Martin Grams

Offering high-tension drama and a stellar cast, Suspense was a landmark program from radio’s golden age. For 20 years, the program offered tales well-calculated to keep you in … Suspense!

With audience numbers in the millions, Suspense ranked as one of the most listened-to drama programs on the air. Conceived as a potential radio vehicle for Alfred Hitchcock to direct, Suspense aired on CBS from 1942 to 1962. Known as Radio’s Outstanding Theater of Thrills it focused on suspenseful stories starring the biggest names in Hollywood.

Early in the run, the episodes were hosted by the ‘Man In Black’, who, from an omniscient perch, narrated stories of people thrown into dangerous or bizarre situations with plots that, at the very end, usually had an unseen twist or two.

Hollywood’s finest actors jumped at the chance to appear on Suspense, including: Cary Grant, James Stewart, Alan Ladd, Henry Fonda, Humphrey Bogart, Bette Davis and Orson Welles. Often times, celebrities were cast against-type including Jack Benny who played a Martian and Frank Sinatra who played a psychopathic killer. Scripts were by John Dickson Carr, Lucille Fletcher, James Poe and many others.

Running more than 20 years, Suspense aired nearly 1,000 radio broadcasts. It made the transition to television in 1949, but it was much better suited for radio where the theatre of the mind could run free.

LEND ME YOUR EARS by Lisa Wolf A HORSE WITH NO NAME, by AmericaRELEASED: 1971Click here to watch on YouTube.

“With its lyrics of feeling ‘good to be out of the rain’, the meaning of the song was rooted in escape from the drudgery of everyday life in the city – not promoting drug use, as a Kansas City radio station that banned it wrongly assumed [‘horse’ being a slang term for heroin]. I’d spent time in the desert and always loved nature, and being in rainy old England, maybe I mentally gravitated back towards all of that.” ~ Dewey Bunnell, Composer

“A Horse with No Name” is a classic song by America. Released in 1971, it was written by band member Dewey Bunnell. The song became America’s most recognizable and enduring track, spending three weeks at number one on the Billboard Hot 100 chart.

The inspiration for the song stemmed from Bunnell’s memories of his childhood, especially the time he spent in the deserts of Southern California.

Interestingly, despite its fame and association with the American Southwest, the song was actually composed and first became a hit in the UK. Due to its success there, it was later released in the U.S. where it also received widespread acclaim.

Popular media plays a crucial role in keeping classics alive. “A Horse with No Name” has been featured in numerous films, TV shows and commercials. Its inclusion in “Breaking Bad” and “Friends” introduced the song to younger audiences, ensuring its relevance across generations.

Breaking Bad Clip – Click here to watch on YouTube.

“Friends” Clip – Click here to watch on YouTube.

Carl’s note: On October 7th, we’ll present a BABY SNOOKS & DADDY Halloween radio episode, so don’t miss it. Here’s a terrific article on Baby Snooks written by the late, great Jim Ramsburg and reprinted with permission from his family:

BABY SNOOKS by Jim RamsburgFanny Brice was Network Radio’s most successful solo comedienne. Her poster child for mischief, Baby Snooks, was partly or wholly responsible for shows registering eight Top 20 seasons, four of them in the Annual Top Ten.

No one really knows Snooks’ age or where she was born. Brice claimed that Snooks originated as a caricature of silent screen child star Baby Peggy Montgomery in a 1912 vaudeville sketch. That’s questionable because Baby Peggy wasn’t born until 1918. Brice historians trace the character’s origin to her husband Billy Rose’s 1931 revue Sweet & Low and the sketch Babykins in which Brice played a 3 year old in a highchair.

Snooks’ official stage debut came three years later in The Ziegfeld Follies of 1934 when Brice appeared in the sketch Baby Snooks written by Dave Freedman. Daddy was played by Victor Marley and Mummy by 26 year old Eve Arden who was making her first New York stage appearance.

There’s no question about Snooks’ birthday on Network Radio. She was first heard on NBC’s revival of The Ziegfeld Follies of The Air on Saturday, February 29, 1936. Ziegfeld was a lavishly produced series but lost its time period to Your Hit Parade on CBS. Brice left the show after ten broadcasts and the program was cancelled in June.

Brice starred in another radio show during the fall of 1936 – Frank & Anne Hummert’s Revue de Paree, akaFollies de Paris, a short lived series on Blue’s Wednesday schedule at 8:00 opposite NBC’s One Man’s Family. The Barbour family serial tripled Revue’s ratings and Brice left the Hummert show after 13 weeks.

As biographer John Kenrick points out, Fanny Brice could have easily retired at 46. Her real estate holdings and show business success had resulted in a comfortable income plus a luxurious Manhattan townhouse and country home on Long Island.

But the General Foods/MGM Thursday night hour on NBC, Good News of 1938, had made an immediate splash in the 1937-38 season. The big budgeted show offered Brice $5,000 a week, ($82,000 in today‘s money), for just a few minutes’ appearance each week as Baby Snooks and occasional sketches as herself. So, she left for Hollywood, a new mansion on two acres in Holmby Hills and joined Frank Morgan as part of Good News’ permanent cast on December 23, 1937.

Good News also introduced Hanley Stafford in the role of Snooks’ frustrated Daddy – a role he held for the next 14 years. Stafford, actually eight years younger than Brice, was no stranger to Network Radio. After five years of minor roles on a number of programs, he easily won the audition for Lancelot Higgins and two years later took on the additional continuing role of blustery J.C. Dithers in the comic strip based sitcom Blondie for the length of its network run until 1950. His value as Daddy was recognized in 1945 when he signed a contract to continue the role at $1,000 a week – ($13,000 in today’s money).

Good News replaced Maxwell House Showboat on NBC’s Thursday night schedule. It was billed as General Foods’ “star filled spectacular” to compete with Major Bowes’ Original Amateur Hour on CBS. Although critics considered it a loosely constructed, hour-long promotion for MGM films and stars, Good News of 1939 became a Top Ten show in its second season, beating Bowes. But in its third season, Bowes edged out Good News of 1940 and General Foods became disillusioned with the show’s costs and increasing demands made by MGM. Good News was cut back to 30 minutes in March,1940, and cancelled in July.

With its ties to MGM dropped, General Foods split its Thursday night hour into two, 30-minute comedy shows, Maxwell House Coffee Time starring its two Good News regulars, Fanny Brice and Frank Morgan, followed by its sitcom that had a promising first season on Blue, The Aldrich Family. It proved to be a winning combination, both comedies finished in the Annual Top Ten for the next three seasons.

Maxwell House Coffee Time with singing host John Conte was actually two shows in one. Morgan’s sketch took the first half and after a song by Conte came the weekly adventure of Brice’s Baby Snooks and Daddy. Over its four season run, Maxwell House Coffee Time with Brice and Morgan averaged a substantial 21.1 rating.

Then General Foods made a move that left many asking Snooks’ catch-phrase question, “Whyyy?” It broke up the successful Brice-Morgan duo in the fall of 1944. Morgan was given the Thursday night Maxwell House Coffee Time on NBC and Brice was moved to CBS on Sunday night at 6:30 ET.

Brice’s new Toasties Time added cast members along with Stafford’s Daddy. Most prominent of the group were Lois Corbet , followed by Arlene Harris, as Mummy, then Leone Lecoux as Snooks’ babbling baby brother Robespierre. The half hour sitcom was designed as the lead-in to The Kate Smith Hour which General Foods had moved from its successful Friday night slot to blunt Jack Benny’s ratings at 7:00 on NBC.

It was all part of General Foods’ scheme to retaliate against Benny who had abandoned his ten year association with the company for American Tobacco sponsorship. But the plot backfired. Meanwhile, Brice’s 1943-44 Maxwell House Coffee Time rating of 19.9 fell over 50% to 9.6 – from 13th to 79th place – against The Great Gildersleeve on NBC, a Top 25 show.

General Foods rechristened Toasties Time as The Baby Snooks Show for the 1945-46 season and Brice’s ratings edged up to 11.2 and 49th place, but still trailed Gildersleeve which had become a Top 20 show. Worse yet, the stress was beginning to take its toll on the 54 year old comedienne who was sidelined by illness for half a dozen shows during the year.

Finally, General Foods rescued Brice from her Sunday night dilemma in September, 1946, and moved The Baby Snooks Show to CBS on Friday at 8:00 ET where it became the night’s most popular program. (An episode is also posted below.) Her subsequent 1947-48 season resulted in a 17.3 average rating, the highest she had enjoyed since her Maxwell House Coffee Time years – again CBS’s top rated show of the night. As her reward, General Foods cancelled the show.

Brice was 56, nearing half a century in show business and tired. The 1948-49 season was the first in 13 years without Baby Snooks. Once again Fanny Brice had retired. And once again a major advertiser was about to lure her back into radio.

This time it was Lewis-Howe, manufacturers of Tums antacid tablets, which had lost its popular A Date With Judy to Revere Cameras and ABC, leaving it with a vacancy on NBC’s Tuesday schedule at 8:30 p.m. ET. It needed a comedy show – preferably one with a built in audience – to blend into NBC’s blockbuster hour of Bob Hope and Fibber McGee & Molly. Fanny Brice had the name, the established supporting cast and the popularity with audiences – but unfortunately, not the health for a full season’s work. She finally agreed to a 26 week series beginning on November 8, 1949.

The return of Baby Snooks was a success. The well crafted and tightly produced sitcom rounded out NBC’s sweep of the first four spots in Tuesday night’s ratings and Brice was again a Top 20 attraction. What’s more she had the strength and confidence to increase her 1950-51 commitment to a full season of 39 shows.

Brice lost over 25% of her audience during the 1950-51 season. That wasn’t surprising because the average Top 50 program lost at least 20% – a loss directly attributable to the growing competition of television. But Baby Snooks was the only Network Radio comedy show pitted directly opposite NBC-TV’s Texaco Star Theater starring Milton Berle, the highest rated of all television programs with a whopping 61.6 Nielsen average.

Nevertheless, Brice finished in Tuesday’s Top Ten.

That broadcast is notable because three weeks later, on May 24th, Fanny Brice suffered a stroke. She died five days later at age 59 on the date of what would have been her 34th show of the season. Hanley Stafford said of his longtime star on the memorial program on that night of May 29th, “Fanny Brice was a very real, a very warm and a very wonderful person.”

Her loss was mourned by Network Radio and a nation of listeners. George Jessel put it best in closing his eulogy at her funeral by softly saying, “Baby Snooks has gone to sleep.”

HOLLYWOOD 360 Broadcast Schedule for October 2023 (episodes subject to change):10/7/23

BABY SNOOKS & DADDY 11/1/46 Snooks Not Allowed Out on Halloween

SUSPENSE 4/10/47 Community Property

LIGHTS OUT! 3/23/43 The Flame

MURDER BY EXPERTS 4/24/50 Conspiracy

THE WIERD CIRCLE 7/8/43 The Fall of the House of Usher

10/14/23

LIVE INTERVIEW: Evelyn Rudy

SUSPENSE 5/18/58 Zero Hour

MY FAVORITE HUSBAND 10/28/49 Halloween Surprise Party

THE SHADOW 5/22/38 The Message From the Hills

CABIN B-13 12/26/48 The Sleep of Death

THE BLACK MUSEUM 3/18/52 The Door Key

10/21/23

THE GREAT GILDERSLEEVE 11/1/56 Jolly Boys Haunted House Adventure

THE NEW ADV. OF SHERLOCK HOLMES 9/3/45 The Limping Ghost

OUR MISS BROOKS 10/30/49 Halloween Party

INNER SANCTUM MYSTERY 6/4/46 Eight Steps to Murder

QUIET PLEASE! 12/5/48 A Very Unimportant Person

10/28/23

BLONDIE 10/27/48 Blondie and the Halloween Spirit

SUSPENSE 5/31/45 August Heat

THE SEALED BOOK 5/27/45 I’ll Die Laughing

LIGHTS OUT! 12/29/42 Valse Trist

THE HAUNTING HOUR 9/5/52 Shadow People

View Details

Margot Robbie stars as Mattel’s fashion doll Barbie, and Ryan Gosling is the Ken doll in director Greta Gerwig’s excellent and creative film. The fantasy comedy movie is based on the dolls from the Mattel Toy company that began in 1959. Until then, most of the dolls in the world...

View Details

Disney’s remake of the classic animated 1989 movie “The Little Mermaid” is here with live-action characters and Ariel, Halle Bailey as the star. She carries the film despite the overlong runtime as her sweet, strong voice is the key to uplifting the live action amid the overstuffed script and elongated...

View Details

Harrison Ford stars as Indiana Jones, the multi persona hero—a world-traveler explorer who is also a nerdy archeologist professor in the final movie of the series, which premiered in 1981 with “Raiders of the Lost Ark.” The ever-popular series followed up with “Temple of Doom” (1984), “Last Crusade” (1989); and...

View Details

Director Peter Sohn creates a new world in “Element City,” where earth, fire, water, and wind are elements similar to the elements table we all learned in school. Sohn has been with PIXAR for many years; he directed the short film “Partly Cloudy” that ran before the hit movie “Up.”...

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/05/killers-flower-moon-fastx.mp3Currently, the film has a 96% score on Rotten Tomatoes of 54 reviews, and this critic can’t wait to add hers! I’ll have to wait alongside everyone else in the world for the October 6 opening in theaters—as customary; I’ll be invited to review along with other critics a few weeks earlier. I know the film will be shown in Oklahoma to the Osage Nation in a private screening on July 6.

The film centers on the 1920s Osage Indian Nation Regin of Terror and is based on the excellent book by David Grann, “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI.” Leonardo DiCaprio and Robert De Niro star alongside Lily Gladstone.

I’ve been following the book and the film’s journey since 2018. Here’s an overview of that journey in an article I wrote for RogerEbert.com that included interviews with former Osage Nation Chief Jim Gray and Osage News journalist Shannon Shaw Duty https://bit.ly/EbertKillersoftheFlowerMoon.

The most exciting news from Cannes is that the reviews are tremendous for the movie, calling it a masterpiece with Oscar-worthy performances. Be sure to check back regarding my review at the end of September or early October.

Director: Martin Scorsese
Writer: Eric Roth, Martin Scorsese
Release Date: (Theaters): October 6, October 20, 2023- Wide
Runtime: 3 hours 26 minutes
Distributor: Apple Original Films

Sarah Knight Adamson© May 29, 2023

“Fast X”

“Fast X,” rated PG-13, is the tenth movie of the series. The fast cars and crazy stunts are all back, along with a new villain, Jason Momoa! Vin Diesel, and Michelle Rodriguez, star. With flashbacks to a robbery heist and murder of a former villain, his son (Jason Momoa) is out for revenge.

Directed by Louis Leterrier (The Transporter 1 & 2, The Incredible Hulk, Now You See Me), he’s new to the franchise and written by Dan Mazeau. Fast X is an outrageous cat-and-mouse game with Dom and his team—Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Nathalie Emmanuel, and Sung Kang. Typical scenes are Dom’s gang chasing after Dante or Dom’s gang being attacked by Dante. Dom’s 8-year-old son, Little Brian (Leo Abelo Perry), is Dante’s prize as he wants Dom to suffer for killing his family.

“Fast X” also has the return of Jason Statham as Shaw, Helen Mirren as Shaw’s scheming mother, John Cena as Dom’s brother, and Charlize Theron as Cypher, who is now working with Dom & Co. against the much tougher lousy guy. You’ll see her and Liddy duking it out in far too many scenes. The buzz from the girls in the show—they want to drive more and show their skills; the fights are repetitive and dull. Yes, let the girls show their driving skills in “Fast Eleven!”

The bottom line is I’ve seen all ten films, and you know exactly what you’ll get with these movies—they are family-centered, outrageous cars, eye-popping visual stunts, and wild rides. If you go in with that expectation, you should be entertained, I certainly was, and I love the new sassy villain, Dante; Jason Momoa has found a new calling.

Director: Louis Leterrier

Writer: Justin Lin, Dan Mazeau

Runtime: 2 hours 21 minutes

Distributor: Universal Pictures

View Details

    NEWSLETTER | VOL. 26, June 2023    Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team!  Carl’s Corner*by Carl Amari*Hello everyone and happy June! Here’s the Hollywood 360 newsletter, June 2023 / Vol. 26. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that we will be airing on Hollywood 360. Each month I’ll provide an article on one of the classic radio shows we’ll present on Hollywood 360. This month, we’re airing an episode of Yours Truly, Johnny Dollar starring Bob Bailey the week of June 17th, so here’s an article on this amazing detective series. Enjoy!**THE RADIO DETECTIVE MATTER** *‘Yours Truly, Johnny Dollar’ was a mainstay into the 1960s* by Carl Amari and Martin Grams

America’s “fabulous freelance insurance investigator” was one of radio’s great sleuths, pursuing both stolen goods and villains with a vengeance. Johnny Dollar was hired by various insurance companies to apprehend poisoners and drug smugglers and recover gems from a heist.

Like other famous private eyes, Dollar had the crime all wrapped up before the cops were remotely aware that anything was amiss. His status as an insurance investigator gained him access to case files at police departments, and there were usually trips to exotic locales. Each story ended with Dollar dictating his report, every line accompanied by the relevant expenses, from aspirin and cab fairs to new suits. The program featured snappy scripts and was a cut above the average radio whodunit.

A number of talented actors, including tough-guy screen stars Edmond O’Brien and John Lund, played the lead; but none defined the personality of Johnny Dollar better than Bob Bailey. Bailey played Dollar during the high-water mark of the show, in the mid 1950s when it switched format from a 30-minute weekly offering to five-part 15-minute episodes broadcast daily.

In the early 1950s when other radio programs were transitioning to television, Yours Truly, Johnny Dollar stuck to its radio roots. It managed to stay on the air until September 30, 1962 the date when CBS canceled it and another long-running radio favorite, Suspense. Sadly, the final two programs originating from the golden age of radio were now off the air.

LEND ME YOUR EARS | THIS MONTH’S SONG: PIECE BY PIECE, Kelly ClarksonRELEASED: 2015by Lisa WolfClick here to watch on YouTube.

“This song is basically my past, present, and future. It’s my love letter celebrating and thanking my husband for being a man that knows how to love me and our children without expecting anything in return. Also, this is a promise to my kids that I will never cease to love them, and be present in their lives always.” ~ Kelly Clarkson

“Piece by Piece” is the title song from Kelly Clarkson’s seventh-studio album, released November 9th, 2015. The song was written by Kelly along with Greg Kurstin, who produced the record. There is also an alternate rendition – the “Idol version” – from her 2016 American Idol performance.

Click here to watch on Youtube.

Kelly Clarkson’s passionate performance of the song on American Idol finished with a standing ovation from the judges and audience. Kelly ultimately broke down in tears.

“I guess you don’t realize something is missing until you feel it. I can’t imagine walking away from my little girl. I can’t imagine not having that love anymore. I didn’t know it was missing because I never had it. It was a revelation and that’s why I wrote that song. I think a lot of people go through that.”

The black-and-white song video features emotional images of children and mothers. It ends with Kelly holding her own daughter, River Rose, who leans in to give her mom a kiss.

SIGNAL OIL PLUGS RIVAL NETWORK’S SHOWS TO CAPTURE AUDIENCEby Karl SchadowIt was unusual for programs of rival networks to be promoted in a print advertisement which was being bank-rolled solely by one of the competing web’s sponsors. However, that is exactly what transpired when the Signal Oil Company encouraged readers of the April 9, 1944 issue of Radio Life magazine to catch its thriller series – The Whistler – on Sunday afternoons. At that time, the program originated from station KNX in Hollywood which was owned and operated by CBS. The half-hour show aired at 4:30 pm Pacific Time and beamed via West Coast stations of the Columbia network. Executives at Signal Oil along with staff at its advertising agency Barton A. Stebbins were fully aware that the vast majority of Sunday listeners were tuning in Jack Benny at 4 pm and also Charlie McCarthy at 5 pm. Both were on NBC. Thus, they devised a simple plan to entice the potential intervening audience of these two blockbusters to turn their radio dials from KFI, the local NBC outlet, to KNX. Did the plan work? Perhaps, as The Whistler did garner a higher audience rating than that of theFitch Bandwagon, the competition on KFI-NBC at 4:30 pm. Another point to ponder is whether or not executives at KNX and CBS were amused by the mention of KFI in the ad? It appeared only that one time in the magazine. Hollywood 360 Schedule6/3/23
THE NEW ADV. OF PHILIP MARLOWE 4/18/50 The Angry Eagle
MURDER AT MIDNIGHT 4/19/46 The Dead Hand
DUFFY’S TAVERN 9/22/50 Archie Buys a Radio Station
THE JACK BENNY PROGRAM 11/20/49 Jack Goes to Rehearsal
GUNSMOKE 4/18/53 Bum’s Rush

6/10/23
ROCKY FORTUNE 1/12/54 Ride ‘em Cowboy
BLONDIE 11/6/39 Uncle Gideon and Aunt Bessie
THE STORY OF DR. KILDARE 4/26/50 Warren Jackson
FORT LARAMIE 2/5/56 Squaw Man
SUSPENSE 7/12/55 Kaleidoscope

6/17/23
THE LIFE OF RILEY 6/19/48 Father’s Day
YOURS TRULY, JOHNNY DOLLAR 11/11/56 The Big Scoop Matter
ACADEMY AWARD 10/2/46 My Man Godfrey
HAVE GUN-WILL TRAVEL 7/12/59 Young Gun
INNER SANCTUM MYSTERY 8/24/52 No Rest for the Dead

6/24/23
MY FAVORITE HUSBAND 9/30/49 Woman’s Club Election
THE SHADOW 6/26/38 The Old People
HOPALONG CASSIDY 3/29/49 Hoppy and the Iron Horse
MR. CHAMELEON 10/13/48 The Case of Murder and the House of Whispers
THE GREAT GILDERSLEEVE 11/7/51 Bronco and Marjorie Want to Build a House

TO RECEIVE A WEEKLY EMAIL (EVERY MONDAY) WITH THE FULL 5-HOUR HOLLYWOOD 360 SHOW AND 40-MINUTE RADIO RARITIES PODCAST VIA DIGITAL DOWNLOAD LINKS THAT NEVER EXPIRE, CLICK HERE

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/05/succession-blackberry.mp3“Succession” season one aired in 2018 on HBO to rave reviews. It’s based on the famous, wealthy Murdock family. It stars Brian Cox (Logan Roy), the family’s patriarch; Jeremy Strong (Kendall), his son; Kieran Calkin (Roman), another son; and Sarah Snook (Shiv), his daughter. The story revolves around their company Waystar RoyCo and a global entertainment conglomerate, who are all bidding for the CEO job when their dad retires.

The series has been given high accolades and awards due to its script, acting, directing, production values, musical score, and the analysis of the varied family personalities. Some critics have called “Succession” the best TV show you can currently watch. The show is definitely for adults only; the language is unsuitable for teens or kids. The writing and acting are razor-sharp; the series is great to watch once you settle in and expect what’s coming.

Sarah Knight Adamson and Jeremy Strong Critics Choice Awards January 15, 2023.

The family patriarch, Logan Roy (Cox), is experiencing health issues. His four children, the estranged oldest son Connor (Ruck), power-hungry Kendall (Strong), flippant Roman (Culkin), and the politically shrewd Shiv (Snook) all have their own relationship with the company, aka dad. As they begin to contemplate a future minus their father, they all compete for status within the company, namely the top job. What is interesting to view is Logan Roy, as he sees right through his children and plays their game by privately telling each of them they will be the next CEO.

As the seasons progress, it becomes a game of cat and mouse with Logan and his children. Be prepared for rough language and shocking proclamations. The show has an addictive quality as one can’t help but see what transgressions will happen in the next episodes—season 4, Episode 10 “Eyes Wide Open, airs May 28, at 8:00. I’ll be watching along with everyone, and I can say I’m very interested to know how the show will conclude.

Creator: Jesse Armstrong, writer

Director: Season 4 Episode 10: Mark Mylod

Executive Producers: Jesse Armstrong, Will Ferrell, Adam McKay, Frank Rich, Kevin Messick, Mark Mylod

Studio: HBO MAX Now known as MAX

Sarah Knight Adamson© May 21, 2023

Blackberry

Can you remember a time before your iPhone or hand-held phone? Going back to 2002, the first BlackBerry phone was launched. I didn’t have one, but my husband did. He used it mainly for texting; it was a large device, although it looked as though it was designed to fit inside of a men’s front shirt pocket. The new movie “BlackBerry” is out now and the film is great! The mixture of creativity, and humor with cut-throat business is an intriguing tale.

The year is 1996, in Waterloo, Ontario, a city in Canada. Mike Lazaridis (Jay Baruchel) and his business partner and best friend Douglas Fregin (Matt Johnson) are close to creating the world’s first smartphone. Struggling to keep their company in the business, Jim Balsillie (Glenn Howerton) agrees to join the company; as he sees the future with their new product, he also has the money and experience needed to create and sell a much-needed prototype of their invention. Most know the BlackBerry phone had a short run-life, yet most don’t know the entire story of its humble beginnings, the key players, the launch, and its growth to a billion-dollar operation.

Sadly, most know of the demise, as the Apple, iPhone, tweaked the idea several times, especially in size, to mainstream the product, thus seeing a rapid decline in BlackBerry sales. The film is directed by Matt Johnson, and co-written by Johnson and Mathew Miller, with beginnings in 2017 when asked by Niv Fichman, the President of Rhombus Media, created an adaptation of the bestselling book “Losing the Signal: The Untold Story Behind the Extraordinary Rise and Spectacular Fall of Blackberry.” Johnson recalls, “The Blackberry was the status symbol of the early-2000s, and at the beginning of the social-media era, it made you part of a group. The BBM perfectly captured that, like you can’t talk to somebody on BBM unless you both have Blackberries, it opened up a new way of communicating before Instagram DMs or Snapchat.”

The more Johnson and Miller learned about the early days of Lazaridis’ company, Research in Motion, the more they came to identify with its culture and the environment the engineers worked in. When adapting the book, Johnson and Miller attempted to stay true to the story while also bringing their own unique storytelling perspectives and experiences to the film.

Recently, Matt was in Chicago with his film, “Blackberry,” which screened at the Music Box Theater on May 5, during the Chicago Critics Film Festival, of which I am a member. Matt spoke with me after he introduced the film. The link is https://bit.ly/BlackBerryInterview

What struck a chord with me is that Johnson captured the creative genesis of problem-solving. Too often, we take how a product is put together for granted—with the hand-held phone race; we see how that process evolved up close and personal. As a former teacher of gifted students, I appreciate seeing that process portrayed in a film; it was fascinating to watch. For me, that is the film’s heart, is when they work together to reach a goal. Honestly, it is such a great feeling, and I created lessons so my students could experience the process. It also seemed more of a healthy environment, as Steve Jobs was a constant criticizer and somewhat of a bully at times. These guys were excited and reveled in each others’ success.

I highly recommend “BlackBerry” as Canada should get its due; check it out now.

Sarah Knight Adamson© May 10, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/05/michael-j-fox-book-club-two.mp3Yes, they’re back, those wise-cracking, wine-drinking, Hollywood award-winning ladies—Jane Fonda, Candice Bergen, Mary Steenburgen, and Diane Keaton for their follow-up to “Book Club” (2018). In this sequel, the girls decide to take a trip to Italy for a Bachelorette party and a wedding, although it’s no surprise that Jane Fonda is the one getting married due to the trailers and advertisements for the movie. I can tell you upfront that I thoroughly enjoy seeing these ladies on the big screen and sharing their adventures, although, unfortunately, the film has some faults.

Is it worth seeing? Is it for everyone? Does it have anything important to say? For sure, it’s worth seeing if you are a fan of the women’s work. Secondly, no, the film is not for everyone as it has a target market, just as a high school film about four teen girls has a market. Thirdly, yes, the essential factor here is that friendship is key to a healthy state of mind at all ages. Lastly, the movie is fun-loving, feel-good, and nostalgic, although the script sadly lacked creativity and substance. All is forgiven as the beautiful sun-soaked setting of Italy is fantastic.

I enjoyed seeing the ladies interact with their co-stars, Andy Garcia and Don Johnson, who have magnetic and likable personas. The wedding dress-fitting scenes are hysterical, as the wise-cracking is at its best. The sex jokes fall flat, as do some of the tech gags. Without this star power, the film could be an advertisement for a trip to Italy, as the scenery at times steals the show. However, the setting brought back shades of another fabulous actress, Diane Lane, in “Under the Tuscan Sun,” a highly popular film. Does Italy as a backdrop work? Sì, bueno!

Director: Bill Holderman

Writers: Bill Holderman, Erin Simms

Studio: Focus Features

Run Time: 1 hour 47 minutes

Sarah Knight Adamson© May 15, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/05/michael-j-fox-book-club-two.mp3Do you remember the 1982 TV show ‘Family Ties’ with Michael J Fox or the classic movie “Back to the Future?” “Still: A Michael J. Fox Movie” is a documentary about his very successful career, and the daily challenges he now faces. Michael talks about his battle with Parkinson’s disease, which started at age 29. I screened the film during the Sundance film festival in January and spoke with cast members.

Conversing with director Davis Guggenheim reaped benefits in my reporting as these situations can lead to deeper conversations regarding the film. In this case, Guggenheim, (Academy Award winning director for Best Documentary, “An Inconvenient Truth” (2007), shared his personal thoughts on working with Fox; he told me, “Michael has changed my life, his determination and tenacity are a role model for all.”

I highly recommend this film, four stars out of four as the director Davis Guggenheim also told me he enjoyed working on the film as Michael taught him so much about life and what is truly important.

Michael’s wife Tracy Pollan, whom he met on “Family Ties,” also stars in offering her support and comments on their lives.

Sarah Knight Adamson© May 14, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/05/the-covenant.mp3“Guy Ritchie’s The Covenant” is based on the true story of US Army Sergeant John Kinley (Jake Gyllenhaal) and Afghan interpreter Ahmed (Dar Salim) in 2018 during the Afghanistan War. After being ambushed, Ahmed risks his life to save Kinley, who is wounded and unable to walk, by transporting him by a makeshift cot through rugged mountains. While viewing the film, Ritchie captures not only a heroic portrait of devotion, we see up close and personal the frustrations of fighting a war in those forbidding mountains. Historically Guy Ritchie films going back 25 years, have their own genre; they contain stylized and flamboyant silly action and violence. “The Covenant” is his first war film; it’s a very series film with realistic motion. As a Guy Ritchie fan, I’ve seen all his films—I believe this is his best yet.

As Kinley, now back in the US, recovers from his injuries, flashbacks haunt him. He begins to realize that Ahmed risked his life to save him. When he learns that he and his family were not given safe passage to America as promised. He decides to repay his debt by returning to the war zone to save them before the Taliban capture them.

The chemistry between the two characters and the realistic war scenes makes the film so great. After a horrific ambush in which Kinley and his men are overwhelmed by hordes of seriously armed Taliban gunmen who just keep on coming, only Ahmed and a badly wounded Kinley survive. This is when “The Covenant” becomes a harrowing, nerve-wracking survival adventure, with Ahmed utilizing a variety of strategies and testing the extreme limits of his endurance as he crisscrosses the challenging terrain and back roads in a superhuman effort to return to the Bagram Air Base, all while the Taliban is hunting them down. Ahmed makes one narrow escape after another, sometimes with the help of locals who loathe the Taliban.

We see the stacked odds of survival and are shocked when Kinley decides to leave his California home and family to return to the dreadful situation. And return, he does. The reunion brought tears to my eyes; again, Ritchie’s seasoned filmmaking career has created an excellent film of friendship, devotion, and the realistic horrors of war.

Sarah Knight Adamson© May 7, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/05/peter-pan-and-wendy.mp3The latest movie about Peter Pan is now playing in theaters everywhere. “Peter Pan and Wendy” is based on the original story of the “Peter Pan” book by Sir James Matthew Barrie, written in 1904, and the 1953 animated Disney movie “Peter Pan.” The film stars Jude Law as Captain Hook, James Gaffigan as Smee, Yara Shahidi as Tinkerbell, Ever Anderson as Wendy, and introduces Alexander Molony as Peter Pan. I thoroughly enjoy viewing the film as the age-appropriate story keeps all ages entertained.

David Lowery directs as he had much success with “Pete’s Dragon,” alongside screenplay credit with Toby Halbrooks, the executive producer. Past Disney films based on Peter Pan include Peter Pan (1953), Peter Pan: Return to Never Land (2002), and Tinker Bell (film series).

Focusing on Wendy Darling, a young girl afraid to leave her childhood home behind, she meets the magical Peter Pan, a boy who refuses to grow up, and a tiny fairy Tinker Bell who uses her pixie dust to create magical happenings. Wendy leaves her bedroom with her younger siblings to discover an evil pirate captain, “Hook,” who is Peter Pan’s arch enemy. They all travel and fly at times to exotic locations, encountering adventure and danger along the way.

In the end, Wendy proclaims, “To grow up might be the biggest adventure of them all!”

The Bottom-line: “Peter Pan and Wendy” is the perfect title as Wendy shares the spotlight with Peter and sometimes outshines him due to her broad screen time and her determined performance. I’d say three ½ stars out of 4. I enjoyed all the characters, especially the comical Jim Gaffigan.

Be sure to check out “Peter Pan and Wendy,” streaming now on Disney+.

Hollywood 360 Radio Network Podcast: https://bit.ly/wendyandpeterH360

Sarah Knight Adamson© April 30, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/04/judy-blume-mario-bros.mp3“Judy Blume Forever”

I screened the excellent documentary during the Sundance Film Festival in January 2023, and loved the film.

Most know author Judy Blume books as her name is synonymous with the joy and agony of being an 11- or 12-year-old. Directors Davina Pardo and Leah Wolchok present a full portrait of her life beginning in 1938 in New Jersey, from her transition to adult novels, her letter writing to adoring fans, and her retirement in Key West, FL.

Blume understood adolescence; she wrote bluntly, explaining awkward situations and exploring solutions. She dives deep into puberty, explaining what is happening while slowly guiding through the process.

Blume also wrote books for younger kids as well, “Tales of a Fourth Grade Nothing,” “Superfudge,” “Blubber” and “Otherwise Known as Sheila the Great,” were popular books with my fourth and fifth-grade students when I was teaching Gifted Literature. On numerous occasions, I read her books aloud to my students as they are so well-written and engaging.

An excellent biography, showcasing Blume reading her novels while lovingly reminiscing about her characters.

Sarah Knight Adamson@January 30, 2023

“The Super Mario Bros. Movie” (G)

“The Super Mario Bros. Movie” is now playing in theaters to packed audiences. It’s animation and based on the popular 80s video game of two brothers, Mario, voiced by (Chris Pratt) and Luige (Charlie Day), from the Nintendo game corporation in Japan. Wow, the film is colorful and eye-popping, especially with the rainbow speedway track. Although, I can’t recommend the movie as it’s too dark in tone for kids and has way too much violence. I’d say skip it in theaters.

Mario Bros, unfortunately borrowed Guy Ritchie’s playbook from his disaster of a movie “Aladdin.” Yep, there’s torture in “Super Mario Bros,” just as in “Aladdin,” it mirrors electric shocking Toad until Princess Peach (Anya Taylor-Joy) agrees to marry Bowser (Jack Black) or King Koopad, just as “The Sultan” ruler of Agrabah, Princess Jasmine’s father is tortured until she agrees to marry Jarfar. Nope, not on my watch. Physical bullying to get your way is never okay. Hmm…what does that teach kids?

Directors: Aaron Horvath and Michael Jelenic
Writer: Matthew Fogel
Studio: Universal
Run Time: 1 hour 32 minutes
In theaters now

Sarah Knight Adamson© April 23, 2023

View Details

    NEWSLETTER | VOL. 25, May 2023    Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team!  Carl’s Corner*by Carl Amari*Hello everyone and happy May! Here’s the *Hollywood 360* newsletter, May 2023 / Vol. 25. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly *Hollywood 360* newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that we will be airing on *Hollywood 360*. Each month I’ll provide an article on one of the classic radio shows we’ll present on *Hollywood 360*. This month, we’re airing an episode of *The New Adventures of Sherlock Holmes am Spade* starring Tom Conway and Nigel Bruce the week of May 5th, so here’s an article on this amazing detective series. Enjoy!**The Adventures of Sherlock Holmes** by Carl Amari and Martin Grams

Sir Arthur Conan Doyle’s detective genius, Sherlock Holmes, came to NBC radio in 1930 starring Richard Gordon. By 1939, Basil Rathbone was heard as Holmes with Nigel Bruce as Doctor Watson. The duo was simultaneously starring in a popular series of Sherlock Holmes features for Fox, and later for Universal.

By the end of the feature run in the mid 1940’s, Rathbone was eager to separate himself from the radio show to avoid being typecast, and even though the show’s sponsor (Petri Wines) offered him generous pay to continue, he decided to move on. Tom Conway took over with Nigel Bruce continuing as Watson (in this paring Nigel Bruce received top billing). Tom Conway and Nigel Bruce were replaced in 1947 by John Stanley and Alfred Shirley.

Others to portray Holmes and Watson over the radio run were George Shelton and Ian Martin and Ben Wright and Eric Snowden. In 1955, NBC signed heavyweights Sir John Gielgud and Sir Ralph Richardson to star as Holmes and Watson, but with radio fast giving way to television, it only lasted one season.

LEND ME YOUR EARS | THIS MONTH’S SONG: ANGIE, The Rolling StonesRELEASED: 1973by Lisa WolfClick here to watch on YouTube.

“While I was in the clinic, Anita was down the road having our daughter, Angela… Once I came out of the usual trauma, I had a guitar with me and I wrote ‘Angie’ in an afternoon, sitting in bed because I could finally move my fingers and put them in the right place again… The name of the song came out of nowhere. I just went, ‘Angie, Angie.” ~ Keith Richards

The 1973 acoustic-guitar ballad “Angie” written by Mick Jagger and Keith Richards, climbed to the top of the charts when it was released on their album, Goats Head Soup. Keith Richards wrote this song in Switzerland after the ‘Exile on Main St.’ album had been approved by the record company, but before it was released. Angieis The Rolling Stones’ only ballad to hit #1 in the United States. Part of the appeal of the song was the mystery question… who was Angie? There are various theories that attempt to answer that question.

Many believe that the song Angie is dedicated to the first wife of David Bowie, whose name is Angela, or Keith Richards’ newborn daughter, Dandelion Angela. Others suggest Angie refers to actress Angie Dickinson or even designer Andy Warhol. On the other hand, in English slang, the word “angie” refers to various hard drugs. In his autobiography, Keith wrote that what he meant was to say goodbye to heroin. As there is no definitive answer, you can decide who or what the song Angie is about.

“All the dreams we held so close seemed to all go up in smoke.”

Hollywood 360 Schedule5/6/23
THE NEW ADV. OF SHERLOCK HOLMES 10/19/46 The Adv. of the Black Angus
ESCAPE 2/1/48 The Vanishing Lady
RED RYDER 3/14/42 Trouble in Frying Pan Valley
FIBBER McGEE & MOLLY 10/14/41 Acting Fire Commissioner McGee
THE NEW ADV. OF NERO WOLFE 11/3/50 The Case of the Dead Dead Lady

5/13/23
BOSTON BLACKIE 6/30/44 Fifty Hunter Street
GUNSMOKE 2/21/53 Meshougah
MICHAEL SHAYNE, DETECTIVE 6/11/45 Mary Noble Case
THE SEALED BOOK 4/29/45 The Accusing Corpse
THE CHARLIE McCARTHY SHOW 3/1/53 w/ guest, Robert Cummings

5/20/23
THE ABBOTT & COSTELLO SHOW 10/3/46 Costello is Incorrigible
NICK CARTER, MASTER DETECTIVE 5/6/45 The Vanishing Lady
THE BING CROSBY SHOW 1/8/53 w/ guests, Rosemary Clooney and Joe Venuti
FRONTIER GENTLEMAN 7/27/58 Mighty Tired
PAT NOVAK, FOR HIRE 6/11/49 Georgie Lampson

5/27/23
DRAGNET 9/6/51 The Big 17
THE GREAT GILDERSLEEVE 12/3/52 The Birthday Duck Dinner
THE CAVALCADE OF AMERICA 1/14/46 Venture in Silk Hat
DANGEROUS ASSIGNMENT 5/3/50 Paris – Missing Diplomat
THE HALL OF FANTASY 1/26/53 The Black Figurine of Death

TO RECEIVE A WEEKLY EMAIL (EVERY MONDAY) WITH THE FULL 5-HOUR HOLLYWOOD 360 SHOW AND 40-MINUTE RADIO RARITIES PODCAST VIA DIGITAL DOWNLOAD LINKS THAT NEVER EXPIRE, CLICK HERE.

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/04/john-wick-four.mp3Keanu Reeves lifts the “John Wick” series to new heights! Most of the world has somewhat of an idea that Reeves is an unkillable assassin. Having viewed all of the John Wick movies since 2014, I’m happy to say the newest installment is my favorite so far. Wick continues his search to defeat The High Table and finally finds a way to earn his freedom. Director Chad Stahelski reunites with Reeves for all to see this widely popular action star. You’ll see Morocco’s desert, Tokyo’s neon lights, and Paris’s breathtaking sights. Let’s say I’ll never view Sacré-Cœur Basilica quite e same way after Wick is thrown from those iconic stairs leading up to the top repeatedly for almost 30 minutes.

With a run-time of nearly 3 hours, you’ll see Wick falling from back-breaking heights, especially stairs, as mentioned above, being tossed about by fast-moving vehicles and constantly pursued. All the while, he’s punching, kicking, stabbing, and shooting his way through all the armed assailants.

The script highlights his enemies’ backstories and current lives, which turns into a wild ride. Donnie Yen’s assassin Caine is called back into action, although yet he claims he’s retired although a threat has been put into action to his daughter with Marques as the culprit, his interactions with Wick are priceless.

Bill Skarsgård, as the Marquis de Gramont, is a new player and functions as the new sheriff, so to speak. His goal is to rid the world of John Wick forever. He also serves as the disgruntled voice of The High Table. He shows his ruthlessness and evil ways early on. Yes, in Chapter Four, it’s almost as if the entire world is against Wick, especially after the enormously high bounty is placed on his head. Although never fear, Wick is simply unkillable, which is fine with me as I’m hoping he’ll appear in Chapter 5.

The Bottom-Line? I’ve seen all the John Wick movies since 2014 and enjoyed this one the best! The script is more developed, as are the characters, Wick is perfect in this role, and I would love to see another film.

Sarah Knight Adamson© April 1, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/03/shazam-fury-of-the-gods.mp3The sci-fi teen drama, with action, adventure, and humor, is set in modern-day Philadelphia two years after Thaddeus Sivana’s defeat in “Shazam!” The two daughters (Hespera and Kalpso) of Titan Atlas (Hellen Mirren and Lucy Lui) broke into the Acropolis Museum in Athens, Greece, and stole the Wizard’s staff. The pair make a shattering entrance. Toggling back and forth between Earth and the other realms, the sisters’ central vow is to destroy Earth and its people.

In Philadelphia, Shazam’s foster siblings are drifting apart due to all growing up and pursuing other interests. Billy, AKA Shazam, is also worried about being kicked out of the Vasquez family after he turns 18 as he then ages out of the foster system. He’s got lots on his plate, yet he keeps the humor coming and the jokes flowing. Billy discovers a new love interest with ties to the Titan Atlas sisters. She is sometimes torn as Shazam has helped her out of a few situations, which leads to an exciting plot twist.

What a fun hero movie, there’s so much to love about this film. The main character is heartwarming and endearing as he questions his every move. I loved the first “Shazam” movie and enjoyed this one just as much. It’s one of those popcorn munchings; sit back and be entertained.

Sarah Knight Adamson© March 26, 2023

View Details

    NEWSLETTER | VOL. 24, April 2023    Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team!  Carl’s Corner*by Carl Amari*Hello everyone and happy April! Here’s the *Hollywood 360* newsletter, April 2023 / Vol. 24. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly *Hollywood 360* newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that we will be airing on *Hollywood 360*. Each month I’ll provide an article on one of the classic radio shows we’ll present on *Hollywood 360*. This month, we’re airing an episode of *The Adventures of Sam Spade, Detective* starring Howard Duff the week of April 15th, so here’s an article on this amazing detective series. Enjoy!**THE ADVENTURES OF SAM SPADE, DETECTIVE** by Carl Amari and Martin GramsThe detective character, Sam Spade, was created by writer Dashiell Hammett for his crime story *The Maltese Falcon*. Spade was a hard-boiled detective with cold detachment, a keen eye for detail and unflinching determination to achieve his own justice.

The character is most closely associated with actor Humphrey Bogart who played Sam Spade in the third and most famous film version of The Maltese Falcon. The Maltese Falcon was adapted for radio, three times, twice in 1943 and once in 1946. On February 8th, 1943, Edward G. Robinson played Spade on The Lux Radio Theater and on September 20th, 1943, Bogey reprised his film role on The Screen Guild Theater. Then, again, on July 3rd, 1946, Bogey played Spade before the radio microphones on Academy Award Theater.

William Spier, one of radio’s top producers, brought The Adventures of Sam Spade, Detective to the airwaves starring newcomer Howard Duff with Lurene Tuttle as Spade’s secretary, Effie Perrine. The selection of young Duff for the hard-hitting detective was perfect casting, his success was immediate, and Hollywood began predicting important things to come for this new personality. Almost immediately the radio program became popular earning a steady weekly following of radio listeners who tuned in each week to enjoy the mysteries (occasionally adapted from Hammett short stories). Duff took a considerably more tongue-in-cheek approach to the character than the novel, the movie or the earlier radio incarnations. The enormous success of the Sam Spade radio program spawned a series of comic strips, magazine articles and radio cross-overs, not to mention numerous radio programs attempting to cash in on the Sam Spade craze by offering sound-alike shows. Dashiell Hammett lent his name to the radio series but did little more than cash the checks sent to him for the privilege. The series ran for 13 episodes on ABC and for 157 episodes on CBS from 1946-1950. In 1947, Spier and scriptwriters Jason James and Bob Tallman received an Edgar Award for Best Radio Drama from the Mystery Writers of America. For most of its run it was sponsored by Wildroot Cream-Oil (which Lisa Wolf still uses on her delicate hair : ).

Howard Duff starred as Sam Spade on radio until 1950, when CBS decided to cancel the top-rated series due to Hammett being accused of Communist ties. NBC quickly picked up the series and cast Steve Dunne in the title role. Two of Hammett’s other literary creations, The Thin Man and The Fat Man, also had popular radio runs.

Her success can be measured in many forms. In 1968, Lucille Ball was reported to be the richest woman in television, having earned an estimated $30 million. She remains the only Hollywood celebrity to grace the front of two postage stamps. A 34-cent stamp, issued in 2001 and a 44-cent stamp, issued in 2009.

LEND ME YOUR EARS | THIS MONTH’S SONG: THE BOXER, Simon & GarfunkelRELEASED: 1969by Lisa WolfClick here to watch on YouTube.

“I think the song was about me: everybody’s beating me up, and I’m telling you now I’m going to go away if you don’t stop. By that time we had encountered our first criticism. For the first few years, it was just pure praise. It took two or three years for people to realize that we weren’t strange creatures that emerged from England but just two guys from Queens who used to sing rock ‘n’ roll. ~ Paul Simon

“The Boxer” is a song written by Paul Simon and recorded by Simon and Garfunkel, from their fifth studio album, Bridge over Troubled Water (1970). “The Boxer” was the follow-up to one of their most successful singles “Mrs. Robinson”.

The chorus of the song is wordless, consisting of an eight-time chant of “lie-la-lie” accompanied by a heavily reverbed drum. Simon stated that this was originally intended only as a placeholder, but became part of the finished song. Simon felt that the essentially wordless chorus gave the song more of an international appeal, as it was universal.

“The Boxer” took over 100 hours to record, with parts of it done at Columbia Records studios in both Nashville and New York City. The chorus vocals were recorded at St. Paul’s Chapel at Columbia University in New York. The church had a tiled dome that provided great acoustics. Simon found inspiration for this song in the Bible, which he would sometimes read in hotels. The phrases “workman’s wages” and “seeking out the poorer quarters” came from passages.

Bob Dylan recorded a version of “The Boxer” on his 1970 album Self Portrait.

Click here to watch on YouTube.

On June 3, 2016 at his concert in Berkeley, California, Paul Simon stopped singing partway through “The Boxer”, to announce breaking news: “I’m sorry to tell you this in this way, but Muhammad Ali passed away.” He then finished the song with the last verse: “In the clearing stands a boxer and a fighter by his trade…”

A BRIEF HISTORY OF SERGEANT PRESTON OF THE YUKONby Martin GramsOn the subject of Canadian Mountie fiction, author and historian David Skene-Melvin described it best: “Canada never had a Wild West because the Mounties got there first.” Ironically, a large amount of Northern fiction is the work of non-Canadians. Nevertheless, Skene-Melvin writes “Just as the Western is widely regarded as emblematic of American culture, it can be argued that the Northern is the only truly indigenous Canadian art form, even if most of its exponents have been foreigners.” One such example was the radio and television program, Sergeant Preston of the Yukon.

Prior to the radio program, Canadian Mounties were commonplace in pulp magazine, book form, and motion pictures. Like the Western genre, Canadian Mountie fiction was a variation-on-a-theme with a limited number of plots in a setting that placed limitations on the number of crimes that could be investigated by men of the scarlet tunic. For certain authors, the establishment of a recurring hero was the romantic aspect of the Northern fiction. For motion-picture producers, the heroes would inaccurately wear a red coat in temperatures forty degrees below zero, with the hope that the cinema goers applied suspension of disbelief. Inspired by the Rin-Tin-Tin craze that dated back to the silent era, many of the Canadian Mounties had a canine sidekick that received top billing, which sometimes made the lead actor wonder who got paid more.

In 1936, MGM produced and released Rose Marie, which established a Hollywood fashion statement of Canadian Mounties who displayed impressive vocal chords among the canyons, serenading the white pines. Beginning in 1935, Zane Grey’s King of the Royal Mounted premiered in the newspapers, a long-running comic strip focusing on the adventures of Corporal Dave King, who would later be promoted to Sergeant over the course of the series. From 1936 to 1938, CBS radio aired a daily serial, Renfrew of the Mounted, which dominated Canadian Mountie fiction on network radio coast-to-coast. Historical hindsight applied, with all of these ingredients it comes as no surprise that by 1938 most cowboy stars tried their hand at playing the role of a Canadian Mountie. This included (but was not limited to) Tom Tyler, Charles Starrett, and Russell Hayden.

When Wonder Bread failed to renew their sponsorship for Renfrew of the Mounted, it was George W. Trendle in Detroit who believed the vacancy could be filled with another Canadian Mountie. Enter stage left, Tom Dougall, a staff writer who was responsible for the daytime soap opera, Ann Worth, Housewife, which aired over the Michigan Radio Network. The soap opera came to a close in 1938, and Dougall was supplementing his time scripting The Lone Ranger and The Green Hornet on an average of once a week.

According to his unpublished autobiography, Bar Talk and the Talkers and the Talked About, Dougall recounted that historic moment in late summer 1938 that spawned the creation of Sergeant Preston of the Yukon: “My economic status improved during the thirties as most people’s did, but the reason, in my case, was that I turned to writing to augment by acting income… finally Trendle sent me a memo. ‘Give me a series in which the hero is a dog.’ He always thought Silver was the hero of The Lone Ranger. Well, the dog had to be a working dog and Lassie has the sheep market tied up, so I called on the shades of [Thrills of the Secret] Service and Jack London and made King a sled dog. Except that King was Mogo originally. Trendle renamed him King, after his partner.”

After reading the first year’s worth of radio scripts, it was evident that Tom Dougall was borrowing plots from various Canadian Mountie fiction, including Jack London. With Dougall confessing where he borrowed material, we can easily assume that King was inspired by the canine hero from London’s 1906 novel, White Fang. The story details White Fang’s journey to domestication in the Yukon Territory and the Northwest Territories during the Klondike Gold Rush. The title character was a wolf-dog hybrid who also served as the novel’s protagonist and written from the viewpoint of the titular canine character. Dougall did not hesitate to confess: “I’ve always borrowed. I’m not an original writer. Once, during my Lone Ranger days, an old character actress told me that I was only a fair writer but that I had an excellent memory. I used the plot of Hamlet with various modifications as the basis for six Lone Rangers.”

In July and August of 1938, prior to the formation of Challenge of the Yukon, Tom Dougall wrote three radio scripts titled Ringside. While the initial title might suggest a circus theme, the daytime drama concerned a boxer and his manager – with strong shades borrowed from the newspaper comic strip, Joe Palooka, thrown in for good measure. But when this failed to reach fruition in WXYZ, the flagship station of the Michigan Radio Network, Dougall answered the call of George W. Trendle to create a series of Canadian Mountie adventures.

In late 1938, five radio scripts numbered one through five were drafted and edited, supervised by Trendle and director Charles Livingstone. Initially the series was proposed to be called The Call of the Yukon, then re-titled Morgan of the Northwest Mounted with the hero named Constable Morgan. Script number two suggests the name Constable James Marshall of the Northwest Mounted Police. Before the series premiered on the evening of January 3, 1939, the program was titled Challenge of the Yukon and formulated to the characters we know today as Sergeant Preston and his wonder dog King. (The name “Yukon King” was not established in the early years of the radio program, referred to simply as “King.”)

The first 16 episodes from January through February 1939 provided an epic with Preston’s lead sled dog named Mogo taking the lead. After rescuing what he initially mistook as a wolf, who would later be christened “King,” Preston embarked on a dangerous route to apprehend a criminal. An exchange of gunfire resulted in the death of Mogo. King would be nursed back to health and within a few episodes become a loose leash dog. (This meant King was never tethered to the sled like the rest of the dogs, running free to lead the pack.) There was no origin for Sergeant Preston, as he was already an experienced Canadian Mountie beginning with the first episode of the series. (More than ten years after the premiere of the radio program, Fran Striker would later write an origin for Sergeant Preston and a different origin for Yukon King.) For the first two years of the radio program, a French-Canadian named Pierre was a human sidekick, who also agreed with Preston that King may have a bit of wolf in his DNA.

The early adventures were more adult in nature, length multi-episode story arcs, downsized to two-parters through January and February of 1940, eventually settling on single-episode stories by spring of 1940. Romantically, fans of the radio program would like to think the series aired coast-to-coast from day one, but the fact remains (and through producer George W. Trendle’s admission) the series was a difficult sell to potential sponsors. For the program’s first seven years, the series was heard regionally over the Michigan Radio Network. It was not until the fall of 1943 that the program was syndicated via transcription disc but with limited distribution.

STATISTICS
1,260 radio broadcasts aired from 1939 to 1955.
January 3, 1939 – first episode of the series
May 30, 1940 – first episode to be assigned a script title
May 29, 1943 – first episode to be recorded via transcription
November 14, 1946 – first national broadcast over ABC
June 12, 1947 – first 30-minute broadcast of the series
September 13, 1948 – first broadcast sponsored by Quaker Oats
November 13, 1951 – program officially re-titled Sergeant Preston of the Yukon

By official count, two audition recordings are known to exist. The first 284 episodes were never recorded. Of the 976 episodes transcribed from 1942 to 1955, only 74 are not circulating among collectors. While this means only 7.5 percent of the recordings are considered “lost,” yet it is believed that most of them do exist and have not made their way into collector hands – yet.

All of the radio scripts from the first few years were scripted by Tom Dougall, who was an excellent writer, despite what misgivings he had for his talent. Dougall could write prose and dialogue that was above average for radio production. Sometime circa 1942, however, Dougall went into the service and Fran Striker, then scripting The Lone Ranger and The Green Hornet, filled in temporarily. Striker was unable to handle the payload, so his solution was to recycle plots from The Lone Ranger and make them into Canadian Mountie adventures. Betty Joyce, an aspiring script writer who was being taught the style and format, and was scripting commercials at the time, was coached into the position. Joyce, too, adapted Lone Ranger plots into Canadian Mountie adventures. By 1945, Dan Beattie and Mildred Merrill were added to the script writing staff, whereupon the stories featured on Challenge of the Yukon were again original concepts.

In the spring of 1951, George W. Trendle had a conference with his attorney, Raymond Meurer, regarding the fictional character’s Intellectual Property. Sergeant Preston was a fictional Canadian Mountie and it was agreed that the trademarks that made up the character beyond the fictional name would not be strong enough to combat infringement in court. It was advised beyond the artistic logo created for use on licensed property to change the name of the radio program from Challenge of the Yukon to the name of the fictional character. Beginning with the broadcast of November 13, 1951, the name of the radio program changed to Sergeant Preston of the Yukon. Between the decision to change the name of the program and the official switch-over took more than three months because the network and the sponsor had to approve of the name change.

Once the Quaker Oats Company began sponsorship of the radio program in 1948, premiums became common during the commercial breaks. Where many giveaways were meant to convince sponsors that a large enough listenership warranted a contract renewal, Quaker Oats used these giveaways as a means of selling their product. Thus, even when premiums had no bearing on Sergeant Preston, such as College pennant cutouts (September 1948), Indian trading cards (April to May 1952), circus animal toys (February 1953), 3-D circus cards (September 1953), to sports trading cards (May 1954), listeners were encouraged to send in box tops to receive the novelties.

Gabby Hayes made multiple appearances in recorded commercials promoting the Gabby Hayes hat (November to December 1951), model totem poles (March 1952), movie viewer premium (September to October 1952), and western wagons (February to March 1953). Quaker Oats was the sponsor of The Roy Rogers Show and with so many leftover premiums, the sponsors felt the Sergeant Preston program was a perfect venue to liquidate overstock.

From October to November 1949, Bugs Bunny comic books were offered during the commercial breaks, with recordings of Mel Blanc voicing the cartoon rabbit to help pitch the Dell comics. (Dell was also the publisher of the Sergeant Preston of the Yukon comic books.)

It should be noted that there were indeed some premiums that were implemented into the radio dramas. From October to November 1950, the Mounted Police whistle was offered. A distance finder was given away in early October 1954. Yukon trail cutouts were offered from March to May 1950. From November to December 1954, the Sergeant Preston Pedometer was offered. For three episodes in February 1949, the Secret Signal Two-Way Flashlight proved to be an indispensable tool for Sergeant Preston. Oddly, and only recently discovered, there was at one time a Sergeant Preston vacation giveaway for air tours for two to Alaska and the Yukon.

Perhaps the most unique giveaway during the history of the radio program was the Yukon Land Deed, a premium featured during the broadcasts of January 27 through February 24, 1955. An enterprising employee at the advertising agency created the novel idea of purchasing 19.11 acres in the Yukon territory, for the purchase price of $1,000, so that listeners could submit a box top in exchange for a paper deed granting them ownership of one square inch of land in the Yukon. This premium was not without a legal problem, however. Weeks after the offer was first given on the Sergeant Preston of the Yukon radio program, the Ohio Securities Division ruled that Quaker Oats could not trade a square inch of the Yukon for a box top without a license to sell foreign land, so the company decided afterwards to put the paper deeds inside boxes of Quaker Oats and Quaker Puffed Wheat.

Columnists across the country picked up the story and wrote of the novel giveaway. At least eight months of newspaper articles and advertisements gave the advertising agency what may have been $1 million in publicity. Practically every program sponsored by the Quaker Oats Company on both radio and television was pitching the giveaway including television’s Contest Carnival.

Amusingly the June 1956 comic book issue of Uncle Scrooge spoofed this scenario as Scrooge McDuck acquires a deed for one square inch of land in Arizona from a cereal box giveaway and demanded the company inform him which square inch was his as he planned to drill for oil on his newly-acquired land. More amusing is the fact that in 1959 another entrepreneur decided to offer a similar giveaway for a land deed of one square inch of the North Pole… North Pole, Alaska.

Beginning in 1952, Dell produced a series of 29 comic books based on Sergeant Preston of the Yukon. The first 18 issues featured lavish oil painting artwork by Morris Gollub, an animator at Hanna-Barbera and Disney, while the remaining 11 featured publicity stills of Richard Simmons in costume from the television series. Despite the attempt to cash in on the popularity of the television rendition, all of the stories in the comic books were adaptations of the radio scripts.

Very few of the Sergeant Preston premiums and collectibles (beyond those 11 comic books) were marketed from the television rendition. Two board games, two jigsaw puzzles, a map of the Yukon, and three 1953 Decca Records were premiums from the radio program.

During the final weeks of the radio program, in the spring of 1955, George w. Trendle was looking over the prospects of a new actor who could play the role of Sergeant Preston for television. Richard Simmons, an actor who played supporting roles in motion pictures and television for more than a decade, was hired to play the title role. (According to James Garner, he and Simmons were up for the role of Sergeant Preston but Garner decided to pass to pursue film work at Warner Brothers.) Ironically, Simmons played the role of a Canadian Mountie in Republic’s King of the Royal Mounted back in 1940.

Filming commenced in the June of 1955, in Aspen, Colorado, where the snow in the higher elevation allowed for comfortable filming on location, while the afternoon temperature reached a mild 75. Simmons later recalled how a western breeze blowing in over the snow would replicate interior air conditioning. The first 16 episodes were filmed on location until Simmons was tossed from his horse and received a broken rib, temporarily shutting down production in Aspen. After which, filming was shot in California for the remainder of the season, and the remainder of the series.

The budget for the first 26 episodes was $750,000, which came to an average of $28,846 per color episode. (By comparison, The Lone Ranger was shot with an average of $22,000 per black and white episode.) For the third season, the budget rose to $1 million. Cowboy star Eddie Dew, turned director, took the helm for a large number of episodes. “Eddie was a prince of a guy, one of the nicest men that ever lived,” Simmons later recalled. “He directed all of the earlier summer episodes with the horse, and many of the winter shows.”

The television series premiered in September of 1955 over the CBS-TV network for a Saturday morning timeslot, three months after the radio program came to a close. After all 78 half-hour episodes aired over three seasons through September 1958, the program went into syndication. By July 1959, the series aired in reruns in 95 markets. In October 1963, the television series began airing in Japan.

In April of 1957, Jack Wrather purchased the rights to the radio and television series for an estimated $1.25 million. Having purchased The Lone Ranger back in August of 1954 for $3 million, and having made a small fortune on the property, Wrather had hopes of replicating the same success. (Originally Wrather was offered both The Lone Ranger and Sergeant Preston for $4 million, but Wrather only had $3 million in liquid assets at the time so he purchased only The Lone Ranger.) Wrather was the owner of the Disneyland Hotel at the time, resulting in Richard Simmons making appearances in the Disneyland theme park, in full costume. The Disneyland Hotel also had a Sergeant Preston’s Yukon Saloon complete with employees dressed as Canadian Mounties, saloon girls and a costumed grizzly bear.

For more information about the book, visit www.MartinGrams.com

THE PHANTOM PILOT COMIC STRIP ADVERTISEMENTSby Karl Schadow

Answer: Howard Duff who would later portray the most famous gumshoe of them all – Sam Spade – from 1946 through 1950.The Phantom Pilot was on the air for two years from October 1937 to October 1939. Though initially aired from KFRC in San Francisco , the series was transferred to KHJ in Los Angeles at the end of December of 1937. Duff decided to move with the program. The Phantom Pilot flew a two-seat plane called Sky Ball and traveled around the globe with his aid and mechanic Dick Sothern to thwart evil doers. They received their orders from an organization called The International Sky Patrol. In their first adventure, they rescued the daughter of a prominent scientist who had been kidnapped by smugglers. By 1939, The Phantom Pilot whose real name was never revealed and was addressed only as Chief, had a new assistant named O’Hara. There was also a club associated with the show for the kids called The Phantom Pilot Patrol which had many members. Hollywood 360 Schedule3/4/23
Suspense 1/30/47 Three Blind Mice
Duffy’s Tavern 1/18/44 Archie Song w/ guest, Lauritz Melchoir
Barrie Craig, Confidential Investigator 3/9/55 Corpse on the Town
Rogue’s Gallery 2/21/46 The Alibi Murder
WhiteHall 1212 1/27/52 The Murder of Little Phillip Avery

3/11/23
The Abbott & Costello Show 3/17/49 St. Patrick’s Day Show
The Screen Guild Theater 3/17/47 The Philadelphia Story
Have Gun-Will Travel 7/5/59 Comanche
The Burns & Allen Show 3/10/42 The Fowlers won’t leave
Under Arrest 6/26/49 The Paris Road

3/18/23
Pat Novak, For Hire 2/27/49 The Marcia Halpern Case aka Don’t Tell Hilda
My Favorite Husband 10/7/49 George Tries for a Raise
X Minus One 8/1/57 End as a World
I Was a Communist for the FBI 12/29/52 Capitol City Square Dance
Crime Classics 12/2/53 If a Body Need a Body, Just Call Burke and Hare

3/25/23
The Bickersons 6/12/51 Mink Coat
Tales of the Texas Rangers 5/4/52 Little Sister
Mr. Keen, Tracer of Lost Persons 11/7/52 Murder and the Prize-Winning Bull
Dragnet 5/25/50 The Big Key
The Story of Dr. Kildare 5/31/50 The Abandoned Baby

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/03/moving-on.mp3My selection’s during the Toronto International Film Festival September 2022 started off with the comedic writer-director Paul Weitz’s film, “Moving On,” starring Jane Fonda, Lily Tomlin, Malcolm Macdonald, and Richard Roundtree. The story centers on a man (Howard), played by Macdonald, giving a eulogy at his wife’s funeral; a college friend of his wife, Evelyn, played by Tomlin. She makes a comedic, somewhat snarky entrance.

A few minutes later, Fonda (Claire) gives a detestable stare while walking up to say hello to Howard; he gazes at her with astonishment and is shocked when she says, “Now that she’s gone, I’m going to kill you, and I’m going to do it this weekend.” Believe me, when I tell you this is not a spoiler, as Fonda proclaims this from the get-go. The entire film ends up being a comedy of errors of how she’s going to kill him and if that will eventually ever happen.

This is the second collaboration for Weitz and Lily Tomlin after 2015’s “Grandma,” the acclaimed road-trip comedy in which Tomlin’s character accompanies her granddaughter on a mission to obtain an abortion. “Moving On” contains themes of loss, aging, hurt, regrets, and love are all mixed in the film—one minute you’ll be laughing, and the next will bring you to tears. A thoroughly entertaining film with outstanding performances by all.

My Zoom interview took place with Paul Weitz on March 15, 2023, and to say I was delighted to meet the Academy Award nominee director/writer was an understatement. Our conversation centered on his recent film, “American Pie,” Jennifer Coolidge, and his experience working with his brother Chris Weitz, who is also a writer and director.

A Roadside Attractions studio production with Paul Weitz, the director and writer, told me that Lily Tomlin called him and asked if he would write a movie for herself and Jane Fonda.

The “Moving On” cast of Lily Tomlin, Jane Fonda, and Malcolm McDowell is a winning combination. You will laugh out loud one minute and tear up the next while viewing the serious scenes. The non-stop action is a comedy of errors and a sweet treat for “Grace and Frankie” fans as well.

Thanks for listening in tonight; I’m Sarah Knight Adamson, your National Film and TV critic for Sarah’s Backstage Pass.

Be sure to check out my interview with Paul Weitz, as we talked about the sisterhood of Lily and Jane in his new film “Moving On,” opening this weekend in theaters.

Sarah Knight Adamson© March 18, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/03/the-magicians-elephant.mp3Have you ever wondered what it would be like to be orphaned and discover that you may have a sibling? That’s the premise of “The Magician’s Elephant.” The film is based on the popular young adult fantasy novel of the same name by Katie DiCamillo. The fantasy setting is an actual small town in Europe named Baltese. Peter Duchene is a young orphan who lives with his guardian, an older soldier called Vilna Lutz. The town of Baltese is recovering from a recent war, and people are simply doing their best to get by, trying to put the losses of the past behind them.

After meeting with a fortune-teller, Peter begins searching for the sister he is told may be alive, and he must find the magician’s elephant to seek his answer. An overjoyed Peter, voiced by Noah Jupe, begins his quest with resolve and determination.
Wendy Rogers directs with a screenplay adapted by Martin Hayes of “Toy Story 4.” Peter finds the magician’s elephant and sets out to find the sister he has never met.

Ultimately, the movie is about achieving the impossible, following your dreams, and never giving up. The animation of the elephant is gorgeous; the colors are very bright and vivid. I gasped when I first saw the unique markings. A very determined Peter never gives up on his journey to find his sister, sending a great message to all. I enjoyed the film, and families will also; the story is a lesson in finding love.

“The Magicians Elephant” is playing in select theaters on March 10 and streaming on Netflix on March 17. I say, check it out!

Sarah Knight Adamson© March 11, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/03/outer-banks-creed-three.mp3“Outer Banks” is an American teen drama streaming on Netflix, created by twin brothers Josh and Jonas Pate and told through their childhood experiences. The brothers grew up on Kiawah and Johns Island in South Carolina and around Wrightsville Beach in North Carolina. They felt the class divide was real back then as the Kooks —families with everything, and the Pogues —families with nothing were apparent. Based on a group of teenagers, the premise is to show teens outside having loads of fun instead of in their bedrooms on their computers or cell phones. After viewing all three seasons, this makes sense; as we view the teens riding bicycles, motor scooters, and skateboards, they can also be seen scuba diving, boating, diving, swimming, surfing, and even some boxing. Rarely do you view them driving a car unless it’s John B.’s “The Twinkie,” a beat-up Volkswagen van with a smashed windshield and a gazillion decorative stickers. Yes, they are always in action, in constant motion.

Season one and two introduce the characters and their families, of which ‘drama’ is front and center in all their lives. Episode one of Season three finds the teen Pogues thriving alone on an island, which they have named “Poguelandia” because, to them, it is a paradise, as they hunt and gather food and make their own tools, and entertainment from nature. Very quickly they are “rescued” and thrown right into the middle of another treasure-hunting adventure, this one putting them directly on the road to the lost city of El Dorado. Season three is a treasure hunt for gold and to find El Dorado in the rainforest. By the end of Season three, new characters have been introduced while the theme of solving ancient mysteries and looking for treasure is in the mix.

My daughter is a big fan of the show, and she’s why I began watching it in 2020; I loved the outdoor cinematography, the ocean shots, and the beautiful sunny days. As the series developed, it seemed more like a soap opera with predictable storylines, although I found that aspect refreshing. Allowing the teens to be themselves running around, quick-thinking without much hesitation, and having the freedom to make mistakes, while the parent role models mainly needed to be more present. As the show highlights, money doesn’t make you a good person with the right morals. Basically, the characters are fun; it’s sitting back, relaxing, and enjoying the sun-soaked teens living their frantic lives.

Side note: I met Madelyn Cline at the Critics Choice Awards, and we talked about the show and her role in “Glass Onion: A Knives Out Mystery. She was lovely, and I’m happy I could speak with her.

Cast: John B, Chase Stokes, Sarah, Madelyn Cline, Kiara, Madison Bailey, Pope, Jonathan Davies, JJ, Rudy Pankow, Ward Cameron Charles Esten, Rafe, Drew Starkey, Big John, Charles Halfordand new to the group Cleo Carlacia Grant, .

Season 3, 10 Episodes

S3 E1 · Poguelandia

An unexpected rescuer takes the Pogues from a remote island to Barbados, where they encounter a powerful treasure hunter with his own agenda.

S3 E2 · The Bells

As her friends mount a rescue attempt, Kiara agrees to an uneasy truce with Rafe, and a familiar sound grabs John B’s attention.

S3 E3 · Fathers and Sons

Big John and John B pick up where they left off, for better or worse. Cleo and Pope form a new club, and Rafe reconnects with Ward.

S3 E4 · The Diary

An emotional homecoming is easier for some than others. Big John searches for the diary, and Ward’s plans for a prized possession don’t sit well with Rafe.

S3 E5 · Heists

Sarah convinces an old friend to help with a high-risk, high-reward mission; looking to access a museum collection, John B and his father get creative.

S3 E6 · The Dark Forest

Secrets threaten to drive a wedge between John B and his friends. Sarah revisits a past life, and Pope reaches a breaking point.

S3 E7 · Happy Anniversary

With Singh on the move, John B and JJ scramble to catch him while Pope makes a breakthrough, and Sarah questions where her loyalties lie.

S3 E8 · Tapping the Rudder

Rafe lays his cards on the table, and Sarah calls in two favors. JJ’s unorthodox plan to get to South America lands John B in hot water.

S3 E9 · Welcome to Kitty Hawk

With their ride to Orinoco waiting on the tarmac, Kiara and JJ run into several complications, and Rafe has a change of heart.

S3 E10 · Secret of the Gnomon

The Pogues’ search for El Dorado brings them deep into the jungle, where John B and Sarah face the ultimate test of their courage and family bonds.

Sarah Knight Adamson© March 5, 2023

“Creed III”

Michael B. Jordan continues his impressive film career, by taking the directing reigns in “Creed III.” Having arrived on the scene in “Fruitville Station” (2013) playing the role of Oscar Grant, the young man who was shot on New Year’s Eve while being handcuffed at the Fruitville Station in Oakland, CA, his career continues to skyrocket. Next, he played boxer Adonis Creed in “Creed” (2015), of the Rocky series, and in 2018, he starred as Erik Killmonger in “Black Panther.” He has an impressive career, writing credit for the first two films, and now making his exciting directorial debut in “Creed III” (2023). Yes, the last ten years have been a constant climb upward in Hollywood, starring, writing, and directing award-winning films. Which “Creed III” followers in this pattern of excellence.

Mila Davis-Kent, Michael B. Jordan, Director/Producer, Phylicia Rashad, Tessa Thompson, Jonathan Majors

Here’s the excellent news, in “Creed III,” not only are the boxing scenes choreographed to perfection with a creative filming flare added, but the primary story is also crucial to the film. We first meet Adonis and his family, a sweet young deaf daughter, Amara, Mila Davis-Kent, the ever-talented wife, Tessa Thompson (“Passing”), his mom, the iconic Phylicia Rashad, and his childhood friend Damien, played by the brilliant Jonathan Majors of (“Devotion”), and (“Magazine Dreams”). With an all-star cast and a deeply written script that goes full circle, “Creed III” is a knock-out.

The story is of childhood friends who reconnect after Damien has been released from prison for the last 18 years. Creed welcomes him into his life, home, and his boxing rink. Soon, the past catches up with both men, and things start to take an interesting turn. All the acting is fantastic, full of emotion and depth. Here, the script is key, which carries all into a winning film. I’d also say that Coogler has a future in directing—his creative shots and tightly framed scenes all added to the film’s impressive look.

Sarah Knight Adamson© March 5, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/02/the-bear.mp3The award-winning TV series “The Bear” is rated (TV-MA), which means for (mature) audiences, it’s streaming on Hulu.

Jeremy Allen White (“Shameless” 2011-2021) is ‘the Bear’ he’s a young top Michelin star chef who returns home to Chicago to help in his deceased brother’s Italian beef sandwich shop. The restaurant is based on Mr. Beef in Chicago’s River North neighborhood.

“The Bear” series is fittingly named, as the comparison of the large animal to the ‘essence’ of the show can be compared to a huge, encircling hug and a huge, vicious attack, as well as a consistent hyperactive tone, as in the movie, “Cocaine Bear.” White plays Carmen “Carmy” Berzatto, and his brother Michael left him a sandwich shop in his will. The kitchen crew includes Michael’s best friend Richie (Ebon Moss-Bachrach), a jerk; pleasant, calm baker Marcus (Lionel Boyce); and belligerent, self-righteous Tina (Liza Colón-Zayas). Carmy hires an ambitious sous chef Sydney (Ayo Edebiri), who trained at the Culinary Institute of America. She is the only person who truly appreciates the level of Carmy’s chef skills. Jon Bernthal, as brother Michael, appears in momentary, heart-wrenching flashbacks.

And why is the series so popular? It’s the pitch-perfect timing of the frantic light dialog between the actors, along with the never-ending intensity of life in a working restaurant kitchen. The exhaustive deadlines, the step-by-step procedures, the litany of repeated tasks, knowing that one mistake can ruin an entire dish—the list goes on and on. Not to mention, the directing by creator Christopher Storer is nothing short of perfection.

The realism of the chefs working in a kitchen has never been more true-to-life. I sat with the actors during the Critics Choice Awards, and while sitting next to Jeremy Allen White, he won Best Actor! It was exciting for everyone, and I recorded his special moment. Speaking with the cast, they are very excited about Season 2, which should be filming in Chicago now.

Sarah Knight Adamson© February 26, 2023

View Details

    NEWSLETTER | VOL. 22, March 2023    Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team!  Carl’s Corner*by Carl Amari*Hello everyone and happy March! Here’s the Hollywood 360 newsletter, March 2023 / Vol. 23. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that we will be airing on Hollywood 360. Each month I’ll provide an article on one of the classic radio shows we’ll present on Hollywood 360. This month, we’re airing an episode of My Favorite Husband starring Lucille Ball the week of March 18th, so here’s an article on Lucy and her amazing career. Enjoy!

RADIO LEGEND: Lucille Ball By Carl Amari and Martin Grams

As Lucy Ricardo, she brought a tomboy’s enthusiasm and a scatterbrained quality to the long-running I Love Lucy (1951-61) television program. She was the wacky wife making life difficult for a loving but perpetually irritated husband. It’s ironic when you consider the early stages of her acting career: With ambitions to become an actress, Lucille Ball entered a dramatic school in New York City in 1926, but while her classmate Bette Davis received the raves, Ball was sent home on the grounds that she was “too shy.” This classification might have been the Dumbo feather that motivated her into appearing in comedies such as Look Who’s Laughing (1941), The Fuller Brush Girl (1950) and as a sidekick to the Marx Brothers in Room Service (1938).

When she was 12, Ball was encouraged into show business by her grandfather to entertain his cohorts at the Shriners club. After adopting the stage name Diane Belmont and being fired from several chorus jobs, she retreated to her home in Celoron, New York, where she spent two years battling the crippling effects of rheumatoid arthritis… a handicap she kept secret for most of her life. Returning to New York in the early 1930s, Ball returned to working as a model for Hattie Carnegie while also earning money as a Chesterfield cigarette girl. She soon embarked on a Hollywood career, which at first consisted mostly of walk-ons and bit roles before she was turned into a glamorous Goldwyn showgirl in the Eddie Cantor musical Roman Scandals (1933). Under contract by Columbia, the then-blonde, statuesque actress continued to appear in small roles — most notably as a foil for the Three Stooges in one of their earliest film shorts — before her option was dropped. RKO hired Ball at the urging of producer Pandro S. Berman, who featured her in supporting roles in the Fred Astaire-Ginger Rogers films Roberta (1935), Top Hat (1935) and Follow the Fleet (1936).

Working her way up Hollywood’s ladder, in the summer of 1948 she accepted the role of Liz Cooper, a zany housewife who found herself facing comical situations, in the radio comedy My Favorite Husband. In the radio series, Lucille Ball’s husband George Cooper was played by veteran actor, Richard Denning. In 1950, CBS came knocking with the offer to adapt the popular radio program to television. Unable to convince network brass to let her real-life husband Desi Arnaz play her husband on the television series she was given creative control to create her own situation comedy series I Love Lucy. Here, she and Arnaz pioneered the three-camera technique now considered the standard in filming television sitcoms. She also became the first woman to own a television studio, when she headed Desilu Productions.

In 1952, her real-life pregnancy was written into the show although the network objected to the use of the word “pregnant” and instead opted for the word “expectant.” All of her pregnancy episodes were reviewed by a minister, a priest and a rabbi to make sure nothing on screen would be considered offensive. When Lucille Ball gave birth on television to her first child, all of America was glued to the screen. On that evening, I Love Lucy had larger ratings than the coronation of Queen Elizabeth II and President Eisenhower’s inauguration.

Paid $50 a week for her role as a supporting actress in Top Hat (1935), Ball now graduated to $3,500 an episode for I Love Lucy along with part ownership of the mega series. Her next-door neighbor, Jack Benny, often referred to her as “Chesterfield,” after learning that the comedienne was once a spokes model for the cigarette brand. But it wasn’t Benny that taught her how to perform on camera. Lucille Ball credited Buster Keaton as her mentor, remarking: “He taught me most of what I know about timing, how to fall and how to handle props and animals.”

Behind the camera, the relationship between Ball and Arnaz was all business until they retired to their homestead between seasons. When they were first married in 1940, Desi Arnaz had to give his wife-to-be a ring from a drugstore because all of the jewelry stores were closed. She wore it for the rest of their marriage. In 1960, Ball and Arnaz shocked fans when they divorced just two months after filming the final episode of The Lucy-Desi Comedy Hour, though the two remained close friends until his death in 1986, even though both would go on to remarry. Both made it clear in multiple interviews that each was the love of the other’s life.

During the “Red Scare” of the mid-fifties, Lucille Ball’s career almost came to a halt when she was called to testify before the House Un-American Activities Committee, affirming she never had any intentions of voting as a member of the Communist Party. In the hearings she confessed to not knowing anything about politics. With her past dug into, it was verified that she registered as a Communist in 1936 to please her grandfather, Fred Hunt, who wanted all of his grandchildren to do so. Thankfully, Ball was cleared of all charges and suspicions.

Lucille Ball attempted to revive her television career — twice — with The Lucy Show (1962-1968) and Here’s Lucy (1968-1974). Neither program found the same success as I Love Lucy and after the latter program concluded, Lucille Ball was quoted as saying, “It was a hell of a jolt to find myself unemployed with nothing to do after more than 25 years of steady work.” She starred in a number of television specials, made numerous guest appearances on other programs and appeared on several awards shows. Her appearance at the 1989 Academy Awards, standing alongside her longtime close friend Bob Hope, resulted in a standing ovation. Her health, however, was taking a steep decline. Just a year prior she was admitted to Cedars-Sinai Hospital after suffering a stroke. Weeks after the Academy Awards ceremony, Ball was hospitalized after suffering from an aortal aneurysm. She underwent surgery and the following day her aorta ruptured. She passed away April 26, 1989.

LEND ME YOUR EARS | THIS MONTH’S SONG: YOU DON’T BRING ME FLOWERS, Neil Diamond & Barbra StreisandRELEASED: 1978by Lisa WolfClick here to watch on YouTube.

“This song was actually written for a television show that was to be produced by Norman Lear, All That Glitters. The premise of the show was that the roles of men and women were juxtaposed: the men stayed home with the babies and did the housework, and the women went out to work” ~ Neil Diamond

“I ran into a problem with Norman who said, ‘I like the song a lot but I have to own the copyright if I’m to use it in my show’ and I said no. So I put it on my next album (1977’s I’m Glad You’re Here With Me Tonight) as a solo and Barbra really liked it and recorded it herself on her next album (Songbird), in the same key that I did and using the same arranger, so it was very similar. After both records were out, disc jockeys around the United States intercut the two records and made a duet out of them. Barbra and I somehow received some copies of these, and we looked at each other and a light bulb appeared in a bubble above our head and we said, ‘Hey, let’s go in and do it for real.’ It was an enormously successful record.”

At the 1980 Grammy Awards, Streisand and Diamond performed this song to close out the ceremony. It was nominated for Song Of The Year, but lost to “Just The Way You Are” by Billy Joel.

Click here to watch on YouTube.

Chicago WGN radio personality Roy Leonard and producer Peter Marino were big fans of Neil Diamond. When they heard Barbra Streisand’s version, they created a cutting room duet. Leonard put it on the air and the WGN phone lines went crazy. This turned out to be the recording world’s first ‘mash up’. Columbia Records brought Streisand and Diamond together for an official version. It was released in October of 1978 and went to #1 on the Hot 100 chart. Ironically, the idea began as a 45-second theme song for a failed TV show concept.

THE 1943 INFORMATION PLEASE WAR BOND TOURby Martin GramsIn November of 1942, it was publicly reported that Information, Please was going on tour for the War Savings Staff of the Treasury Department. Never seen outside New York except for the movie versions, the program visited cities along the eastern seaboard in an ambitious attempt by its creator and owner, Dan Golenpaul, to raise several million dollars for the war effort. The first stop was Symphony Hall, Boston, on December 4, 1942, where it was hoped that at least $1,500,000 would be realized.

The three regulars, Levant, Adams and Kieran, and their presiding officer Fadiman, participated on the tour, which for starters was limited to one out-of-town appearance a month. According to a press release, a visit to Philadelphia was scheduled in January of 1943 and, if all went well, future visits in Baltimore, Washington, Hartford and perhaps Rochester or Buffalo.

Dan Golenpaul, who was meeting the expenses of the tour, said that tickets would be priced from a $25 Bond for balcony seats to perhaps as high as $50,000 for an aisle chair in Row A. In Boston, the ticket distribution would be handled by the local War Savings Staff. The day before the Friday broadcast, Adams, Kieran and Levant were on hand for a little personal bond selling at strategic points in Boston.

Aside from the regular broadcast, bond buyers would see the usual “warm-up” period of questions before the formal program and, in addition, Adams and Kieran, who were considered “wonderful material for vaudeville” by Golenpaul, would do a little extra business. Levant also addressed himself at the piano. Golenpaul was not inclined to reveal the names of guest experts far enough in advance for local areas to advertise, pending their acceptance of invitations to participate.

Golenpaul’s initial intention of selling $1,500,000 worth in bonds was realized by their second visit. The January 9, 1943 issue of the New York Times reported: “Philadelphia, Jan. 8 – Thirty-four hundred persons who crowded the Academy of Music tonight to hear the Information, Please radio program, now on tour, bought a total of $6,314,123 in war savings bonds. The experts of the show were joined by Representative Will Rogers, Jr. of California, son of the humorist.” Evidently the war bond drive was extremely successful, and Golenpaul extended his tour along the East Coast for the rest of the 1943 calendar year.

For the broadcast of June 28, 1943, Chicago got its first look at Information, Please in action. The 3,500 or so people who filled all but a couple of the seats in the giant Civic Opera House enjoyed the radio experts’ performance to the maximum, and went home feeling that the price of admission—a war bond from $50 to $5,000 in denomination—had been well-spent in more ways than one. The total war bond “take” for this trip was $6,818,107.

Richard K. Bellamy, radio editor of the Milwaukee Journal, was in the audience to get a first look and report on the visual aspect – the part a radio audience could not get at home. “As a radio show this one is very smartly staged,” Bellamy wrote. “Even to the lone feminine aspect, a lovely, anonymous girl with a rose in her hair who sang several snatches to illustrate a song question on the broadcast. First Levant played some Gershwin on the piano with professional skill. Then Kieran arose, strapped on an accordion and slaughtered ‘I’m Just Wild About Harry’ (we think that’s what it was) as cruelly as any tavern player has ever slaughtered it. He grinned from ear to ear all the while, and the crowd loved him. Adams put a pencil in his teeth and knocked off an unidentified melody on that crude instrument with his fingers. Kieran and [Walter] Yust closed the performance with a piano duet, ‘Chopsticks.’ It’s amazing how little it takes to win over 3,500 people. At 9:15 Fadiman started asking some preliminary questions to get the board into the swing of things. He warned the audience: ‘You, the cream of Chicago, will know the answers before these lugs up here on the stage. But please don’t coach them.’ Even during the broadcast Fadiman seemed perfectly relaxed, always waiting, like a cat, for an opening. He seizes openings lightning fast and without any visible effort.”

In Chicago, Golenpaul played the role of director with perfection. He often sat with Fadiman, whispering occasional comments, and once or twice he crossed to the other table and nudged Yust a little closer to the microphone. He had decreed, “No photographers at the broadcast.” Apparently his rule was law because no pictures were taken.

“We did a lot of travelling with Information, Please,” recalled Oscar Levant, “and we were celebrities wherever we went. In Hartford, we dined at the governor’s mansion. Fadiman sometimes wrote the speeches with which the dignitaries welcomed us. In Cleveland, Senator Lausche – the alleged Democrat who was to the right of Goldwater – was the mayor and greeted us. In Toronto, Lester Pearson made a speech, presented us with gifts, and thousands of crack troops paraded in front of us in tribute. It was mighty flattering but I was embarrassed. I didn’t think we rated that.”

On September 27, 1943, Information, Please originated from the stage of the Mosque Theatre in Newark, New Jersey, with two very special guests: Vice President of the United States Henry A. Wallace and Representative James W. Fulbright of Arkansas. Exactly $277,398,975 in war bonds were sold that evening as a result. $275 million dollars of the total came from a group of local business concerns. V.P. Wallace said that the “common man” was buying 50 percent more bonds in 1943 compared to 1942.

Photo courtesy of Richard Glazier (www.richardglazier.com)

“And he is going to do still better,” he added. “He must do better so as to put our armies into Berlin and Tokyo as soon as possible. He must be better if we are to have a stable peace without inflation.” Asked by reporters after the broadcast what he had meant by his reference to a “partial alliance,” Henry A. Wallace laughed and said, “You’ll have to figure that one out for yourself.” The Vice President, incidentally, was to have appeared as a guest on the quiz program, but he shuddered at the prospect and took no part in it other than to give a brief talk during the opening minutes. Representative Fulbright substituted for him in the question-and-answer period. Clifton Fadiman announced that the war bond total had been contributed by 3,277 people for the broadcast, all of whom bought bonds ranging from $50 to $5,000 to gain audience admission to the broadcast.
For more information about the book, visit www.MartinGrams.com

Hollywood 360 Schedule3/4/23
Suspense 1/30/47 Three Blind Mice
Duffy’s Tavern 1/18/44 Archie Song w/ guest, Lauritz Melchoir
Barrie Craig, Confidential Investigator 3/9/55 Corpse on the Town
Rogue’s Gallery 2/21/46 The Alibi Murder
WhiteHall 1212 1/27/52 The Murder of Little Phillip Avery

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/02/eighty-for-brady.mp3

Are you looking for an uplifting film? “80 for Brady,” starring Lily Tomlin, Jane Fonda, Rita Moreno, and Sally Field, is your winning ticket. The movie is based on a true story of a woman approaching her 90th birthday who wanted to see Tom Brady play football in person. She creatively designed her own football jersey with the saying, “Over 80 for Brady.” In the movie, all the leading ladies are over 80, except Sally Field, whose jersey reads, “75 for Brady,” clever indeed.

In his feature film debut, director Kyle Marvin recreates the epic 2017 Super Bowl, where then-quarterback Tom Brady of the New England Patriots rallied his team to a historic comeback victory over the Atlanta Falcons. And what a comeback! Atlanta scored three consecutive touchdowns to a 21-3 halftime lead, and in the third quarter, they scored another touchdown, making the score 28-3. The Patriots rallied and scored 25 consecutive points, thus tying the game in the final seconds. The game is the first and currently the only Super Bowl to be decided in overtime. New England received the kickoff after winning the coin toss and scored a touchdown to win the game.

Not only do we see four amazing actresses having fun at the Super Bowl, we re-live the sports event with video footage and former Patriots Tom Brady, Rob Gronkowski, Danny Amendola, and Julian Edelman wearing their game-winning jerseys for the film reenactment of the intense game. The humor sprinkled throughout lifts the screenplay written by the duo Sarah Haskins and Emily Halpern are known for their screenplay “Booksmart.”

You’ll also see that friendship is the key to the film, as Tomlin’s character faces a challenging medical condition. Yes, the jokes keep coming, although the true message in the film is their friendship and support of each other even during difficult times. As Brady says, “Don’t ever give up; keep on fighting.”

“80 for Brady” is a laugh-out-loud movie with something for everyone, and who better to star in this film than four award-winning stars, Lily, Jane, Rita, and Sally?

Sarah Knight Adamson© February 19, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/02/poker-face.mp3It’s always a treat to have a new TV series that’s entertaining and, in this case, just plain fun. “Poker Face” streaming on Peacock is by the renowned writer/director from the creator of the “Knives Out” films, Rian Johnson.

Meet the new Columbo, ‘her’ name is Charlie Cale, played by Natasha Lyonne; she wears oversized sunglasses and a dusty baseball cap and drives a beat-up 1969 Plymouth Barracuda. Don’t try to underestimate her as she’s got any crime case solved, as she has a secret weapon. Each episode of “Poker Face” has a unique twist, as Cale can tell when a person is lying. And…she doesn’t hesitate to find out the truth of every case.

The episodes involve another case, and typically another murder, whereas Cale shows up in some capacity (she is usually working near the crime scene as a waitress, cook, housekeeper, etc.). Each episode unfolds through flashbacks and flashforwards, highlighting clues to be considered.

I’ve enjoyed the first five Episodes and look forward to the next five. The guest celebrities are loads of fun to watch, as in Adrien Brody, Benjamin Bratt, and Judith Light. There’s something about the charisma of Natasha’s character that makes the series so entertaining and of course, Rian Johnson’s excellent scripts. Looks for different writers and directors throughout the season.

I’m Sarah Knight Adamson, your film and TV critic for Sarah’s Backstage Pass. Be sure to check out my top 15 film reviews of the 30 I screened at the Sundance Film Festival.

Sarah Knight Adamson© February 5, 2023

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/02/sundance.mp3The Sundance Film Festival, located in Park City, Utah, is the largest independent film festival in the United States. Having covered it remotely for the last three years, I was anxious to attend in person. The festival started on January 19 and concluded on January 29. I arrived the day before with my agenda, which included; visiting the press office, checking out the location of the film venues while attempting to lock in my schedule. Securing a Hybrid Press Pass, I had access to in-person and online screenings, although not all films were available to view online. I screened 30 films and enjoyed the majestic snowcapped mountain feeling of being in Park City, along with cohorting with fellow journalists.

Luckily, I had flexibility in my schedule as I met Cady Coleman, an astronaut, who was the main subject of the incredible film “The Longest Goodbye,” during breakfast the following day. Her documentary film premiered at the iconic Egyptian Theater opening night of the festival, and I was invited to attend the Press Line (Red Carpet) on the third floor of the theater, along with one-on-one interviews with both Coleman and director Ido Mizrahy. To say my festival experience began on a successful note would be an understatement.

MY TOP 15 OF 30 I SCREENED, 99 FEATURE FILMS WERE OFFERED

Listed in order of my favorites:

STILL: A Michael J. Fox Movie2. The Longest Goodbye3. Little Richard: I Am Everything4. Judy Blume Forever5. Radical6. Pretty Baby: Brooke Shields7. Polite Society8. A Thousand And One9. Theater Camp10. 20 Days In Mariupol11. Willi Nelson & Family12. The Persian Version13. Victim/Suspect14. The Pod Generation15. Drift16. Going To Mars: The Nikki Giovanni Project17. Plan C18. All Roads Taste of Salt19. The Starling Girl20. Squaring the Circle (The Story Of Hipgnosis)21. Rye Lane22. Run Rabbit Run23. Magazine Dreams24. Joyland25. BlueBack26. Fancy Dance27. A Little Prayer28. It’s Only Life After All (Indigo Girls)29. Passages30. Rotting in the SunSarah Knight Adamson© January 30, 2023

View Details

    NEWSLETTER | VOL. 22, February 2023    Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team!  Carl’s Corner*by Carl Amari*Hello everyone and happy February! Here’s the Hollywood 360 newsletter, February 2023 / Vol. 22. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that we will be airing on Hollywood 360. Each month I’ll provide an article on one of the classic radio shows we’ll present on Hollywood 360. This month, we’re airing an episode of The Dean Martin & Jerry Lewis Show the week of February 28th, and their special guest is Bing Crosby so don’t miss it! Here’s an article on Dean and Jerry Bud and their hit comedy series. Enjoy!

In the Summer of 1949, radio comedy was never the same!
By Carl Amari and Martin Grams
First heard on radio in 1938, Bob Hope had one of radio’s most popular comedy shows. The wisecracking, the fast one-line put downs (usually of himself), the deadpan, dry style delivered with absolute precision were Bob’s trademarks. His Pepsodent-sponsored comedy show on NBC radio garnered millions of weekly listeners. Each Summer when it was time for Hope and his gang to take their Summer vacation, NBC had its hands full finding a suitable replacement for 13-weeks.

In 1949, NBC turned their eye toward Dean Martin & Jerry Lewis as Hope’s Summer replacement. Dean and Jerry were popular nightclub performers with sold out crowds everywhere they played. NBC offered them Bob Hope’s vacated timeslot and committed to one of the biggest build-ups ever given to a pair of newcomers to radio comedy. Dean and Jerry didn’t disappoint and proved that they could dish out their distinctive brand of zanyism over the airwaves in a big way.

The Martin & Lewis Show was more than just Martin’s golden voice and Lewis’ “kidding-on-the-square.” The network insisted on a weekly celebrity guest which included Lucille Ball, Henry Fonda, Bing Crosby and even Bob Hope himself.

The weekly budget was a pricey $10,000, but after a short while, the series attracted a sponsor and executives at NBC patted themselves on the back for establishing a hit show that also became a financial success. With that kind of budget, NBC could afford Norman Lear, the comedy genius later responsible for All in the Family and Sanford and Son, as writer.

The success of the radio series led to Dean Martin and Jerry Lewis also appearing as monthly hosts for NBC’s Colgate Comedy Hour, a highly-rated television show. NBC used the television program to cross-promote the radio program, even recycling some of the radio sketches for the television counterpart.

Film producer Hal Wallis jumped on the Martin & Lewis bandwagon signing the boys to a multi-picture film contract. Their film comedies were box office gold catapulting them to mega stardom. With meteoritic success on radio, TV and films, Martin & Lewis proved they were masters of all three commercial media.

LEND ME YOUR EARS | THIS MONTH’S SONG: Leather and Lace, Stevie Nicks and Don HenleyRELEASED: October, 1981by Lisa WolfClick here to watch on YouTube.

“Bobby came from a very religious family…He didn’t want to have rock ‘n’ roll associated with Christmas because he knew his mother wouldn’t like it. And that’s one reason Christmas is not mentioned in the song.” ~ John Kleiman, Bobby Helms’ Manager

Bobby Helms transformed “Jingle Bell Hop” into “Jingle Bell Rock,” which turned out to be one of the defining holiday songs of the rock ‘n’ roll era. Although this was released only two days before Christmas in 1957, the single still hit #6 on the pop chart. The song was re-released around Christmas in 1958 and again in 1960, making it back to the charts each time.

Daryl Hall & John Oates revived the song in 1983 and filmed a “campy” video that was in regular rotation on MTV through the 1980s.

Click here to watch on YouTube.

The wild popularity of “Jingle Bell Rock” began in 1987, when “Lethal Weapon” became the first film to feature Bobby Helms’ original version in a contemporary setting. Since then, artists ranging from George Strait to Kelly Clarkson to the The Beach Boys have recorded their own versions. “Jingle Bell Rock” is also featured regularly on the soundtrack for movies and television shows.

The Simpsons: Homer sings Jingle Bell Rock

“Jingle Bell Rock” is a product of its time – a cheerful Christmas tune recorded to sell records during the holiday season of 1957.

Click here to watch on YouTube.

Jean Carroll: Stand-up Comedy Pioneerby Barry RichertShe smiles confidently as she takes the stage. Dressed to the nines—an elegant gown; long, white gloves; a string of pearls at her throat—her appearance befits the ideal 1950s woman. She begins to sing…then, suddenly waving her arms to silence the orchestra, she launches into a rapid-fire monologue about everything from past boyfriends to her spouse:

“(My husband) doesn’t drink ‘cuz he likes it, he drinks to steady his nerves. The other night they got so steady he couldn’t move at all. And let me tell you, he had a little accident: he was going from a nightclub to his car and somebody stepped on his hand!”

Her rat-a-tat delivery mingles sarcasm with a knowing wink and extreme candor. How could a woman this refined…this beautiful…be funny? Especially in the 1950s? That was the enigma known as Jean Carroll. With the benefit of hindsight, it’s clear that her act was very much a reflection of her entire career: set up the audience’s expectations, then suddenly subvert them.

Jean Carroll started doing comedy in the 1940s and is credited as the first female Jewish stand-up comedian. While not a household name, she had a long, successful show business career that included night clubs, theaters, television variety shows, and even her own situation comedy. She is often cited as the inspiration behind the title character in the TV series The Marvelous Mrs. Maisel. Indeed, lead actress Rachel Brosnahan’s monologues as Midge Maisel have a decidedly Jean Carroll-like, quick-fire pace.

Born Sadie Zeigman, she began her career in vaudeville as a dancer and by the age of 12 had earned enough money to support her family of five. She spent her teen years on the Variety circuit, a chain of theaters that presented musical comedy acts for family audiences. Eventually, Carroll became the female member of a number of dual acts comprised of a man and woman performing comic repartee in between song and dance routines. Carroll was half of the successful act billed as “Marty May, Friend of Thousands, Annoyed by Jean Carroll,” when she did something unprecedented: she demanded pay equal to her partner, Marty May. May refused, so Carroll struck out on her own.

While performing in the early 1930s, Carroll met dancer Buddy Howe. They decided to team up and do a comedy act. Unlike Carroll’s experience with Marty May, Howe turned out to be a generous partner willing to give Carroll the spotlight. In the book In On the Joke, The Original Queens of Stand-Up Comedy by Shawn Levy, Howe remembers being impressed with his new partner’s talents: “Jean could dance, sing, and do a little of everything. But she was essentially a comedienne…I was lucky enough to find a girl who could write material that was so distinctive that they had to play us…I was strictly a straight man.”

Billed, crucially, as “Carroll and Howe,” the duo was a success, touring across the US and England, including many performances with the USO. In 1943 Howe was drafted but urged Carroll to continue the act solo. Carroll decided to make comedy the focal point. She had a successful run that entertained audiences and critics alike, with Billboard magazine noting, “Jean Carroll is a bit unusual, as she is a top-flight comic in a field almost monopolized by males. Gal delivers some meaty material for bistro patrons.”

After Howe returned home from service, he could see how successful Carroll had become and encouraged her to continue working solo. “Jean was already doing a single,” he said, “and doing so well it seemed foolish to do a double again. Show business had changed a lot, and I was a little older, and, to be very honest about it, she was too good.” Howe became a talent agent with General Amusements Corporation (GAC) in Chicago and would never perform again. He did, however, rise to prominence within the agency and represented Carroll for the rest of her career.

In 1944, Jean gave birth to a daughter. As both a mother and a female comedian in a field dominated by men, Carroll realized she had an uphill climb: “Unlike a male comic, who needs only to be funny to get laughs, a comedienne has two obstacles to overcome. In addition to good material, she has to knock down the ‘wall of resistance’ built up in the minds of men that ‘women aren’t funny’ and, more important, that women ‘shouldn’t be funny.’”

By the late 1940s, as the performance setting for stand-up comics transitioned from nightclubs to television, Carroll was invited to appear on Toast of the Town. She became a fixture on the popular variety program, making some twenty more appearances through the 1960s, by which time it was the Sunday night staple known as The Ed Sullivan Show. The program became a showcase for her caustic wit on subjects like dating…

“He took me to a nightclub…and, you know, you’ve seen those mambo fanatics, but this guy: mambo mambo mambo every dance. Everybody got off the floor to watch because the band was playing a waltz!”

…old boyfriends…

“This guy ate like he was going to the chair. I mean as per manners, you know? I’ve seen people eat with their hands before, but not soup.”

…and marriage…

“The thing that attracted me to my husband was his pride. I’ll never forget the first time I saw him, standing on a hill, his hair blowing in the breeze—and he too proud to run and get it!”

Carroll was a familiar face on other popular shows as well, including Texaco Star Theatre, Cavalcade of Stars, and Perry Como’s Chesterfield Supper Club.

In November of 1953 Carroll became the star of her own TV show, an ABC situation comedy called Take It from Me, about a cheeky suburban housewife, her perpetually preoccupied spouse, and their trendy daughter. The show was unique in that Carroll would often break the fourth wall by talking to the audience and providing wry commentary. Think Fleabag with a 50s sensibility. Carroll’s performance was well-received, but the show’s writing was critically panned. Before the show could be cancelled, Carroll quit. “I’ll never, never undertake a live weekly series again,” she said at the time. “I’m not interested in working that hard. The line of least resistance is what I’m looking for.” It was the first clue that Jean Carroll was starting to sour on show business.

In 1960, Carroll released an album called Girl in a Hot Steam Bath. Response to the LP was lukewarm and that same year Carroll returned to the UK to appear at the Palladium and perform on various television variety shows. She was so well received that she was offered her own sitcom at a fee of 50,000 pounds. After some hesitation, she turned it down. In explaining her decision to the press, Carroll made no bones about what took priority in her life: “I’m too much in love with my family to keep going away from home. My husband and 16-year-old daughter are dead-heat for first place, and I just don’t want to travel around anymore. The only dates I want are those on home ground—and not more than a mile away from where I live. Yes, I still love show business, but I love my family more.”

Gradually, Carroll cut back on the night club gigs and television appearances. Money wasn’t a problem. She had made, as she put it, “pots of money,” and in 1966 her husband Buddy had become president and chairman of the board of GAC (which would eventually become the famed International Creative Management). Carroll had simply lost interest in performing. “In clubs, I could name my own price. But I just didn’t care for the business. I had stopped laughing at my own jokes.” Then, in 1969, she had a coronary episode. The day she walked out of the hospital was the same day she walked away from her show business career.

Carroll spent her retirement doting on her grandchildren, nieces, and nephews. Still the breadwinner as she had been at 12, she made certain her family always had enough money. Buddy died in 1981, but Carroll would live another 29 years, passing away at the age of 98. The New York Times noted that Carroll had “…blazed the trail for legions of female stand-up comics who came after her.”

In speculating why Jean Carroll never became a household name, some industry observers have suggested that it’s because she didn’t present a fictitious persona on stage. It was all her up there, an unusual approach to comedy for a woman at the time. Others have reasoned that audiences weren’t ready for her—wasn’t a woman who stood in front of a microphone just supposed to sing? But trailblazers usually do the unexpected, and subverting expectations was Carroll’s stock-in-trade. She carved a path for younger comediennes to follow, and performers such as Rita Rudner, Joy Behar, and Lily Tomlin have acknowledged the effect Carroll had on them.

Trailblazers are also usually unaware of their influence. While being honored at the Friars Club in 2006, Carroll admitted, “I had no idea that I was so good! You think I’m joking. I’m not joking. I had no idea that I would make the impact I obviously made.”

The “Lost Lone Ranger Christmas Special”by Martin GramsOn the evening of December 26, 1938, the radio cast at station WXYZ played roles in not one, but two episodes off The Lone Ranger. Although the program premiered in 1933, it was not until February of 1938 that the radio program was recorded on a regular basis. For the holiday offering of 1938, it was decided not to record the episode because the series was then being syndicated across the country and it would have been weird to hear a Christmas episode in April, July or September. So the logical solution was to dramatize two different episodes on that evening. One as a traditional holiday adventure and the other as a normal western.

For the West Coast broadcast and for the transcription, the script used for the broadcast of September 9, 1937. In that episode, Missouri Mike and his friend Steve Sanders are among the shrewdest outlaws The Lone Ranger and Tonto ever tried to track down. Wanted for murder, robbery and rustling, the only clue to their identity is a tattoo on the right forearm. The Lone Ranger and Tonto ride out to the ranch of Widow Spragg, 15 miles from Parkersville, unaware that the men they are trying to track down are trailing from behind. Hours after the masked man and Indian leave the ranch of Sam Spragg and his mother, the thieves break into the house and commit another robbery. Days later, finding no sign of Missouri Mike, The Lone Ranger and Tonto leave to hunt the outlaw in the open plains. Outside town, an Indian named White Fox participates in a race with Sam, with prize money for the winner, and then exchange death blows over money that was stolen by Missouri Mike who never left town. In desperation, The Lone Ranger talked with men from Parkersville, and the tribe of White Fox, to outline a plan for locating the outlaws. With Indians as expert trackers and vengeance in their hearts, The Lone Ranger has the advantage and together they hunt under the guide of moonlight. Finding the outlaws’ camp, they take Missouri Mike’s shirt off to verify the tattoo.

For the East Coast and Mutual Broadcast System, a holiday adventure was dramatized. In that episode, poverty was common in the town where Bob Hamill lived, and little could be done about it, while Eric Flint thrived. The latter was rich, owned practically all of the town, and was hated and despised. When he learns a masked man is looking for him, he hires two bodyguards, Butch and Cooper, but a desperate clerk named Bob Hammil decides to rob him to buy Christmas presents for his son. Bob is going to lose his homestead to Flint, unable to pay the mortgage, so he figured what harm would it be to give his son a holiday to remember? Catching the outlaws in play for The Lone Ranger, Bob draws his gun and forces the men – including Eric Flint – into an old shack, tied and bound. The Lone Ranger, meanwhile, learns from Tonto about Eric Flint. There was a log of men here in the West who came to escape unhappiness in the East, the masked man rationalizes. Flint was one of them but his faith in his fellow-men was destroyed before he came here, did something to him. He lost his sense of values, his sense of fair play. The Lone Ranger breaks in to kidnap Flint, leaving Bob with the two gunmen. Throughout Christmas Eve, The Lone Ranger forced Flint to call on a few of his customers, people he loaned money to, and people who will not be able to pay off their debts. The first person they call on is Dan Dickerman.

RANGER: He’s not going to take your house. Those papers he signed with you were illegal. I want you to sign this paper telling just what sort of an agreement he made with you.

JANE: Illegal?

RANGER: Then I want you to come with me to the sheriff’s office and lodge a complaint against him. He’s on his way to jail.

FLINT: No, no! Yuh can’t put me in jail. Them papers is legal!

RANGER: You be quiet! How about it, Dan?

DAN: But we can’t do it now…

RANGER: There’s no time like the present. The sooner he gets to jail, the better the community will be. We may have a long ride to the county seat in this kind of weather, and I’ve got to get him there before the first of the year if I’m going to save your property. All I need is one complaint against him.

DAN: Well, can’t you get somebody else?

RANGER: What for? He made an agreement with you, didn’t he?

DAN: But… well, I don’t know. Look, stranger, it’s Christmas Eve. I can’t send a man tuh jail on Christmas Eve.

RANGER: Not even Eric Flint?

JANE: He oughta be in jail… if he’s dishonest, Dan…

RANGER: It might save your house. Don’t you realize that?

DAN: I won’t do it. That’s all. Taint the spirit of the day. You get somebody else to send him to jail. If it was day after tomorrow or next day, any other day but Christmas…

RANGER: We’ll find someone else. Come on, Flint.

The Lone Ranger took Flint to another house, and then another, and each place Flint noted with increasing amazement, that the spirit of Christmas, the thought of peace on earth, and good will, so imbued the men, that not one could be found who would agree to assume the responsibility for jailing a man on Christmas day.

Eric’s backstory was not so cheerful. Eric Flint came out to the West 20 years ago, intending to send word to his wife when she could come out and join him after he got a foothold. He sent that word and waited, but she never answered his letter. When next he heard, he read her name in a paper ten years later, saying that she was on the stage. It soured him. He was mad. Mighty mad, to think she wouldn’t join him after all the promises he made. But he did not know his letter never was delivered. He did not know she waited years to hear from him. She did not know where to reach him. The Lone Ranger found the letter Eric Flint wrote. It never was delivered. He found it with a pack of other mail that had fallen into the hands of Indians when a stagecoach was wrecked. Then The Lone Ranger located her. She finally came out West in an effort to try and find him. She was singing on the stage to get the money for the trip. She was singing on the stage to get the money for the trip. She hunted years and finally settled down. The Lone Ranger knew of this and was determined to show Eric Flint that there were things far better than cheating customers out of their land.

As the night wore on, Mary Hammil sat by the window where a small candle gleamed out into the night. She couldn’t sleep. She worried, worried about her husband, worried where he went, and remembering the expression of grim determination on his face when he left, was fearful of what might happen before he came back. But when Bob returned, he had a smile on his face. He told his wife all about Eric Flint being taken away and justice served against the vile banker.

The next day, early Christmas morning, Eric Flint arrives at the Hammil homestead to surprise young Donny, Bob and Mary’s little boy, with a Christmas tree. Over the night, while everyone was sleeping, Butch and Cooper cut down Christmas trees and followed orders from Flint to deliver them to everyone’s house. Mary was shocked to discover the old Scrooge has a change of heart. He plans to visit everyone in town and deliver them a generous Christmas morning. Then he has to leave town. Mary asks for how long.

FLINT: How long? Sakes alive, I don’t know. I’m goin’ to meet my wife. I ain’t seen her in 20 years. She’s still waitin’ for me. I won’t be back next month. Mebbe not until spring. Mebbe I won’t come back! And who cares? A merry Christmas everybody!

Notes
While the Christmas adventure was never recorded, it should be noted that this script would later be recycled for the episode titled “The Christmas Tree,” broadcast of Christmas 25, 1950, with slight revisions. (For the 1938 rendition, the element involving Donny wanting a Christmas tree and the delivery of a huge tree on Christmas morning was borrowed from the broadcast of December 24, 1934.)

Radio Program Theme Songs: Some Classics, Other Originalsby Karl SchadowMany radio programs were associated with impressive theme songs. Many of these were adapted from classical scores for which the copyright had since expired. The incorporation of such music saved program executives royalty fees.

Radio and Television Life Magazine published a list of such titles in its September 25, 1949 issue. How many of these do you recognize? Such classics included Rossini’s “William Tell Overture” for The Lone Ranger and Reznicek’s “Donna Diana Overture” for Sergeant Preston of The Yukon. However, this was the second theme for the latter series. While earlier in its life on radio as Challenge of The Yukon, the theme music was an excerpt from the “Autumn” movement of Alexanders Glazunov’s “The Seasons.”

Some of the better-known original theme songs composed and conducted by contemporary artists included “The Whistler” by Wilbur Hatch and “Leave It To Love” by Henry Russell which recorded by Dick Powell, star of Richard Diamond, Private Detective.

Send your replies to the author khschadow@gmail.com Your comments will be collated and presented in a future issue of the Hollywood 360 Newsletter.

Hollywood 360 Schedule2/4/23
The Roy Rogers Show 10/5/51 Crooked Politicians
You Bet Your Life 5/31/50 Secret Word: Book
Boston Blackie 10/1/46 (#77) Undersea Murder
Escape 10/1/47 The Most Dangerous Game
Rogue’s Gallery 2/13/45 Blood in the Sand

2/11/23
My Favorite Husband 2/11/49 Valentine’s Day
Pete Kelly’s Blues 8/29/51 Shy Woman
Life With Luigi 1/29/52 High Standard of Living
Rocky Jordan 7/9/50 Interlude with Laurena
Crime and Peter Chambers 7/13/54 Masquerade Party

2/18/23
Yours Truly, Johnny Dollar 6/9/57 The Mason-Dixon Mismatch Matter
The Aldrich Family 4/7/49 Blind Date
Box Thirteen 1948 #8 Double Mothers
The Dean Martin & Jerry Lewis Show 10/19/51 w/ guest, Bing Crosby
Let George Do It 12/11/50 The Bookworm Turns

2/25/23
Richard Diamond, Private Detective 3/28/52 Mr. Walker’s Problem
The Adv. of Frank Race 5/29/49 The Enoch Arden Adventure
Dark Fantasy 1/2/42 Resolution 1841
The Kraft Music Hall 11/4/48 w/ Al Jolson with guests, George Burns & Gracie Allen
Wild Bill Hickock 6/10/53 The Little Dude

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/01/1-women-talking-acapulco.mp3Oscar nominated screenwriter Sarah Polley serves as screenplay writer and director of a horrific story based on true events in a Mennonite community in Bolivia. Polley adapted the film set in 2010 from the best-selling novel “Women Talking” by Miriam Toews. The actual shocking events involved 151 women and girls in the Manitoba Colony—both women, girls, and sometimes their male husbands were drugged with an anesthetic spray used to sedate cattle. The men would then sexually assault the women; girls ages 5 to 65, at night from 2005 to 2009. Sarah Polley’s film is a master class in filmmaking; the outstanding cast, Rooney Mara (Ona Friessen), Jessie Buckley (Mariche Loewen), Frances McDormand (Scarface Janz), Judith Ivey (Agata), Sheila McCarthy (Greta) and Ben Whishaw (August) all give riveting performances.

In several interviews, Polley stated that she wasn’t interested in showing the violence. Instead, she tells the story through the women and the decision they need to make in 48 hours while the men are away posting bail for the attackers.

Their path is explained via a voice over. “We were given two days to forgive the attackers before they returned. We hardly knew how to read or write. But that day, we learned how to vote.” A small group of women retreat to a hayloft to have a debate and vote for the first time in their lives.

The illiterate women are joined by school teacher August, who takes notes for their historic meeting. The women determine that they have only three choices. They can do nothing, stay and fight, or they can leave. Salome does not hold back her anger during their discussion. She screams in frustration, “We know that we have not imagined these attacks!” “We know that we are bruised and terrified, infected and pregnant, and some of us are dead! We know that we must protect our children. I will become a murderer if I stay.”

A big hurdle is a fact that the women have been raised as pacifists; their religion guides them; therefore, forgiveness is part of their path to justice.

Ona, pregnant from rape, serves somewhat as the group’s inner conscience. She softly shares that even though her attacker impregnated her, she does not consider him a monster. She will love her unborn child and see the compassion and guiltlessness in her offender and future generations. “Surely, there must be something worth living for in this life, not only the next.” Ona ponders. “We cannot forgive because we are forced to. We are not all murderers. Why does love, the absence of love, the need for love result in so much violence?”

“It is a part of our faith to forgive. We have always forgiven those who have wronged us. Why not now? If we do not forgive these men, we will be excommunicated and forced to leave the colony in disgrace. And if we are excommunicated, we forfeit our place in heaven. It’s crucial to establish that we forgive the men so we can enter heaven’s gates.”

Ona does not see the males of their commune as criminals who deserve to be punished. This community does not have a criminal justice system. Her position shows that despite her current situation being with child as the result of a sexual assault that all life is precious. Her only option based on her faith is to give birth and love the child of her abuser.

The discussion continues as the women try to figure out if there is any way to change the patriarchy (male leaders) and improve their future. They discuss the fact that men have taught the lesson of power to the boys, although at what age do we think the boys will begin to disrespect the girls? Another challenging topic is at what age do we leave our sons behind with the men, at age 13 or 14?

The sepia tones of the film reflect the drab conditions of the women. Hildur Guðnadóttir, the composer’s musical soundtrack, evokes a doomsday and a call to prayer with haunting acoustics.

“Women Talking” addresses domestic violence, the power of working together, and the PTSD symptoms that are caused by abuse. At times there is laughter, a nice reprieve from the heavy drama as we see the women gain feelings of comradery during their sessions. We also see changes in the women’s demeanors and their loving actions as they hug or quietly pull back a whisper of hair from the face of a woman telling her story. They feel each other’s pain and need to protect themselves and their children.

Sarah Knight Adamson© January 8, 2023

“Acapulco” is a family-centered, fun, good-hearted TV series that takes place in 1984, the 80s music and wardrobe add to the fun of the series. Telling the story of twenty-something Máximo Gallardo (Enrique Arrizon), whose dream comes true when he gets the job of a lifetime as a cabana boy at the best resort in Acapulco. He soon realizes the job is far more complicated than he ever imagined and in order to succeed, he must learn to navigate a demanding clientele, a mercurial mentor, and a complicated home life, without losing his way to shortcuts or temptations.

It’s streaming now on Apple TV+ and has two seasons.

I really enjoy this series as it’s very funny, and will take you away to a beautiful setting with a variety of characters. 3 ½ stars out of 4

View Details

https://www.hollywood360radio.com/wp-content/uploads/2023/01/Final-avatar-the-way-of-the-water-emily.mp3“Avatar: The Way of Water” opens this weekend! Do you remember viewing “Avatar” in December of 2009? I sure do; in fact, I saw it three times at the IMAX theater. My reaction was similar to seeing “Star Wars” for the first time. Here’s my “Avatar” film review posted on this website https://bit.ly/Avatar-Dec2009. After 13 years, the sequel is now here, and does it live up to the hype? Oh yes, definitely yes! The 3-D is the best I’ve seen to date—look for an underwater scene in which your 3-D glasses appear to ‘fog’ over. The stunning visuals, epic new family story, and a whale of a new character who steals the show all make “Avatar: The Way of Water” an entertaining film.

Much has been written about James Cameron’s intentions for the sequel and the other films that are being planned. “I’ve been thinking a lot lately about what art is in its essence. And I think dreams have something to do with it,” he told AP’s, Jake Cole. “There’s like a render engine or a narrative engine that runs in our heads every night. It puts images and scenarios together in some kind of sequence. Sometimes, most times, they’re completely illogical. But they have a kind of momentary logic to them. I’m always telling everybody on the film, this is a movie with floating mountains. It doesn’t have to always be logical. It just has to have that dream logic.”

That is the essence of viewing “Avatar: The Way of the Water,” it does feel dream-like and at times, illogical. However, that’s the magic of the film and why it does feel original and like nothing you’ve seen before. Look for an imaginary creatures called tulkuns that are similar in shape to a whale, with six flippers and six blow-holes, and is the size of two elephants. They have high intelligence, with a heightened spiritual and emotional essence. The reef clans view them as siblings and have a lifelong bond with a tulkun whom they call their spirit brother or sister. Lastly, you’ll find that they are hunted for a unique substance from a gland in their brains dubbed amrita that completely stops the aging process of humans. They are prime targets for whaling operations within the RDA and sell 1 liter of amrita for 80 million dollars.

“Avatar 2” opened to critics on December 6, thus continuing the story of actor Sam Worthington (Jake), a paralyzed marine who traveled to the planet of Pandora to get a new avatar body. More than a decade has passed, Jake is serving as chief of the Omaticaya clan, now has a wife, Zoe Saldaña (Neytiri), their oldest son Neteyam (James Flatters), middle child Lo’ak (Britain Dalton) and young daughter Tuk (Trinity Jo-Li Bliss), along with their adopted kids Kiri (Sigourney Weaver), and Spider (Jack Champion). Life is blissful until the humans predictably return, forcing the Sully family to leave the forests of their home to Pandora’s coastline, where they adapt to new challenges, new cultures of the reef clan, and a battle on the horizon.

After meeting Jake’s new family, we quickly revert to the villains, the Resources Development Administration (RDA), who tried to invade the Navi. The two forces clash again, and Jake’s children are taken, although they soon escape, although Spider is taken by Miles Quaritch (Stephen Lang). Quaritch recognizes him as his son and spends time with him to learn the ways of the Navi. Jake’s family is now living with the reef people clan; they are viewed with disdain due to their human heritage. The scenes of the sea and its creatures are fascinatingly gorgeous; they are the most beautiful mesmerizing scenes in the film.

Conflicts between the kids and their new surroundings ensue, as threats from the RDA; the film holds a taut tension which at times is unnerving, although it keeps the story moving and focuses on the conflicts. Kiri acquires a spiritual bond with the sea and a tulkun; these scenes are my favorite as they highlight amazing cinematography using light and reflections. I appreciated the family-centered focus, although the film is not for kids. You’ll see violence and hear swear words with kids in harmful situations.

The Bottom-line: “Avatar 2” is epic, exhilarating, and entertaining.

Sarah Knight Adamson© December 17, 2022

View Details

    NEWSLETTER | VOL. 21, January 2023    Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team!  Carl’s Corner*by Carl Amari*Hello everyone and Happy New Year! Here’s the Hollywood 360 newsletter, January 2023 / Vol. 21. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that we will be airing on Hollywood 360. Each month I’ll provide an article on one of the classic radio shows we’ll present on Hollywood 360. This month, we’re airing an episode of The Abbott & Costello Show the week of January 21st, and their special guest is Lucille Ball so don’t miss it! Here’s an article on Bud and Lou and their long-running comedy series. Enjoy!

ABBOTT AND COSTELLO
By Carl Amari and Martin Grams
When Universal Studios informed comedians Bud Abbott and Lou Costello that their next venture would involved a team-up with Dracula, The Wolf Man and Frankenstein’s Monster, Lou Costello was against the proposal. “No way I’ll do it,” Costello told the head of the motion-picture studio. “My little girl could write something better than this.” It took a $50,000 advance in salary and the signing of Costello’s good friend Charles Barton directing the picture, to convince the comedian to go along with the idea. Abbott and Costello Meet Frankenstein became the highest grossing movie of their career and Lou Costello later recalled, “they were right, I was wrong.” Sequels involving The Mummy and The Invisible Man followed soon after.

Today, fans of Abbott and Costello appreciate the numerous motion-pictures available commercially on DVD, including the boys’ first film, One Night in the Tropics (1940). Their second film, Buck Privates (1941), grossed an estimated $10 million – not bad when you consider the budget was $180,000.

PARDON MY SARONG, from left: Bud Abbott, Lou Costello on set, 1942

The due started in Vaudeville and by the fall of 1942, the boys had their own weekly radio program and topped the popularity polls of Radio Daily and Radio Guide. Their popular “Who’s On First?” routine made them a national sensation. In March of 1943, Costello was struck down with rheumatic fever. Bud Abbott refused to perform without his partner, so the duo was temporarily replaced by Jimmy Durante and Garry Moore. Then, on the afternoon of November 4, 1943, during rehearsals for the evening’s broadcast, Costello received a call from home – his son, Lou, Junior, accidentally drowned in the family swimming pool. The comedian rushed home to discover the news was accurate as reported.

Word spread through Hollywood and numerous radio comedians volunteered to fill in for Costello that evening. Bob Hope, Jimmy Durante and Red Skelton. To the surprise of everyone in the studio, Lou Costello returned moments before airtime and went before the microphone to deliver his lines as scripted and rehearsed earlier in the day. Guest Lana Turner found it difficult to deliver her lines on the air while Lou Costello pushed back the tears… momentarily. Towards the end of the broadcast, Lou broke down and Bud Abbott explained to the stunned radio audience the horrible news.

The Bud Abbott and Lou Costello Show ran for seven years until the summer of 1949. By then filming was completed for Abbott and Costello Meet the Killer, Boris Karloff, and Lou Costello was bedridden for several months due to a relapse of rheumatic fever – a health ailment he battled back in 1943. His illness prevented ABC from renewing the contract for an additional season on radio.

Soon after Bud Abbott and Lou Costello went to Mars and faced off against Dr. Jekyll and Mr. Hyde, the boys ventured into the television business. Produced by Costello’s wife, Patricia, the television series lasted two seasons and gave the boys an opportunity to reprise the best comedic sketches and scenarios from their radio scripts. The next time you watch one of their television programs, or watch one of their big screen movies, remember that flat sarcasm of Bud Abbott and shrieks from Lou Costello originated on radio – the perfect medium for verbal standup that is often imitated today at fan gatherings… sans the Frankenstein monster.

LEND ME YOUR EARS | THIS MONTH’S SONG: Leather and Lace, Stevie Nicks and Don HenleyRELEASED: October, 1981by Lisa WolfClick here to watch on YouTube.

“I wrote this song because Waylon Jennings called me up and asked me to write a song called ‘Leather and Lace.’ It was to be a duet for him and his wife (Jessi Colter), and I worked very hard trying to explain what it was like to be in love with someone in the same business, and how to approach dealing with each other… And then I found out that Waylon and Jessi were breaking up, and Waylon wanted to just sing it by himself. After all the work I had put into the philosophy of two people dealing with this problem, I told Waylon that only 4 people in this world could sing this song: he and his wife, or myself and Don Henley… it became one of the most special love songs that I would ever write… and remains that, even today, after all these years.” ~ Stevie Nicks

“Leather and Lace” is Track 8 on Bella Donna, Stevie Nicks’ first solo album. In “Leather and Lace,” Stevie Nicks talks about a couple trying to have a long-distance relationship. For Nicks, it was really about constantly saying goodbye to the man in her life as she goes on the road. This was Henley’s first hit away from the Eagles and one of Nicks’ first hits away from Fleetwood Mac. They both had very successful solo careers. Don Henley performed this with Nicks when she was inducted into the Rock and Roll Hall of Fame as a solo artist in 2019. She was the first woman to enter the Hall as both a solo artist and with a group (Fleetwood Mac).

Bella Donna, which spent nearly three years on the Billboard 200 between 1981 and 1984, is Nicks’ best-selling album to date, still highly revered to this day.

Following a national tour in support of the album, Nicks later released a live performance of ‘Leather And Lace’. She decided to use the solo version and did not feature Don Henley.

Click here to watch on YouTube.

Jean Carroll: Stand-up Comedy Pioneerby Barry RichertWAS THIS AN EFFECTIVE ADVERTISMENT? by Karl Schadow

You are an executive of an ad agency or sponsor seeking a suitable radio program in 1950. Would the ad below catch your attention and make you want to look into this series? Had you ever heard of this program? Candy Matson YU 2-8209 was the best female private eye series on radio.

Send your replies to the author khschadow@gmail.com Your comments will be collated and presented in a future issue of the Hollywood 360 Newsletter.

She smiles confidently as she takes the stage. Dressed to the nines—an elegant gown; long, white gloves; a string of pearls at her throat—her appearance befits the ideal 1950s woman. She begins to sing…then, suddenly waving her arms to silence the orchestra, she launches into a rapid-fire monologue about everything from past boyfriends to her spouse:

…old boyfriends…

“This guy ate like he was going to the chair. I mean as per manners, you know? I’ve seen people eat with their hands before, but not soup.”

…and marriage…

“The thing that attracted me to my husband was his pride. I’ll never forget the first time I saw him, standing on a hill, his hair blowing in the breeze—and he too proud to run and get it!”

Carroll was a familiar face on other popular shows as well, including Texaco Star Theatre, Cavalcade of Stars, and Perry Como’s Chesterfield Supper Club.

RANGER: He’s not going to take your house. Those papers he signed with you were illegal. I want you to sign this paper telling just what sort of an agreement he made with you.

JANE: Illegal?

RANGER: Then I want you to come with me to the sheriff’s office and lodge a complaint against him. He’s on his way to jail.

FLINT: No, no! Yuh can’t put me in jail. Them papers is legal!

RANGER: You be quiet! How about it, Dan?

DAN: But we can’t do it now…

DAN: Well, can’t you get somebody else?

RANGER: What for? He made an agreement with you, didn’t he?

DAN: But… well, I don’t know. Look, stranger, it’s Christmas Eve. I can’t send a man tuh jail on Christmas Eve.

RANGER: Not even Eric Flint?

JANE: He oughta be in jail… if he’s dishonest, Dan…

RANGER: It might save your house. Don’t you realize that?

DAN: I won’t do it. That’s all. Taint the spirit of the day. You get somebody else to send him to jail. If it was day after tomorrow or next day, any other day but Christmas…

RANGER: We’ll find someone else. Come on, Flint.

Hollywood 360 Schedule1/7/23
The Adv. of Philip Marlowe 3/21/50 The Deep Shadow
Fibber McGee & Molly 12/2/41 Fibber Grows a Mustache
Suspense 11/23/43 The Strange Death of Charles Umberstein
Mr. Chameleon 10/6/48 The May and December Murder Case
This Is Your FBI 2/1/46 The Sinister Souvenir

1/14/23
Night Beat 3/13/5 Am I My Brother’s Keeper
The Whistler 2/11/48 Money Is the Root of All Evil
The Jack Benny Program 4/24/49 Trading in His Maxwell
Casey, Crime Photographer 7/31/47 Bright New Star
The Screen Director’s Playhouse 4/28/50 Rope of Sand

1/21/23
Nick Carter, Maser Detective 8/22/48 The Case of the Red Arrow
The Abbott & Costello Show 11/18/43 w/ guest, Lucille Ball
The Six-Shooter 9/27/53 The Coward
Dangerous Assignment 7/9/49 Relief Supplies
The Weird Circle 7/15/43 The House and the Brain

1/28/23
X Minus One 7/10/56 Bad Medicine
The Shadow 4/17/38 The Blind Beggar Dies
The Phil Harris & Alice Faye Show 10/2/49 Frankie Borrows Phil’s New Car
Gunsmoke 10/8/55 Good Girl, Bad Company
The Adv. of Sherlock Holmes 5/7/45 The Purloined Ruby

View Details

https://www.hollywood360radio.com/wp-content/uploads/2022/12/devotion.mp3“Devotion” is a biographical war film that takes place in 1950 and is based on the 2015 best-selling book “Devotion: An Epic Story of Heroism Friendship, and Sacrifice” by Adam Makos. The story centers on two US Navy fighter pilots during the Korean War. Jonathan Majors portrays Jesse Brown, and Tom Hudner portrays Glenn Powell. Their heroic sacrifices would ultimately make them the Navy’s most celebrated wingmen. “Devotion” is a history lesson on what it takes to be a naval officer and an unfamiliar story of two real-life heroes from the Korean War.

Jesse Brown was the first Black pilot to complete the Navy’s aviation training program while overcoming discrimination. His courage and superior aviation techniques helped him soar in his job as a Navy pilot. He received the Distinguished Flying Cross and the Purple Heart during his service.

Jesse’s relationship with his wife Daisy, Christina Jackson, is the mirror of the story as we see the loving, family man. If Glen Powell looks familiar, that’s because he played Hangman in this year’s blockbuster film Top Gun: Maverick. Both show flying navy fighter pilots, although “Devotion” is the real deal, the true story of the emotional stresses of the job.

Director J. D. Dillard premiered his film at the Toronto International Film Festival this year to rave reviews. Writers Jonathan C. Stewart, Jake Crane, and Jonathan A.H. Steward have screenplay credit.

The Bottom-line: I’m way in. Three and ½ stars out of 4, Here’s a story of friendship, sacrifice, racism, and courage. The Navy Fighter pilots heroic sacrifices ultimately made them the Navy’s most celebrated wingmen. Unsurprisingly, both men are placed in danger; with “Devotion,” the horrors of war and cinematic bombast feels authentic. Bullets fly, explosions surround, and fighter pilots go down. It’s a harrowing sight as they crash against landscapes. Although, that’s the mission, to outsmart and out-shot the enemy. Not to mention the insane task of landing the planes onto an aircraft carrier at sea.

Runtime: 2 hours 19 minutes

Distributor: Columbia Pictures

Sarah Knight Adamson©December 11, 2022

View Details

https://www.hollywood360radio.com/wp-content/uploads/2022/12/glass-onion.mp3Yes, Daniel Craig is back as the world’s greatest detective Benoit Blanc in the second hysterically comical mystery. The new “Knives Out” adventure showcases the fearless detective at a lavish private estate on a Greek island, but how and why he comes to be there is only the first of many puzzles. Ed Norton stars as billionaire Miles Bron, who summons his friends via a mystery puzzle box to join him at his private estate in Greece to solve a murder mystery. Rian Johnson, the director, and writer of the first “Knives Out” movie, repeats his filmmaking role in “Glass Onion,” a stand-alone film.

Miles views his friends’ success stories as his own, as he gives them positions and cash to succeed. Janelle Monáe’s Andi Bran became his business partner, Kathryn Hahn’s Claire Debella was elected governor after struggling in politics, Leslie Odom Jr’s Lionel Toussaint went from third-grade science teacher to a working scientist, Kate Hudson’s Birdie Jay’s fashion career took off despite her incompetent behavior, she’s kept in-check by her assistant Peg (Jessica Henwick) and Dave Bautista’s men’s rights and Second Amendment activist the goofy Duke Cody took off as a Twitch streamer who’s romantically involved with the ambitious model Whiskey (Madelyn Cline) of the “Outer Banks” TV series. Each character has their own secrets, falsehoods, and motivations. When a dead body is found, everyone is a suspect.

Miles calls his friends “disruptors,” people who bucked the status quo in their own unique way and who have made a profit. The first film jabbed fun at the stale closed-off world of the generationally wealthy, “Glass Onion’s” knives’ target is ‘new money,’ and continues in an equally mocking way. The faux-murder mystery soon becomes a real murder mystery, and it’s up to Benoit Blanc to solve the mystery and keep himself alive. His role has been amplified, and to our advantage, this is a part he was born to play. I dare you not to laugh-out-loud, at his outrageous accusations. Who knew James Bond could be so comical? In addition, for the fashion conscience minded viewers, his wardrobe is fantastic!

TIFF premiere of “Knives Out” September 2019. Photo Credit: Sarah Knight Adamson

I screened the film in Toronto at TIFF with a boisterous audience that didn’t hold back the laughs—it was great fun, and I enjoyed every minute. At the conclusion, a standing ovation ensued. My mind drifted back to three years ago in Toronto when I attended the premiere of “Knives Out” and all of the cast walked out on stage with filmmaker Ryan Johnson and Toronto’s own Christopher Plummer, who sadly passed away in February of 2021. I enjoyed viewing Chris Hemsworth and Daniel Craig goofing off on stage.

TIFF premiere of “Knives Out” September 2019. Photo Credit: Sarah Knight Adamson

The Bottom-line: I’ve seen the movie twice, (Film Fest 919 in Chapel Hill, NC) and can say it’s entertaining. The script is playful and humorous; the stand-alone film has excellent performances by the lead characters, Daniel Craig and Janelle Monáe. It’s in theaters now and will stream on Netflix on Dec. 23.

Writer and Director: Rian Johnson.

Cast: Daniel Craig, Edward Norton, Dave Bautista, Janelle Monáe, Kate Hudson, Kathryn Hahn, Madelyn Cline, Leslie Odom Jr., Jessica Henwick, Noah Segan, Ethan Hawke, Jackie Hoffman, Dallas Roberts, Hugh Grant, Stephen Sondheim, Natasha Lyonne, Kareem Abdul-Jabbar, Serena Williams, Yo-Yo Ma, Joseph Gordon-Levitt, and Angela Lansbury.

Run-Time: 2 Hours 19 Minutes

Hollywood 360 Radio Network Podcast: https://bit.ly/SarahKAdamsonGlassOnion

Sarah Knight Adamson@ November 28, 2022

View Details

By far, the anticipation of Steven Spielberg’s film “The Fabelmans” to premiere at this year’s Toronto International Film Festival was sky high! It’s not off to say Steven Spielberg sincerely phones home — as “The Fabelmans,” his artificially titled family substituting for “The Spielbergs,” is a memoir centering on his early...

View Details

Daniel Radcliffe is “Weird” Al Yankovic in this highly exaggerated story of his early childhood and rises to fame as a parody singer and accomplished accordion player. The film opened in Toronto to packed crowds, of which I arrived 45 minutes early for my film critic screening and was turned...

View Details

Film Fest 919, Celebrates 5 Years * The following article has additions that do not appear in the Alliance of Women Film Journalist article that was posted October 31, 2022, the additions are from Sarah’s personal experience as a film critic, board member and participant in the festival along with festival...

View Details

Yes, “Black Adam,” Dwayne Johnson has been freed from his tomb for almost 5,000 years and is ready to seek justice for his people of Kahndaq with his colossal powers. “Black Adam” sets up the realm of the “DC Extended Universe” with a surprise during the middle of the ending...

View Details

“Lyle, Lyle Crocodile” It’s based on the beloved children’s book series by Bernard Warber. The story begins in New York City, with a lively magician, Hector P. Valenti, played by Academy Award winner Javier Bardem. He dreams of being on a national talent show and finds a singing baby alligator...

View Details

“Moonage Daydream” is playing in theaters, and the IMAX it’s a documentary centering on David Bowie and his roles as a musician, painter, actor, and world traveler. Director Brett Morgen paints an intriguing portrait through Bowie’s interviews that span decades. Clips are shown that might have influenced David Jones as...

View Details

Oh yes, those Sanderson Sisters are back casting their spells! The wait is over; after 29 years, “Hocus Pocus 2” has dropped on Disney+. Bette Midler, Sarah Jessica Parker, and Kathy Najimy, the witchy sisters, are summoned back to Salem by way of the Black Flame Candle. Three high school...

View Details

The year is 1967 in Inwood, NY a Merchant Marine on leave, John ‘Chickie’ Donohue (Zac Efron), annoys his dad by sleeping late after hanging out all night with buddies at Doc Fiddler’s (Bill Murray) bar. His neighborhood friends are coming home from Vietnam in a casket—with the urging of...

View Details

“The Territory” is an engaging documentary from National Geographic Films that sheds light on the Amazon Basin in Brazil, providing a never-before-first-hand look at the struggles of the Uru-eu-wau-wau indigenous people and their land. The exquisitely shot film delivers gorgeous cinematography of the rainforest and the people that make the...

View Details

Director and writer April Wright created another outstanding documentary follow-up film to her historical movie, “Going Attractions: The Definitive Story of the American Drive-in Movie” (2013). The new drive-in movie focuses on America’s newfound love for drive-ins during the pandemic and their demise a few years later. The two films...

View Details

“Where the Crawdads Sing” movie is based on the bestselling book of the same name, written by Delia Owens, which has sold over 15 million copies since its release and is now in the top number one slot on Amazon as the highest-selling book to date. And what a page-turner...

View Details

Lesley Manville stars as an older widowed cleaning lady Mrs. Harris in 1950s London who falls in love with a Christian Dior dress—she decides to save her meager earnings until she has enough to buy one. This enchanting fairy tale nudges all never to stop giving up on your dreams....

View Details

Taika Waititi’s “Thor: Love and Thunder” is a triumph to behold, staying true to the tongue-in-cheek humor with solid themes of love and family—it’s one of Marvel’s strongest films to date. Chris Hemsworth, Natalie Portman, and Tessa Thompson reprise their roles. The film opens as Gorr (Christian Bale), the villain...

View Details

“Minions: The Rise of Gru” takes place before the original “Despicable Me” movie franchise that started in 2010; therefore, it’s a prequel. With a setting of the 1970s, young Gru is proudly 11 and ¾ years of age—and eager to be villainous as he proclaims to his classmates during his...

View Details

Elvis fan or not, Austin Butler and Baz Luhrmann have brought America’s biggest rock and roll star to life with a renewed understanding and empathy. Presented through Baz’s iconic filmmaking style—dazzling, frantic, glitzy, over-the-top visuals, it’s his best film to date. The great news is he’s made Butler into an...

View Details

Disney Pixar’s animated “Lightyear” accomplishes its main film orbit in transporting a family-centered story with engaging characters with just the right amount of humor and adventure—after all that’s what you’d expect from a space ranger hero. Despite its “Toy Story” origins, the film serves as an entertaining stand-alone movie now...

View Details

“Chip and Dale: Rescue Rangers,” “Bad Guys” Hi Carl, and hello to all of our listeners out there. Here are the winners of the 75th Cannes Film Festival that closed last Saturday evening after 11 days of films. The jury led by French actor Vincent Lindon announced the Palme d’Or winner...

View Details

Cannes Film Festival Update: Downton Abbey: A New Era, “Stranger Things” Conclusion Part 1 Hi Carl, and hello to all of our listeners; the news from the Cannes Film Festival is that the movie Elvis is set to premiere. Here’s the excellent news, Lisa Marie Presley loves the film, as...

View Details

The generated hype for the long-awaited “Top Gun: Maverick” began with a ‘Global Premiere Red Carpet Fan Experience’ at the USS Midway Museum on May 4 in San Diego, California. The 250-foot Red Carpet commenced as Tom Cruise arrived via piloting a helicopter. Fans of the original “Top Gun” 1986...

View Details

As I mentioned last week on Hollywood 360 radio, I’m an accredited member of the 75th Cannes Film Festival, and I’ll be reporting weekly. The US film “Top Gun: Maverick” will open Wed. May 18, in Cannes. I will be screening the film and will report back next week. Forest...

View Details

I’ll be reporting each week on the 75th Cannes Film Festival held in Cannes, France, as I’m an accredited member of the press again this year. The festival starts May 17th, and tickets are on sale now; check out the links and coverage on Sarah’s Backstage Pass. Two films from the...

View Details

The well-known actor Nicolas Cage has become a Hollywood icon as he’s made his full-on gonzo-style acting technique his signature. I have to admit, at times, I found myself scratching my head while viewing another B-movie starring Cage—here’s the inside joke, Cage explains his career decisions by simply saying, “A...

View Details

“Father Stu,” rated R is uncharacteristically rare for a film centered on religion—just know there are many swear words throughout the entire film. On that note, Mark Walberg stars as Stuart Long (Stu) based on the true story of a troubled, foul-mouthed boxer that decides to become a priest. The...

View Details

“The Thing About Pam” is a true American crime drama starring Renée Zellweger as Pam Hupp, a friend of murdered Betsy Faria (played by Katy Mixon in the series) in Troy, Missouri, 2011. Originally a Dateline podcast, the 8-part ‘Dateline’ series also stars Josh Duhamel as a lawyer and Judy...

View Details

The 80s is known as the decade for outrageously fun romantic comedy adventures, such as “Romancing the Stone” and “Jewel of the Nile.” In recent years movies have become heavily dramatic, with emotionally injured characters presenting dreadful character arcs. Viewing “The Lost City” is the perfect respite and, personally, a...

View Details

Hi Carl, and hello to all of our listeners out there; tonight, I’m going to review two films. “The Torch” is a new documentary film based on the Chicago Blues legend Buddy Guy. At 85, Buddy Guy remains the leader for promoting the blues. He’s determined to pass the torch...

View Details

“The Batman” out of the gate, my reaction is wow! Robert Pattinson’s “Batman” has a gothic look and brooding attitude, fighting crime in a rainy, dark, gritty Gotham City. Co-writer and director Matt Reeves frames the caped crusader as a lone wolf who hunts, and at times he’s the one...

View Details

Here are two TV viewing options; the first is my favorite film of the Sundance Film Festival of the 20 movies I screened. It’s Amy Poehler’s excellent documentary film, “Lucy and Desi.” Lucille Ball’s daughter Lucie Arnaz’s personal insights are priceless in understanding the complexity of her parent’s marriage and...

View Details

Lulu the Belgian Malinois and Channing Tatum stars as Briggs in DOG
A Metro Goldwyn Mayer Pictures film Photo credit: Hilary Bronwyn Gayle/SMPSP
© 2022 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved

https://www.hollywood360radio.com/wp-content/uploads/2022/02/dog.mp3 Hi Carl, and hello to all of our listeners out there. Tonight, I’m going to talk about the movie “Dog” that’s playing in theaters. Channing Tatum stars as Briggs, a former Army Ranger who was forced off duty due to a traumatic brain injury. He’s longing to get back to his job and his company of men. His life does change reasonably quickly when he’s asked to drive a military dog from Washington to Arizona to attend a fallen soldier’s funeral.

The film becomes a buddy road-trip comedy with misadventures along the way. Post-traumatic stress disorder, of both Briggs and his dog campion, Lulu are addressed along with techniques in calming a spirit. Of course, they meet whacky people yet find common ground in the end.

Channing Tatum tries is hand at directing, of which he did a great job. He co-directed with Reed Carolin.

The Bottomline? I’m in three stars out of four, It’s been a few years since we’ve seen Channing Tatum as the lead, and here he carries the entire film on his own, with only the help of a dog.

I’m happy to say he succeeded as the story has just the right amount of humor mixed with redemption and healing, making for a heartwarming film. Whether you are a dog lover or not, this one is for everyone.

Thanks for listening in tonight this is Sarah Knight Adamson, your national film and TV Critic, and I’ll see you next week. Check out Dog; I think you’ll like it!

Sarah Knight Adamson@ February 28, 2022

View Details

NEWSLETTER | VOL. 11, MARCH 2022

Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team!

Carl’s Corner by Carl Amari Hello everyone – here’s the Hollywood 360 Newsletter, March 2022 / Vol. 11. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that we will be airing on Hollywood 360. Each month I’ll write an article on one of the classic radio shows we’ll present on Hollywood 360. The week of March 5th, 2022 we’ll be airing an episode of SUSPENSE so here’s an article on this incredible mystery series. Enjoy!

SUSPENSE

By Carl Amari and Martin Grams

Offering high-tension drama and a stellar cast, Suspense was a landmark program from radio’s golden age. For 20 years, the program offered tales well-calculated to keep you in … Suspense!

With audience numbers in the millions, Suspense ranked as one of the most listened-to drama programs on the air. Conceived as a potential radio vehicle for Alfred Hitchcock to direct, Suspense aired on CBS from 1942 to 1962. Known as Radio’s Outstanding Theater of Thrills it focused on suspenseful stories starring the biggest names in Hollywood.

Hollywood’s finest actors jumped at the chance to appear on Suspense, including: Cary Grant, James Stewart, Alan Ladd, Henry Fonda, Humphrey Bogart, Bette Davis and Orson Welles. Often times, celebrities were cast against-type including Jack Benny who played a Martian and Frank Sinatra who played a psychopathic killer. Scripts were by John Dickson Carr, Lucille Fletcher, James Poe, Ray Bradbury and many others. Agnes Moorehead (pictured performing “Sorry, Wrong Number”) was dubbed “The First Lady of Suspense” for having starred in more Suspense episodes than any other actor.

Running more than 20 years, Suspense aired nearly 1,000 radio broadcasts. It made the transition to television in 1949, but it was much better suited for radio where the theatre of the mind could run free.

LEND ME YOUR EARS | THIS MONTH’S SONG: BORN TO RUN, BY BRUCE SPRINGSTEEN RELEASED: 1975 by Lisa Wolf

“When I wrote it, I was 24 years old, sitting in my bedroom in Long Branch, New Jersey. When I think back, it surprises me how much I

knew about what I wanted, because the questions I ask myself in this song, it seems I’ve been trying to find the answers to them ever since.

When I wrote this song, I was writing about a guy and a girl that wanted to run and keep on running, never come back. That was a nice, romantic idea, but I realized after I put all those people in all those cars, I was going to have to figure out someplace for them to go, and I realized in the end that individual freedom, when it’s not connected to some sort of community, can be pretty meaningless.” ~ Bruce Springsteen

Bruce Springsteen began writing Born to Run when he was 24 years old, and it took him six months to perfect in the studio. He made numerous alterations that didn’t work, including a background chorus and various string arrangements. The first documented live performance of “Born to Run” took place at Harvard Square Theater on May 9, 1974. Springsteen’s future manager Jon Landau was in the audience, and his review of that show featured this iconic line: “I saw rock and roll future and its name is Bruce Springsteen.”

Bruce appeared on the covers of Newsweek and Time the day his Born to Run album was release – Oct. 27, 1975. During his 1976 tour in support of the album, Springsteen became the first rock act to headline Nashville’s Grand Ole Opry House (April 28, 1976).

The guitar featured on the “Born to Run” cover reportedly cost Springsteen $185. “Born to Run” is Springsteen’s only album that has been selected for

preservation in the National Recording Registry. (2003) In 1980, the General Assembly of the State of New Jersey named Bruce Springsteen the New Jersey

Pop Music Ambassador to America.

Bondmania: Remembering the Spy Craze of the 1960s By Barry Richert With the release of the 25th James Bond film, No Time To Die, last October, Daniel Craig’s 15-year reign as the dapper but dangerous 007 drew to a close. While the world looks forward to (and places bets on) who will play James Bond in the future, 2022 is an opportune time to look back at Bond’s beginnings. Since the first 007 feature, Dr. No, was released in 1962, this year marks the 60th anniversary of the Bond films. Adapted from the James Bond novels by author Ian Fleming, the 007 film franchise has grown into an institution. But there was a time when James Bond was a phenomenon—a tuxedo-clad, cinematic trendsetter who found himself at the center of a pop culture whirlwind that spawned the term “Bondmania” and inspired the spy craze of the 1960s.

It all started, oddly enough, with the third 007 film. The first two, Dr. No and From Russia with Love, had been solid hits for producers Albert Broccoli and Harry Saltzman. For their next film they turned to Ian Fleming’s seventh Bond novel, Goldfinger. Released during the Christmas holidays in 1964, Goldfinger was a box office smash. Critics were effusive in their praise, and theaters had to run the film 24 hours a day to keep up with the crowds. It entered The Guinness Book of World Records as the fastest-grossing film of all time.

Sean Connery returned to star as James Bond, cementing his movie star status. The theme song rocketed to the top of the Billboard charts, and the soundtrack album nudged the Beatles out of the #1 spot in the U.S. A similar reception greeted the next 007 film, Thunderball, a year later (that’s right, Bond films used to come out once a year!). Thunderball became the most successful James Bond film of all time and held onto that title until the release of Skyfall 47 years later.

Thanks to these two blockbusters, 007 became a worldwide juggernaut during the 1965 to 1966 time frame, affecting every facet of pop culture. Everyone wanted a piece of the spy pie. Movie studios started producing spy films by the dozens—thrillers like The Spy Who Came In from the Cold, Arabesque, The Quiller Memorandum, Alfred Hitchcock’s Torn Curtain, and the Harry Palmer trilogy (The Ipcress File, Funeral in Berlin, and Billion Dollar Brain) from Bond producer Harry Saltzman.

Many of the films released during Bondmania were obvious spoofs of the 007 series, emphasizing over-the-top villains and inadequately clothed femme fatales. The more frivolous fare included Where the Spies Are, Modesty Blaise, Woody Allen’s What’s Up Tiger Lily?, The Glass Bottom Boat starring Doris Day, The Last of the Secret Agents? with comedians Allen and Rossi, The Spy with a Cold Nose featuring Disraeli the Bulldog (really), and the not so subtly-titled Licensed To Kill—also known as The Second Best Secret Agent in the Whole Wide World—and its sequel, Where the Bullets Fly.

The Vincent Price vehicle Dr. Goldfoot and the Bikini Machine was one of the more flamboyantly titled spy parodies, as was its sequel, Dr. Goldfoot and the Girl Bombs. And one mustn’t forget the films featuring Robert Vaughn as master spy Napoleon Solo that consisted of episodes from the hugely popular Man from U.N.C.L.E. television series edited together into features. Even Hanna Barbera made the leap to the big screen with the animated film, The Man Called Flintstone.

One of the most successful Bond knockoffs starred James Coburn as the unflappable Derek Flint, agent of Z.O.W.I.E. (Zonal Organization World Intelligence Espionage). Coburn’s cool-headed screen presence provided the Flint movies—Our Man Flint and In Like Flint—with much-needed gravitas, whether he was thwarting the efforts of a nefarious organization that controls the weather or foiling the scheme of an evil coterie of women who want to take control of the world’s missile sites.

If Derek Flint wasn’t outrageous enough for you, there were the Matt Helm films, which were based very loosely (seriously—VERY loosely) on Donald Hamilton’s novels. The quartet of films—The Silencers, Murderer’s Row, The Ambushers, and The Wrecking Crew—starred crooner Dean Martin, who serenaded his female co-stars as often as he rescued them. Martin foiled every diabolical plan he encountered, from laser beams capable of annihilating entire continents to the hijacking of a covert government flying saucer. The films made no attempt to take themselves seriously and clearly helped inspire Mike Myers’ Austin Powers movies several decades later.

Numerous low-budget European spy features—dubbed Eurospy films—also proliferated on movie screens throughout the mid-60s. One of the most notorious Eurospy productions was Operation Kid Brother, an Italian thriller starring Connery…Neil Connery, younger brother of Bond star Sean, as a spy whose skills include lip-reading and hypnotism. While not a film renowned for either its quality or its coherence—as its eventual appearance on Mystery Science Theater 3000 attests—it is worth mentioning for its shameless plundering of actors who had previously appeared in Bond films, including regulars Bernard Lee (“M”) and Lois Maxwell (Miss Moneypenny).

For sheer, unabashed 007 spoofery, however, there’s no topping the 1967 comedy Casino Royale from producer Charles K. Feldman, who held the rights to Ian Fleming’s first Bond novel. The farce starred such luminaries as David Niven, Peter Sellers, and Orson Welles, along with too many cameos to mention. With five directors, three credited screenwriters, four uncredited screenwriters, and no less than five characters named “James Bond,” it’s no wonder the result was a chaotic exercise in excess, playing like a series of disjointed comedy sketches in search of a narrative arc. On the plus side, Burt Bacharach’s score was superb, and the film serves as a colorful snapshot of the mod, psychedelic 60s.

Meanwhile, back at home, the small screen was providing all the espionage adventures TV viewers could handle. There was the aforementioned Man from U.N.C.L.E. (which Ian Fleming had a hand in creating until pressured by Broccoli and Saltzman to pull out), as well as The Girl from U.N.C.L.E, I Spy, Mission: Impossible, Get Smart, The Avengers, Secret Agent Man, the spy/western hybrid The Wild Wild West, and for the Saturday morning crowd, Lancelot Link, Secret Chimp. One existing detective series, Burke’s Law, was given a spy makeover and became Amos Burke, Secret Agent. Alas, the overhaul did the show no favors—it was canceled at the end of that season.

Of course, what would Bondmania be without merchandise? Throughout 1965 especially, James Bond toys were everywhere. There were missile guns, walkie-talkies, wristwatches, jigsaw puzzles, board games, and a gadget-laden attaché case like Bond’s in From Russia with Love. Action figures included Goldfinger henchman Oddjob, who could throw his bowler hat by spring action (“Z-ZING! Deadly Derby Sails Through The Air!”). Bubble gum trading cards were popular, and 007 road race sets always sold well. But you weren’t a true fan unless you had a toy replica of the famous Aston Martin DB5 driven by Bond that could eject a little toy henchman out the roof of the car, mirroring a scene from Goldfinger.

Adults weren’t left out of the merchandising boom. For those who wanted to smell like Bond, there was 007 deodorant, cologne, and after shave (“…for recklessly close shaves”). Grooming yourself Bond-style was easy with 007 hair tonic, soap, and talc. To create just the right musical ambience around your swingin’ pad, John Barry’s sexy, brassy soundtracks for both Goldfinger and Thunderball were the vinyl of choice for your hi-fi. And as one might expect, Ian Fleming’s original novels were re-issued with covers showcasing artwork from the film.

By 1967 Bond fever had begun to cool down. The fifth 007 film, You Only Live Twice, was a hit, but didn’t match the box office take of either Goldfinger or Thunderball. Regardless, the effects of Bondmania would resonate for years. The spy movies that proliferated throughout the mid-60s would air on TV well into the 80s and now have a hallowed place in many home video libraries. Reruns of spy TV shows became a staple of local stations and can still be seen on many of the nostalgia channels. Spy novelties from the 60s have increased in value and can regularly be found on eBay.

And although the spy craze of the 1960s has faded into pop culture history, Bond himself has endured. Through 60 years, 25 films, and 7 actors in the role of James Bond, the 007 series has continued to break box office records, climb the music charts, and sell merchandise. Once asked in an interview how long he thought Bondmania would last, producer Albert Broccoli answered, “Until doomsday.” As the 007 franchise stands ready to enter a new era, it looks like he was right.

BETTY DEBORAH ULIUS: Writer, Director, Editor, Advocator by Karl Schadow In celebration of Women’s History Month, a brief overview is presented of the inspiring career of Betty Ulius. A native of New York City, Ms. Ulius’ first documented achievement in the entertainment industry, a radio script “Only the Dead Are Free” (Manhattan at Midnight, NBC-Blue) was highly praised by Ben Gross (New York Daily News, May 7, 1942) who deemed her work as from: “. . . an exceptionally promising young writer.” Indeed she would turn age 20 the following month.

After a stint on the production staff of the TransAmerican Broadcasting & Television Corporation, in January of 1944 she became continuity director of the independent WBYN in Brooklyn and also served as producer/director of the station’s weekly half-hour series, Dramatic Encore. The accolades from the critics continued when William Juengst (Brooklyn Daily Eagle, June 19, 1944) commented on a visit he enjoyed at the station: “And talked seriously, much to my own amazement, with Betty Ulius the program director, a gal who just lives for radio and really worries about the literary quality of its dramatic writing.” Additionally, in 1944 she sold two originations to the CBS radio series Grand Central Station. Was there a network invitation in the offering for the aspiring author?

In the summer of 1944, she departed WBYN to engage life as a freelance writer successfully submitting scripts to NBC for The Haunting Hour and Five Minute Mysteries. Additional programs which featured her crafts during the late 1940s included Stars Over Hollywood and Radio Free Europe.

Turning to television in the 1950s, her works were performed on such ventures as Lux Video Theatre and Kraft Television Theatre. During this period she was best-known for numerous contributions to NBC Matinee Theatre. Following a move to Los Angeles in 1959, her small screen endeavors continued into the 1960s with The Millionaire and Mr. Novak. Along with E. Hunter Willett, she co-wrote the screenplay of Psych-Out (1968, American International Pictures) which starred Jack Nicholson.

Her own experience in the television and film industries coupled with the manner in which women were disparagingly portrayed in these media fueled a passion of activism. During the 1970s she was a member of Women In Film speaking out to change these archaic roles. In 1974 she joined the staff of Playgirl holding various positions as editor of the magazine’s fiction and food sections. She would later contribute a monthly column of book reviews which covered a broad array of topics.

In a 1978 Writers Guild interview, she enthusiastically admitted: “. . . the most satisfying thing that has happened in the last seven years is when I go to a workshop or something here in the Guild Theater and I see that at least a quarter to a third of the audience is women, because this is all because of the Women’s Committee.”

Betty Ulius returned to her radio roots during the late 1970s writing scripts for the Salvation Army series, Heartbeat Theatre. Moreover, efforts in a project that initially commenced in 1978 were rewarded in 1981 as thirteen, half-hour installments of Fireside Playhouse were recorded and distributed nationwide. This series featured societal problems of the 1980s that could be solved via the teaching and precepts of the Baha’i Faith. Ms. Ulius had joined the Faith in 1955. Many thespians from radio’s Golden Age participated in this enterprise including Hans Conried and Ross Martin.

Music had always had a special influence in her life (she had produced a music festival in Malibu in 1966) and had shared this affection with others. As a result of these interactions, Stephanie Merritt dedicated her 1990 tome Mind, Music and Imagery to her editor and friend. Ms. Ulius passed away on November 25, 1995 while residing in San Diego.

Acknowledgment: The author thanks Hilary Swett (Archivist, Writers Guild of America-West) for her invaluable assistance.

MartinGrams.biz: THE ORIGIN OF THIS IS YOUR LIFE by Martin Grams In the aftermath of World War II, there were many ex-G.I.’s recuperating from battle wounds in military hospitals; a percentage emotionally paralyzed, despairing of readjustment to civilian life. Having tapped the resources of Truth or Consequences to assist in the war effort, there was now a fresh opportunity to help in a post-war era. Little did he know that a “good gesture” act for one particular contestant, physically crippled, would ultimately lead to the creation of another successful radio/television program, This is Your Life.

“Shortly after the end of World War II, General Omar Bradley, impressed by our bond efforts, asked if we could help with the disabled veterans, particularly the paraplegics,” Ralph Edwards later recalled. “The hospital doctors told us many were afraid to go home for fear they wouldn’t be accepted and properly cared for.” Known as the “invisible wounds of war,” the result of prolonged exposure to combat-related stress, many of the wounded were depressed and reluctant – ashamed – to have family and friends see them in their debilitating condition. Edwards had multiple discussions with Al Paschall and the idea men to create a means by which the radio program could offer a second chance for veterans to advance their lives beyond a hospital bed, and double as a public service message to radio listeners from coast-to-coast.

A paraplegic at Birmingham General Hospital in Van Nuys, California, Lawrence Tranter, was selected as the first honoree. (It was at the suggestion of a doctor at the Rehabilitation Department of Veterans Hospitals, that a soldier paralyzed from the waist down be selected.) The doctors and psychiatrists were in full support that the radio program try to encourage paraplegics to talk about their past, and welcome their new future. The public needed to know the reason why the wounded, in both heart and body, were fearful of returning to their home and native communities because they felt a lack of acceptance. “We selected a paraplegic soldier from a Navy hospital in California, researched his story, and had him brought to our stage in Hollywood in a wheel chair,” Edwards later recalled. “We decided to present a young ex-Marine, Lawrence Tranter, of Murray, Utah, on Truth of Consequences and surprise him with a show of love and pride from all his family and school pals, his boss at the drug store and his favorite teacher.”

On the evening of April 27, 1946, 21-year old Lawrence Tranter, weighing a mere 91 pounds, confined to a wheelchair, paralyzed from the waist down as a result of wounds he suffered on Luzon, appeared on stage as a contestant. Mentally, prior to the radio broadcast, he was close to death. Physically, he wasn’t much better. His only control was over his fingers, which he could move freely. As usually happened when a special contestant had been “set up” in advance, he couldn’t answer the question and therefore had to pay the consequences: an emotional revisit of his past. One by one, old friends, family and neighbors, were reunited with him on stage – beginning with the chief clerk of his draft board. The profile of a returning hero was dramatized through a series of dramatic flashbacks with leading events and personalities who played a part in Tranter’s life from his high school days, through his induction into the Army. One scene dramatized the day of his birth. The appearances of friends and family were a complete surprise to Tranter. Mrs. Louise Erickson of the Murray, Utah, draft board at the time when he was inducted in 1943, spoke to him in behalf of the late Mrs. Glen Howe, who was chairman of the board when Tranter was called, but had since died. Mr. Varion Morteson, the High school principal who gave Lawrence his high school diploma spoke praise of the student who impressed his teachers. Irving Olsen, Junior Madsen and Orlan Parker, friends who Lawrence used to “gang up” at Hammond’s Ice Cream Parlor back in Murray, Utah, recollect Lawrence’s job as a soda jerk in 1940. Lawrence’s brother (Leonard) and sister (Mildred), made an appearance. Mildred was now married and has a young daughter. Dr. Warren Shepherd, the physician who brought Lawrence into the world, back in 1925, re-enacted Lawrence’s first day on Earth. Frank and Lorene Tranter, father and mother, reunited with their son.

After the reunion on the stage, Lawrence was given a glimpse of his future… While Lawrence was in the hospital recovering, he was studying watch repair and had often said that he would like to make a life business of repairing watches.

Prior to the broadcast, Ralph Edwards made arrangements with the Bulova Watch Company, located at 630 Fifth Avenue in New York City, to receive complete free training, plus a regular weekly salary, while attending the Joseph Bulova School of Watchmaking for Servicemen in New York. John H. Ballard and Arde Bulova, along with their associates, through the Bulova Foundation, had established the school for people like Tranter. Alex Cohen, in charge of public relations at Bulova, helped work out the arrangements for this radio broadcast. A place to live would be provided for Lawrence during his attendance at the Bulova School. He was also asked to choose the city in which he would like to open his own business for a jewelry store and watch repair shop… And that store would be set up for Lawrence Tranter, completely stocked with the merchandise he needed to open business, all the tools of the watch-repairing trade, and rent paid for one year in advance for the store. Meanwhile, until arrangements for Tranter’s trip to New York’s Bulova School were completed, he was provided a few days to spend in Hollywood with his family and friends who came to visit him for the radio program. (Edwards closed the ceremony by informing “the gang from Murray, Utah” to be guests at a private supper at the expense of Truth or Consequences – and, so that Lawrence would not be late for any of his “future appointments,” he received a pullover wristwatch.)

In New York, the Joseph Bulova School of Watchmaking had been established to teach a craft to veterans who needed a new field in which to earn a living. Since Tranter had not yet recovered sufficiently from his injuries for the hospital to allow him to travel to New York immediately following the program, Gen. Omar Bradley and the Veterans’ Administration requested the Bulova School to open a branch at Tranter’s hospital. Once he was well enough, he would go to New York and complete his studies. Between tears of joy, the war veteran accepted the proposition. And, according to two separate accounts from staff members who were involved with the surprise consequence, there wasn’t a dry eye in the audience.

Edwards closed the act with these words: “This is a great example of what an industry can do to help the disabled veteran. Boys paralyzed as Lawrence Tranter or otherwise disabled in battle. The Veterans’ Administration hopes other industries will set up similar rehabilitation programs for veterans in hospitals. Training courses such as this help speed the recovery of these disabled G.I.’s and it may start them on a new career as it did Lawrence. Those boys didn’t forget you, folks. Let’s not forget them.”

On Truth or Consequences, surprising a contestant with family relatives was done a number of times, especially for soldiers stationed at training bases during the War who longed to see their mother, wife and/or children. The war might have been declared over, but the urgency of family reunions was still essential. Emotions rose on stage and in the studio audience, attesting Edwards succeeded beyond anything he and his crew expected. If there was any question whether the quiz program succeeded in delivering a public service message, there could be no doubt by the letters, telegrams and feedback, numbering in the thousands.

“I have been advised by our Radio Director, Mr. Brechner, of your help in preparing the Truth or Consequences radio broadcast of April 27 involving a patient from the Birmingham Veterans Hospital. This outstanding broadcast, which I thoroughly enjoyed, was a fine contribution to our Medical Rehabilitation Program. Will you please accept my thanks and extend my appreciation to Mr. Al Pasqual and other members of your staff who helped prepare this worthy broadcast.”– Omar N. Bradley, General, U.S. Army, Administrator of the Veterans Administration

“I listened to your very fine program on April 27, 1946, and I want to express my great appreciation to you for your fine work in the rehabilitation of Lawrence Tranter, Murray, Utah. This young, according to your introduction, served in the Philippines and was wounded there while taking part in the Liberation of the Philippines. It gave me a great sense of pride to learn that he had received a disability that would perhaps handicap him for the rest of his life The great deed that you have performed in his rehabilitation and of other young men deserves great praise and I hope that you and others will continue the good work for the men who have given all they had for humanity.”– Joseph P. Hyman, National Commander of the

National Society – Army of the Philippines

“I listened to Truth or Consequences Saturday night and still can’t get the show out of my mind. I’ve heard many human interest spots before, and during the war had occasion to handle a number of them myself, but can honestly say that I have never heard anything done so well.”– Warren Lewis of the National Broadcasting Company

Ralph Edwards did not forget Lawrence Tranter. Almost two years later, on the evening of April 24, 1948, the same chair was wheeled up to a microphone on the Truth or Consequences stage. Tranter had begun a new interest in life. He became mentally stimulated because he had found something to occupy his alert mind and supple fingers. He learned a trade and improved physically. Tranter had completed his course and put on 45 pounds. Edwards moved over to Tranter’s microphone to bestow his promises: a lease for the store which Tranter then signed; a check for the first year’s rent; an inventory of the stock guaranteed in writing; and a $1,000 check to open the store’s bank account from John Ballard and Ardie Bulova of the Bulova Foundation. Edwards then informed Tranter that a group of Salt Lake City jewelers had formed a committee to help him with the number plate for his store: 4881 South State Street, in his hometown of Murray, Utah.

With the formalities over, Edwards walked back to his own microphone and said, “Oh, Lawrence, there’s just one more thing. You can’t get in the store without a key. Here’s the key, fellow… come and get it. Remember, two years ago they said you’d never be able to get out of that wheelchair. This is the future, Lawrence. This is your key to the store. Come and get it.” Slowly, Tranter rose from the chair. Leaning on a large table, the ex-Pfc. made his way across the stage, slowly walking, and took the key. “I had purposely encouraged this to demonstrate the tremendous rehabilitation that had taken place in the boy’s previous physical and psychological deficiencies,” Edwards later explained. “The audience stood and applauded.” Tranter could now get along with crutches.

It was during this broadcast that Tranter had a surprise for Ralph Edwards. He announced that he had gotten married four months earlier, and introduced his wife, Dorothy. She was the lovely red-haired lady who served as his nurse at the Bulova School of Watchmaking. Together they stood on stage for the official presentation of his diploma from the Bulova School of Watchmaking, made by former head of the Veteran’s Administration, Chief of Staff of the Army, General Omar Bradley, speaking from Washington, D.C.:

“Hello, Lawrence. I’m going to step out of my job as a soldier for just a minute this evening to back to those days when we were working for you in the Veterans’ Administration. I like to recall them because they were busy and productive days when we could do a little for those of you who did so much for us. Tonight, as you leave the Bulova School, as you put the hospital behind you to take your place as a business man in your home town, you are helping to prove what millions of veterans everywhere have claimed when they say to the American people, ‘Give us the chance – give us the opportunity – and we will make good.’ Lawrence, the burden of proof is not so much upon you as it is upon us, the American people, to whom you have come back. For it us up to us to show you that democracy is the measure not only of a man’s personal freedom but his economic opportunity as well. If only we will remember that this great country of ours is peopled by young men like you, men and women with the spunk and courage to make it an even better place in which to live, we will make democracy mean a great deal more to our children – yes, and to the puzzled people who live tonight in nations around the world. Again, congratulations. My good wishes to you and Mrs. Tranter for a full and happy lifetime.”

Ralph Edwards thanked General Bradley and then spoke the works he was to repeat many times to millions of radio listeners: “This is your life.”

Bob Barker and Ralph Edwards

Behind the scenes, the Decker Jewelry Company, wholesale jewelers, supplied the opening stock for the store. As promised on the broadcast, Tranter was given a completely-stocked jewelry store, including electric sign, all interior fixtures, window trims, a watchmaker’s bench, a safe, interior work, and other necessities. The merchandise itself, the bill of goods, was given to Lawrence Tranter. The Bulova Watch Company agreed to underwrite his credit, but Tranter had to pay for the merchandise. His stock, like any business, was to be paid for out of his profits, since, of course, he would be selling the goods and realizing the difference between the wholesale and retail price. Edwards explained this to Tranter on the evening of his initial consequence, and reminded on the evening of his return to the program, and Edwards himself agreed to underwrite his credit to the extent of $500. When it was discovered that $500 would not even complete window dressing for one of the two display windows, the Murray City Chamber of Commerce got involved and explained to Edwards that tentative dates set for the grand opening of the store had been pushed back to ensure the store would be fully furnished as promised on the program. As a result, Bulova extended Tranter with $2,000 worth of credit.

His first customer was supposedly Gov. Herbert B. Maw of Utah.

The Lawrence Tranter broadcast was so overwhelming that Ralph Edwards discussed the proposal of doing a weekly “good gesture act” covering the life of an exceptional individual who deserved more than verbal gratitude. A few months later Truth or Consequences featured a consequence imposed on Lester Hansen, who was asked to “act” in a little dramatization in which he was assisted by radio actors Jack Moyles and Iva Green. The dramatization portrayed the actual heroism and experiences of the veteran, but the contestant was not aware until he read the “script” that he was acting out his own story. For his efforts as an actor and in recognition of his exploits during the war, Lester received a $1,000-diamond engagement ring (and wedding band to match) to give the girl he was marrying soon; a complete wardrobe for civilian life including two Hart Schaffner Marx suits and top coats; and all-expenses-paid for equipping his new car (he already had the car) so that he would be able to drive it without using his disabled limbs. Truth or Consequences arranged this special equipment for the car through consultation with the vet’s hospital.

Lester Hansen, 28, was paralyzed from the hips down. An artillery lieutenant in the war, Lester Hansen was wounded in the back in a battle on Biak Island, a dot in the Pacific Ocean off New Guinea. After two and a half years spent in army hospitals at Walla Walla and Los Angeles, he was discharged from the army as a major. In 1947, he was 28 years old, busy laying out a doctor’s career for himself. He was living in Los Angeles with his wife, Ethel, whom he married less than a year prior after meeting her in the Walla Walla hospital, where she served with the Red Cross. Doctors were puzzled by Hansen’s ailment, saying they knew no reason why he could not walk, except that nerves had been shocked. And, they claimed, another great shock might undo the damage and enable Hansen to walk again.

Two days later, on October 6, 1948, an audition disc was recorded (never aired) focusing on the life of Lester Hanson, a paralyzed war veteran from Spokane, Washington. Hosted by Harry Von Zell, who would obviously be replaced by Ralph Edwards when the radio program premiered in November, the demo was played back for potential sponsors. Hanson played the role of a “surprised” guest, with full understanding that his demo could convince a sponsor and a network to feature a similar program on a weekly basis.

The first radio broadcast of This is Your Life aired on the evening of November 9, 1948. Sponsored by Philip Morris and broadcast over NBC, the premiere episode was modeled after the Lawrence Tranter show, which was the forerunner of This is Your Life. Paul Jackson, a paraplegic, was chosen to be the first “victim” of the new radio program. Jackson was wounded and buried in the snow in the Battle of the Bulge. A medic tripped over him and saved his life. Jackson never knew who the medic was so Edwards and his crew ran down the files and presented to Jackson the young man responsible for saving his life. For his future, they provided complete equipment for a gun shop in a place he was starting in Tulare, California.

And now the good news…

A complete inventory was recently made on the scripts, along with Ralph Edwards’ personal scrapbooks, newspaper clipping files, photographs and loads of other materials pertaining to the radio version of This is Your Life was recently unearthed and digitally scanned. Unlike the television version which glamorized celebrities, the radio version for the most part focused on every day citizens and until now proved a challenge identifying exactly who each of the “contestants” were — until now. Crossing fingers, all of this material may go to print in book form within a year or two. Again, crossing fingers…

Hollywood 360 Schedule

3/5/22

Suspense 6/29/44 The Walls Came Tumbling Down

Baby Snooks & Daddy 5/1/51 Report Card Blues

The General Electric Theater 7/9/53 Random Harvest

The New Adv. of Nero Wolfe 1/19/51 The Case of the Calculated Risk

Our Miss Brooks 11/21/48 Snap’s Magazine Model American Teacher

3/12/22

Gunsmoke 11/21/52 Fingered

FBI In Peace and War 5/18/55 The Fast Pace

The Fred Allen Show 3/20/49 Mob Buster

Lights Out! 2/23/43 The Met at Dorset

Pat Novak, For Hire 8/10/47 Jack Landsome – Burke Papers

3/19/22

Fibber McGee & Molly 11/3/42 Duck Hunting with Mayor LaTrivia

The Cavalcade of America 9/13/43 Iron Camels

My Friend Irma 1/6/52 Memoirs

Crime Does Not Pay 11/28/49 Female of the Species

Wild Bill Hickock 12/22/52 The Rustlers of Rattlesnake Bend

3/26/22

Screen Guild Theater 1/25/43 Across the Pacific

Archie Andrews 5/18/46 Jive Talk

Inner Sanctum Mystery 1/22/46 The Confession

Life With Luigi 4/1/52 April Fool’s Joke

Mr. & Mrs. North 1950s Cry Foul

View Details

https://www.hollywood360radio.com/wp-content/uploads/2022/02/marry-me.mp3 It is a romantic comedy movie that’s opening this weekend in theaters and streaming on Peacock.

The romantic comedy opens just in time for Valentine’s Day, starring Jennifer Lopez and Owen Wilson. Lopez somewhat plays herself as the musical superstar, Kat Valdez, Wilson plays Charlie Gilbert, a math teacher—they are total strangers who agree to get married and then get to know each other—beginning as an impulsive reaction that gradually evolves into an unexpected romance.

The film explores the lives of two people living in very different worlds and finding their comfort zones in each other’s space. We’ve seen this storyline before; what makes the film interesting is seeing Lopez’s adjustment to a normal everyday life without selfies, cameras, or videos. Basically, it’s the unlikely romance of two different people searching for something real in a world–not one based on the number of likes and followers. “Marry Me” is a modern love story about celebrities, marriage, and social media.

Director Kat Corio combines Lopez’s songs in unique and enchanting situations. What’s great about the film is Lopez sings new songs that are really very good, and the story is so charming it’s irresistible. The script, although somewhat predictable, has just the right amount of twists that keep the film in sync.

The Bottomline, I’m in, three stars out of four, as rom-coms go, this one wasn’t too surprising, although it wasn’t dull either. Both stars are engaging, “Marry Me” is the perfect date night movie; I’d say check it out.

Cast: Jennifer Lopez, Owen Wilson, Maluma, John Bradley, Chloe Coleman, and Sarah Silverman

Director: Kat Coiro

Screenplay by: John Rogers & Tami Sagher and Harper Dill

Based on the graphic novel by Bobby Crosby

Producers: Jennifer Lopez p.g.a., Elaine Goldsmith-Thomas p.g.a, John Rogers, Benny Medina

Executive Producers: Alex Brown, Willie Mercer, Pamela Thur, J.B. Roberts

View Details

https://www.hollywood360radio.com/wp-content/uploads/2022/02/death-on-the-nile.mp3 If you viewed Kenneth Branagh’s 2017 film, Murder on the Orient Express, you’ll have a good idea of the premise of Death on the Nile. The mystery thriller is based on the 1937 Agatha Christie novel, with Branagh returning as director and actor Hercule Poirot, the notorious Belgium detective, and his signature mustache. One may ask, is it worth a two-hour trip down the Nile River? The answer is yes, absolutely, as the diversity of intriguing characters, plots-twists, melancholy jazz music, breath-taking Egyptian ruins and let’s not forget the ever-talented Gal Gadot as a wealthy socialite are worth the cruise.

With Branagh at the helm, I was expecting a grand entrance introducing Gadot’s Linnet Ridgeway, the vampy heiress—needless to say, her sashaying and vivacious arrival surpassed my expectations. Known mainly for her Wonder Woman portrayals, seeing her in a carefree, spirited role is refreshing. The opening dance numbers are visually appealing while setting the scene for the 1930s.

Gadot’s character mesmerizes throughout the film, as less attention is given to her new husband, Simon Doyle, played by Armie Hammer, the elephant in the room or on the screen, as his real-life sexual assault and abuse accusations mar his character and his performance. I had a hard time watching him when he appears on screen, of which is often. The film’s opening was delayed because of the accusations, and talks of re-filming his character were debated. For myself, I decided not to let the scandal distract my appreciation of the film as a whole.

The plot moves quickly with multimillionaire Linnet and Simon honeymooning via a cruise down the Nile with a few invitees. Alas, Linnet confesses early on to Poirot, a last-minute guest, that she doesn’t feel safe with any of the guests as her money is a deterrent to trust. The forlorn look on Poirot’s face is priceless; during the exchange, he adds persnicketiness and humor to his role, which balances the heavy themes of murder and betrayal.

While aboard the ship, disembarkment occurs at various locations, with guests wandering through Egyptian ruins. The cinematography is stunningly beautiful; it’s up close and personal; I cherished the scene of Tom Bateman Poirot’s friend Bouc, flying a kite midway up a pyramid while his demanding mother, Annette Bening, Euphemia a famous painter, paints the scene of her son in action. It’s the perfect respite from cold temperatures, watching the blazing sun on the pyramids during the day and the evening moonlight glistening across the calm river at night while coatless guests take leisurely strolls. One negative is the lengthy build-up to the actual murder. However, Simon’s vengeful ex-fiancé Jacqueline de Bellefort, Emma Mackey, may not have been fully developed unless we viewed her jaded backstory.

Rounding out the cast of suspects is the alluring voice of jazz singer Sophie Okonedo, with a fierce Letitia Wright as her daughter, a disgruntled assistant Rose Leslie and an unscrupulous moneyman Ali Fazal. At the same time, Russell Brand is Linnet’s ex-fiancé, Linnet’s outspoken communist godmother Jennifer Saunders, who arrives with a nurse companion Dawn French. Of course, they all have viable motives.

Kenneth Branagh is on a roll with his ever-popular film Belfast and his follow-up film Death on the Nile, does not disappoint.

Studio 20th Century, Screenplay by Michael Green, based on the 1937 novel of the same name by Agatha Christie.

View Details

https://www.hollywood360radio.com/wp-content/uploads/2022/02/only-murders-in-the-buliding-sundance.mp3

Hi Carl, and hello to all of our listeners out there. Tonight, I’m going to review a popular TV show that’s streaming now on Hulu, “Only Murders in the Building.”

Steve Martin and John Hoffman created the series. The ten-episode first season follows three strangers, played by Steve Martin, Selena Gomez, and Martin Short. They all live in the same New York apartment building and share a true-crime podcast obsession.

After a suspicious death in their apartment building, the three neighbors decide to start their own podcast about their own investigation of the death, which the police ruled a suicide.

Steve Martin and Martin Short play off each other with their signature chemistry as Selena Gomez makes a captivatingly poker-faced foil to the two older men. Together, they are an unlikely trio, yet are fixated with true crime. So much so they make their own podcast after a neighbor dies under mysterious circumstances.

Steve Martin plays the sour, pondering killjoy with discreet eccentricities. He lines up bell peppers in a pattern and makes omelets he never eats, self-talks about his father, and plays the concertina, an instrument that looks like a small accordion.

Martin Short is very lively and energetic as Oliver; he’s the life of the party and keeps the laughs coming. His quandaries are all his own making, yet he’s not always trying to jostle his way out of them. He’s simultaneously annoying and endearing while garnering the best punch lines.

I’m way in 3 ½ stars out of four; the series has something for everyone: themes of loneliness, friendship, and humor. I love generational scripts, and this one is pitch-perfect.

Next up Sundance update: Some Grand Jury Prizes were awarded to the films Nanny, The Exiles, and All That Breathes. Some of the Audience Awards were Navalny, Cha Cha Real Smooth and Framing Agnes.

My favorite films of the 20, I screened were Lucy and Desi, The Princess, Emily the Criminal, We Need to Talk About Cosby and Tik Tok Boom.

View Details

https://www.hollywood360radio.com/wp-content/uploads/2022/02/the-tender-bar.mp3 The film is based on the true story of news journalist J.R.” Moehringer, a Pulitzer Prize winner wrote a memoir in 2005 of his chaotic life during the 70s. A local bar became his sanctuary. The film stars Ben Affleck as Uncle Charlie and Tye Sheridan as J.R. It works on many levels, but it mostly works because it is heartfelt and emotionally honest. His childhood and young adulthood are not sugar-coated. We see a transformation right before our eyes.

The performances are tremendous, as are the film’s narrative. While dad is absent, Grandpa (Christopher Lloyd) and Grandma (Sondra James) and the rest of the home is filled with assorted children, grandchildren, and cousins. Young J.R. quickly forms an attachment with his Uncle Charlie (Ben Affleck), a savvy, charming underachiever who owns a local bar called the Dickens.

George Clooney is at the directing helm with a screenplay by William Monahan.

The bottom line here’s a film that has all-around great performances yet doesn’t lose sight of its main theme of how a neighborhood and an uncle can help tremendously raise a child and a teenager. It’s streaming now on Amazon Prime.

The Sundance Film Festival has wrapped. I screened 20 films. My favorite was the documentary by Amy Poehler, “Lucy & Desi.”

Thanks so much for listening in tonight, this is Sarah Knight Adamson your National film and T.V. critic for Sarah’s Backstage Pass. And I’ll see you next week with an update on the winners of the Sundance Film Festival.

View Details

https://www.hollywood360radio.com/wp-content/uploads/2022/01/women-of-the-movement-ozark.mp3 Adrienne Warren as Mamie Till-Mobley ©ABC

“Women of the Movement” is a six-episode anthology series based on Emmett Till’s murder in 1955 and his mother, Mamie Till-Mobley, who became an activist for his justice. It has only been 66 years since the horrific murder of 14-year-old Emmett Till, a Chicago teen, who died while on vacation in Mississippi visiting his great uncle. Witnesses said he whistled and had a chatty conversation with a white woman shop owner, which led to his kidnapping in the middle of the night. The husband and brother-in-law of the female shop owner and three others tortured and ultimately killed him.

A strong bond between a son and his mother starts the series with his challenging, debilitating birth. I would have liked to have seen perhaps another episode on Emmett’s younger years; his unique health situations could have been further explored, as other family home life situations with his father. At age fourteen, however, we are enlightened by the playful, adventurous nature of Emmett Till, a naïve teen. Single mom, Mamie Till-Mobley’s enduring love for her son stimulated a national movement that led the way for today’s racial justice movement. The tremendous performance by Adrienne Warren as Mamie Till-Mobley and Cedric Joe as Emmett Till is reason enough to view the series. Having viewed all six episodes, I’ll update this post in the next three weeks until its conclusion.

The first episode, “Mother and Son” directed by Gina Prince-Bythewood (“Love & Basketball”), portrays Emmett’s distressing birth while fast-forwarding to his fourteenth year. A phone call to Mamie Till in Chicago informing her son that her son is missing concludes the episode.

The second episode, “Only Skin” directed by Tina Mabry (“Mississippi Damned”), shows the discovery of Emmett’s body and ends with a grieving mother’s decision to allow Jet magazine photographers to take and publish pictures of her son’s mangled face and in addition to hosting a public open-casket funeral which record numbers of people attended.

Mamie Till says, “People need to know,” and “Let the people see what they did to my boy.”

“Say his name,” an NAACP official advises Mamie Till when she hopes to bring publicity to her boy’s case. “Put his face in the papers.”

Quickly, it becomes crystal clear that the focal point is a Mother’s life journey to educate the world about the injustice of her son’s death.

“Women of the Movement” will be broadcast in three parts over three weeks, two episodes per night, on Jan. 6, 13, and 20. The parts will air at 7 p.m. Central Standard Time.

Update: Jan. 7, 2022

Los Angeles Times Greg Braxton writes:

“Women of the Movement” represents a breakthrough moment for broadcast television. Rarely has a major network explored in depth this violent moment in America’s racial history, and done so this unsparingly.

“We feel extremely strongly about the story, and why it’s such an important story to tell,” said Simran Sethi, executive vice president of development and content strategy for ABC Entertainment. “As a broadcast network, we have the ability and responsibility to reach the biggest audience possible. This project touches on a moment that is heartbreaking, but we really want to honor Mamie’s legacy and for people to see the truth.”

Ozark rated (R) Season 4 is streaming on Netflix starting January 21, 2022. There are seven episodes, with the final seven episodes airing next year. Jason Bateman directs and produces the series; he also plays Marty Byrde, the main character.

After a money-laundering scheme for a Mexican Drug cartel goes terribly wrong in Chicago, Marty, a financial advisor, moves his wife, Wendy, played by Laura Linney, and their two children to Lake of the Ozarks to set up a more extensive operation. The Byrde family live in Naperville, IL, a suburb of Chicago, and their daughter, Charlotte, Sofia Hublitz, has been nicknamed Naper-Thrill by her local High School classmates.

Marty becomes entwined with local criminals upon arrival in Missouri, including the Langmore and Snell families and later the Kansas City Mafia. The first three episodes are violent as the local criminals make their own rules and serve their own judgments. Darlene Snell is a powerful matriarch in the Ozark series; although she quotes Bible verses, she also consistently evokes violent deeds.

Before diving into Season 4, I would highly suggest re-watching the last episode of Season 3, as it’s been almost two years since that time. The final season is full of plot twists, engaging storylines, and excellent performances. You’ll see Ruth Langmore (Julie Garner) changing alliances as she’s furious over Wendy’s involvement in her brother Ben’s murder.

The scenes with Ruth and Marty have always been my favorite as the unlikely pair need each other to navigate their personal goals in life. Marty needs help with his money laundering business, running the casino, and learning the ways of the Ozark system. Ruth desires to be given responsibility and trust to fulfill her dream of having a better life. Ruth also lacks family support and mentorship; Marty is always willing to accommodate.

Special Agent Maya Miller (Jessica Frances Dukes), an FBI forensic accountant who was sent to audit the Byrde’s casino boat in Season 3, continues her role. Maya has become more entrenched in the Byrde’s affairs and displays envying respect for Marty’s money laundering skills. Maya works with the Byrdes to potentially cut a deal for drug lord Omar Navarro.

Navarro’s empire is front and center as he killed Helen, his lawyer, in the final episode of Season 3 in front of the Byre’s. Omar Navarro’s fearsome nephew Javi Elizondro (Alfonso Herrera) is the show’s main villain going forward. The tension between the two over control of the cartel is shown as Omar plots his deal with the FBI for his exit. He’s a wild card, and we are unsure of his behavior, although all indications are in a power struggle.

Please remember that “Ozark” is a violent, shocking, and somewhat depressing show, with excellent performances.

Thanks so much for listening in tonight; I also wanted to say that I’m attending the Sundance Film Festival. The festival moved to a virtual format, and I’ve been watching some really great movies!

View Details

NEWSLETTER | VOL. 10, FEBRUARY 2022

Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team!

Carl’s Corner by Carl Amari Hello everyone – here’s the Hollywood 360 Newsletter, February 2022 / Vol. 10. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that we will be airing on Hollywood 360. Each month I’ll write an article on one of the classic radio shows we’ll present on Hollywood 360. The week of February 12th, 2022 we’ll be airing an episode of GUNSMOKE so here’s an article on this incredible western series. Enjoy!

‘GUNSMOKE’: LAW AND ORDER ON THE RADIO RANGE

By Carl Amari and Martin Grams

There were many Western radio shows during the golden age, but most were aimed at a juvenile audience: The Lone Ranger, Hopalong Cassidy, The Roy Rogers Show, Gene Autry’s Melody Ranch and Wild Bill Hickock.

It wasn’t until radio dramas were making way for television that the idea of a Western series strictly for adult audiences was conceived. CBS was investing in the newer and more promising visual medium, and the fortuitous cancellation of another program created an opening for Gunsmoke, a Western series unlike any before it.

Developed by Norman Macdonnell, a graduate of Escape and Suspense, the writing for Gunsmoke was high quality, the sound effects top notch, and there was no shortage of violence and bloodshed. Scalpings were rife, bodies rotted on the plains, men were hanged, and frontier life consisted primarily of territorial disputes that neither party could win. As events unfolded, the ever-watchful Marshall Matt Dillon of Dodge City Kansas carried out the duties his shiny badge demanded.

Under the guidance of Macdonnell and talented scriptwriter John Meston, GUNSMOKE aimed to portray the harsh and brutal reality of settlers’ lives. Three geniuses from the CBS sound department – Tom Hanley, Ray Kemper, and Bill James – created the layered sound effects. The sounds of leather on leather, keys in the lock of the jailhouse cell, and horses’ hooves on dusty roads were intricately reproduced.

Within a year, several radio programs tried to emulate GUNSMOKE’s production values. None came close. Gunsmoke paved the way for other adult-oriented radio Westerns, including Have Gun – Will Travel, Fort Laramie and Frontier Gentleman.

In 1955, the program made the transition to television with James Arness starring in the role William Conrad had made his own on radio. The video version featured all the characters we came to know and love from the radio series, but with a totally new cast. Gunsmoke would ultimately make television history by becoming the longest-running U.S.-made Western series.

LEND ME YOUR EARS | THIS MONTH’S SONG: JACK & DIANE, WRITTEN AND PERFORMED BY JOHN MELLENCAMP, RELEASED: 1982 by Lisa Wolf

“Most people don’t ever reach their goals, but that’s cool too. Failure’s a part of what you’re all about anyway. Coming to terms with failed expectations is what counts.” Or, to put it more succinctly, “Life goes on/Long after the thrill of livin’ is gone.” ~ John Mellencamp

Written and recorded in 1982, “Jack & Diane” was one of the tracks that made up his album, American Fool.

It may have been just a “little ditty,” but “Jack And Diane” did big things for John Mellencamp. It went to #1 for four weeks in 1982, turning Mellencamp, 31 years old at the time and then known as John Cougar, into an overnight sensation.

A song about a high school couple falling in love, Mellencamp wrote “Jack & Diane” as a tribute to life in the rural working class. The inspiration was his hometown of Seymour, Indiana, which had a population of about 13,000 when it was released. The song has a very nostalgic feel, but paints a picture of a couple whose best years will soon be behind them.

The iconic clapping of hands in “Jack & Diane” wasn’t actually meant to be kept in the song. The clapping was to be removed once the song was finished but John Mellencamp realized that “Jack & Diane” couldn’t work without it.

The song was based on the 1959 Tennessee Williams play Sweet Bird of Youth, adapted for Hollywood in 1962 as a romantic-comedy film starring Paul Newman and Geraldine Page.

Vince’s Verbiage: The 1960s by Carl’s Crabby Brother Vince Happy February everyone, hope you all had a great holiday season. I’ll start out by saying I don’t much like TV drama shows. I’m more into comedies, action shows and sports. Comedies like The Honeymooners, Married…With Children, Everybody Loves Raymond, King of Queens, Seinfeld and many others. Action shows like MacGyver, Knight Rider, The Fall Guy, It Takes a Thief and others. My favorite sports to watch on TV is MLB Baseball, College & NFL Football and Golf.

However, there is one drama series that spent 4 seasons on ABC every Tuesday night starting in September 1963 that ended in a nail biting 2 episode conclusion in August of 1967. Those final 2 episodes titled “The Judgement” still rank 3rd of all shows after all these years in households tuned in at 72%. Can you guess what TV show I’m talking about? I’m thinking by the name of the final two episodes most of you probably know it was The Fugitive starring David Janssen as Dr. Richard Kimble.

This show absolutely blew me away and I still watch reruns of it every week on classic TV cable channels. The show was based on the real life murder of Cleveland Dr. Sam Sheppard’s wife in 1954. It was a very controversial case and drew nationwide attention. Dr. Sheppard was convicted of her murder but after a decade in prison was exonerated in 1966.

In The Fugitive, Dr. Kimble, although innocent, was convicted of his wife’s murder and sentenced to Death Row State Prison. On the train ride to his final destination, while handcuffed to his nemesis Lt. Philip Gerard, the train derails and crashes and Dr. Kimble escapes. Now he’s on the run to try to find the man he saw running from his home on the night of his wife’s murder. It was a man with one arm missing. Dr. Kimble got a good look at him because he almost ran him over as he was fleeing the murder scene. This terrific series featured many well known guest stars and future stars, including: Bruce Dern, Carroll O’Connor, Jack Lord, Dabney Coleman, Diane Ladd, Melvyn Douglas, William Shatner, Tuesday Weld, Mickey Rooney, Charles Bronson, Angie Dickinson and Ron Howard with a very young Kurt Russell appeared as Lt. Gerard’s son. Dr. Kimble’s wife, although rarely seen, was played by actress Diane Brewster who is known for playing three distinctively different roles in TV series. First, she was confidence trickster Samantha Crawford on the Western series Maverick starring James Garner. She then played the pretty 2nd grade teacher on Leave It To Beaver starring Jerry Mathers before playing doomed Helen Kimble on The Fugitive.

While on the run in search of the one-armed man, Kimble enters the lives of many people in many towns as he needs to work to earn money to survive. All the while trying to stay one step ahead of his relentless pursuit by Lt. Gerard played convincingly by actor Barry Morse. The series consisted of 120 episodes over 4 seasons. The first 3 seasons were in black & white and the final season was in glorious color. Not many shows were in color back then.

David Janssen won the Golden Globe for Best Actor in a TV Drama series in 1965. The Fugitive won the Emmy award as the Outstanding Drama Series of 1966 and was nominated 3 of the 4 years it was on. In 2002 The Fugitive was ranked as TV Guide’s #36 Greatest TV shows of All Time. The one-armed man, played by character actor Bill Raisch, was named the 15th nastiest TV villains also by TV Guide in 2013.

For me as a young teen, this show “knocked it out of the park”. A 1993 film adaptation, directed by Andrew Davis and starring Harrison Ford, was a huge hit and was a great movie. A 2000-2001 reboot of the series starring Tim Daly didn’t catch on probably because the writing wasn’t very good. So even though TV dramas are low on my list The Fugitive was and still is my favorite TV show of all time. Maybe in a bit of sad irony Dr. Sam Sheppard and David Janssen both died at a very young age. Dr. Sheppard was only 46 and David Janssen was only 48.

THE BUSY MR. BINGLE Starring the Infinitely Busy John Brown by Karl Schadow John Brown

His radio resume contains nearly 10,000 performances. Thus, there is a great probability that you have heard the voice (on one of his many interpretations) of John Brown. Noteworthy is that he was the headliner in only two series, The Damon Runyon Theatre and The Busy Mr. Bingle. (Actual broadcasts of a proposed 1937 venture Bruce, Betsy and Baby, produced by Radio Events, Inc. in which Brown was slated as Bruce have not been confirmed.)

A native of England, Brown immigrated to the United States via Australia where he had garnered a majority of his education. In 1934 he entered the New York radio scene with Eddie Cantor and was soon cast by Al Jolson and Fred Allen on their respective programs. Not to be outdone by his competitors, Jack Benny also tapped him for several appearances. Brown was also chosen for dramatic roles on such programs as Arch Oboler’s Plays and Columbia Workshop. For several years, he portrayed Jim Barker on the daytime serial Lorenzo Jones. During the early months of 1943, he held announcing duties on Battle of the Sexes.

The creator of The Busy Mr. Bingle was John L. Sinn, a long-time associate of Frederic W. Ziv. Born and raised in Cincinnati, Sinn entered the field as a writer at one of the country’s premier stations, WLW. In 1935, Ziv was changing the focus of his firm from advertising to radio packaging and hired

John Sinn

Sinn as his production and writing specialist. (Ziv concentrated on sales.) Sinn soon became a vice-president of the business and in 1941 moved to New York to direct Ziv’s newly opened office on Madison Avenue. Two major programs that he produced were Eye Witness News and The Cisco Kid. The former was a joint transcribed syndicated venture with the Associated Press, whereas the latter a live program on WOR and beamed via the Mutual network. The Busy Mr. Bingle was also a member of this category.

The Bingle escapades debuted as a sustainer at 8:30 pm EWT, Thursday, March 18, 1943. Each of the half-hour sessions commenced and concluded in the office of J. B. Bingle. President of the Bingle Pin Company. As the firm’s chief executive, Brown had a supporting cast of eccentric characters including a personal secretary Miss Pepper (Elizabeth Morgan) and salesman Wizzer (Jackson Beck). Other personnel included office boy Tommy and Clarence the inventor. Mrs. Bingle was portrayed by Ethel Owen with Gee Gee James as the Brown’s maid.

Jackson Beck

The story-line of the initial episode revealed the frolics of a government order of pins made from vegetables that involved too many cooks. It elicited this summation from critic Ben Bodec (Variety, March 24, 1943): “The script gives ample proof of one thing, and that is that the writer possesses one of the cleverest conceits for screwball characterization in the business, but what he does need is some one to feed him boff gags and situations.” The second episode which depicted Bingle employees digging for gold in an adjacent building received a scathing review by Lou Frankel (The Billboard, April 3, 1943) whose concluding statement declared: “But the only asset in the show is John Brown, the title character.”

However, despite the program’s rocky start, the staff of the New York Daily News caught several chapters. In his initial assessment (March 19), Ben Gross admitted: “The basic idea and the dialogue were thoroughly amusing, and John Brown gave an excellent performance in the title role. Some of the supporting characters seemed overdrawn and, at times, the script needed tightening. But on the whole, the series has abundant possibilities, and should provide much laughter for future listeners.” By April 2, Gross exuded this enthusiasm: “Last evening’s installment of this amusing series was much more tightly nit and far more interesting than the proceeding broadcasts.” Additional commentary by Gross’ associate Sid Shalit (April 16) praised the program which: “… is fast developing into a topnotch comedic convulser.” The Busy Mr. Bingle completed its spring trial on June 10, 1943. The single zany extant adventure of the series, in which the company safe is burglarized of $50,000 (with Maurice Tarplin doubling) is available here:

Elizabeth Morgan

https://archive.org/details/Singles_And_Doubles_Singles_A-C/43-05-27xxxBusyMrBingle-MissPeppersGettingMar.mp3

Sporadic announcements in trade publications stated that the Bingle follies might continue throughout the summer and possibly into the fall. However, the program did not return to the etherwaves. During the summer of 1943, John Brown was hired by Jack Benny and moved to Hollywood when that entourage commenced its fall 1943 season. Brown’s career would then reach meteoric heights with prominent roles numerous series including A Date With Judy, The Life of Riley and My Friend Irma. John Sinn became president of Ziv Television and then later United Artists Television.

Have questions regarding John Brown or The Busy Mr. Bingle, contact the author at khschadow@gmail.com

MartinGrams.biz: CALLING ALL CARS by Martin Grams Pre-dating Gang Busters, which today is considered one of the more important cops-and-robbers programs on network radio, was Calling All Cars.

Never heard of Calling All Cars? You should. After listening to two or three recordings I found myself addicted to these. More importantly, there are far more Calling All Cars recordings in existence than Gang Busters and the programs are so similar in nature. If you cannot get enough of Gang Busters and heard all that you can find, give Calling All Cars a try.

Every week a dramatization based on an actual police case file was dramatized, introduced by a real life police officer. (In many cases the officers sound like they are reading the script for the first time.) Among the earliest offerings on the program was a dramatization of the famed Mae West jewel robbery; another focusing on the daring exploits and capture of John Dillinger. To emphasize a “crime does not pay” moral, a post show recap explained how justice was meted out. Sounds much like Gang Busters? Sure does. But to emphasize a cool bit of trivia: Calling All Cars established the format two years before Gang Busters premiered.

Sponsored by the Rio Grande Oil Company, the program premiered in November of 1933 over KHJ in Los Angeles. At first, no one gave much thought to the program, suspecting how popular it would quickly become in an era where cops-and-robbers radio dramas were not a dime a dozen. By mid-1934 there was evidence that the weekly detective program was the most popular originating from the West Coast facilities of CBS. For the first few years, Calling All Cars aired only along the West Coast, restricted to only the territory where the sponsor’s product was distributed. Every broadcast pitched praise from police officers, emergency rescue workers and firemen, exemplifying how the radio listener could experience “police car performance” if they, too, bought gasoline from the Rio Grande Oil Company.

Even the casual listener today will observe that most of the cases dramatized took place in the Southwest with numerous refrences to Los Angeles and palm trees. Criminal capers included dope smugglers, counterfeit bonds, bank robbers, the murder of Secret Service agents, highway robbery, juvenile delinquents, the body of a murder victim found in a schoolhouse, a Russian confidence man, car theft and what else? A gas station holdup, of course. In January 1935, an episode dramatized the San Quentin prison break involving four escaped prisoners who took hostages as they headed north. The actual prison break happened that very week and was the most talked-about subject in the local papers across the West Coast.

By 1935, Dick Stannard’s KHJ promotional booklet claimed that 68 percent of all Los Angeles listeners tuned in to hear Calling All Cars. And it was in 1935 that G-Men premiered over the airwaves, which would be re-titled to Gang Busters a short time following. Since popularity polls and the unreliable rating system of the time requires a grain of salt, it can be said for certain that Gang Busters was not the first program responsible for the public’s co-operation in helping with the apprehension of a real criminal who evaded police. During that year, movie producer Walter Futter released a film short adapted from a Calling All Cars radio broadcast, inviting theater audiences to cooperate with the Department of Justice in tracking down William Mahan, wanted for the kidnapping of little George Weyerheauser in Tacoma, Washington. A reward for $1,000 was offered for any clue leading to Mahan’s arrest.

Beginning February 6, 1936, Calling All Cars became the first instance of a radio program going double-network on the West Coast, both CBS (station KHJ and KNX) and the Don Lee Network (KSFO). While the crime capers continued to originate over KHJ in Los Angles, under the direction of William M. Robson (the same Robson who would direct radio’s long-running Suspense), Fred Shields handled the KNX and KSFO productions with a different cast from that of KHJ, with none of the actors involved with the first two years of the program. (Charles Frederick Lindsley was the narrator for both productions.) KNX was backed up with a 14-piece orchestra under the baton of Wilbur Hatch. (Keeping in mind that lower budget programs relied on a simple organ, not an orchestra, this production was far more ambitious from the original run.)

Through the Spring of 1936, the cast of the KHJ productions went on a six-week tour performing Calling All Cars on stage before the evening’s motion-picture. Dave Broekman, Judy Starr, Paul Keast, and Larry Burke were among the cast. (Fred Harrington was in the radio cast but nothing has been found to verify his participation in the stage production.) A total of 30 bookings were made and because the crew was on tour, the entire group would broadcast locally at each spot on tour for the weekly broadcasts. By late 1936, it was decided to re-broadcast prior Calling All Cars episodes over KHJ instead of producing two different renditions of the same scripts. This is one of the reasons why more than 200 Calling All Cars radio broadcasts exist today in recorded form. The other reason will be explained below.

William N. Robson was one of the many directors who was involved with Calling All Cars, even though a number of reference guides mistook director Mel Williamson as an alias for Robson. Samuel C. Pierce and Bill Lawrence were also directors at one time. Pierce won the assignment over two potential directors because he proved he was an expert on penalties attached to defying statutes. Ironically, he gained first-hand knowledge for the radio program while serving a traffic violation sentence of five days. Pierce drew sentence from Municipal Judge Call on the morning of November 10, 1936, who was found guilty of driving 44 miles an hour in a 25 mile zone. With no other option than to serve his sentence, the sponsors took advantage of the incident to use as publicity in the trade columns. But when newspaper reporters used the publicity release as a means of downgrading Calling All Cars in a negative light — the director of a crime program accused of a crime himself — Pierce promptly moved on to other programs.

In May of 1937, Catholic schools adopted a censorship policy on radio programs. Sister teachers in several schools instructed their students which radio programs they should hear and which ones they should dial out. One parochial school announced that Gang Busters, Calling All Cars and The Court of Human Relations be avoided. The Sisters had good cause. Criminals were depicted on Calling All Cars as smoking dope, using street slang and displaying disrespect for the law. Some concerned parents felt the program was educating their children how to crack safes, how to avoid the pitfalls criminals overlooked, and what law enforcement would be looking for at the scene of a crime.

Also in 1937, Charles Frederick Lindsley provided such an effective role as the narrator that as a result of the radio broadcasts, he was hired by Leon Schlesinger to provide commentator background for a number of Looney Toons and Merrie Melodies cartoons, including Porky’s Double Trouble and My Little Buckaroo. Lindsley also supplied the March of Time voice coming over the radio in the 1937 Warner Brothers movie, Black Legion, starring Humphrey Bogart.

In January of 1938, the program was pre-maturely discontinued after the sponsor, the Rio Grande Oil Company, made a sudden decision to curtail advertising expenses. They provided four weeks’ notice to the network. Within a few days the cancellation was withdrawn. The oil company decided to augment the cast and orchestra of Calling All Cars and allot the addition of guest stars for its 1938 set-up over the KNX Pacific Coast outlet. Executives at Rio Grande initially decided to increase their advertising budget for the coming year by including additional newspaper and billboard display copy, but restructuring the production costs of the radio program ensured continued sponsorship… but only on network. The re-broadcasted programs were cancelled in favor of a women’s daytime program, which Rio Grande Oil believed would expand their coverage.

Actor Chester Morris

Celebrities who began making appearances on Calling All Cars beginning in 1938 included Lyle Talbot, Edmund Lowe, Charles Bickford, Chester Morris, and Grant Withers, among others. Rarely promoted, celebrity guest appearances was practically a waste of money at the price Rio Grande was paying. It was essential to promote in newspapers and other advertising copy up-coming appearances of Hollywood celebrities — this Rio Grade did not apply. Celebrity guest appearances, along with high production values, may have been why the program was awarded a trophy in December for being the most consistently excellent program broadcast in the Western U.S. in 1938. Exactly who awarded the trophy remains unknown to this day but executives at Rio Grande and the advertising agency were pleased to receive the award.

Commercially, the program was a huge success. In 1938 Parker Brothers issued a board game based on the radio program. Even more rare is the 1934 Junior Police Kit, the 1934 Junior Detective Kit, the 1934 Junior Police Money premiums, the 1936 Junior Detective Outfit, the 1934 and 1935 “Calling All Car News” pamphlets, and the 1934 “Calling All Cars Radio Log.” With the exception of the Parker Brothers game, the other premiums are almost impossible to find today. (Guest Noah Beery was enrolled as a lieutenant in the Rio Grande Junior Police Force in one episode.) CBS gained larger profits by syndicating the program in Africa, New Zealand, Australia and Canada. The program was also translated into Spanish.

The Calling All Cars game.

For these relatively few years, Calling All Cars rolled along the lanes as a business stimulator for the petrol outfit; but success bred challenges. The calendar year of 1938 provided both the network and the sponsor legal troubles. When the American Federation of Musicians upped the wage scale from $10 to $18 per hour each, for musicians, this caused a number of syndicated radio programs to apply a cost-cutting measure evidenced in the later episodes of Calling All Cars, dropping music entirely and using only sound effects such as a police whistle, siren, screeching of tires and racing motors to provide the kickoff.

In January of 1938, the sponsors of Calling All Cars were sued for $25,000 in damages by Angelo Freni, who claimed he was wrongfully and unlawfully exposed as to his past life on the broadcast of December 20. Freni’s complaint stated that prior to 1931, he admitted to having criminal tendencies and a conviction on a forgery charge. Freni claimed that after 1931 he changed and led an exemplary life. CBS fought the case, claiming the details of his criminal actions were extensively documented in newspapers and thus public knowledge even before the radio broadcast. (Phillips H. Lord suffered the same challenge in courts for a number of Gang Busters radio broadcasts.) The court eventually upheld CBS’s defense.

By late 1939, the U.S. Courts upheld the right of an individual to sue broadcasting companies and program sponsors for invasion of privacy, handed down in San Francisco by Federal Judge A.F. St. Sure. The decision was made in denying motion of Rio Grande Oil Company, sponsors of Calling All Cars, to dismiss the suit brought by Howard Mau for unauthorized use of his name on the show. This turned out to be the first case on record in the state of California to challenge a radio broadcast with the claim of privacy rights invasion. Mau’s suit asserted Calling All Cars program of August 4, 1938, aired details of a robbery in 1937 during which complainant, a chauffeur, was held up and badly wounded by a bandit. Mau claimed that since the broadcast he was subject to acute nervous attacks at the mention of the shooting and program’s authorized use of his name caused considerable mental anguish. For Lord, the courts upheld that criminals, while incarcerated, had no rights whatsoever regarding their criminal exploits being dramatized over the air and the producers of Calling All Cars began verifying the criminals were indeed incarcerated before broadcast.

Nothing has been found to verify Mau won or lost the case, or whether it was settled out of court. But the fear of future legal challenges was a risk the Rio Grande Oil Company wanted to avoid and by January 1940, withdrew from their six-year sponsorship. (According to one source, Rio Grande dropped sponsorship as a result of a merger with Richfield Oil.)

By 1939, J. Donald Wilson took over the task of producing and directing. Wilson would ultimately create another mystery program for CBS, The Whistler. Today, recordings of Calling All Cars from 1939 demonstrate some of Wilson’s pre-Whistler productions and are worthy of comparison.

Calling All Cars expanded to the Midwest beginning in January of 1939, when Twenty Grand Cigarettes purchased the disc rights for use on KMOX in St. Louis and WJR in Detroit. Calling All Cars was also heard over a number of radio stations in the Midwest for Ford Motors (circa February and March 1940), but while Rio Grande was no longer involved by then, the timing was not good. In June 1940 a suit for $60,000 in damages was filed against CBS and Richfield Oil by Thelma Samson of San Pedro, who charged she was shamed and disgraced by a broadcast associating her with a criminal and assailing her character.

In desperation of competing against NBC’s coast-to-coast lineup of prestigious programs, CBS revived Calling All Cars for a brief spell in December of 1940, broadcast regionally on Sunday afternoons over KNX, with Frank Graham in the lead. The cops and robbers fare went up against Edgar Bergen and Charlie McCarthy. CBS’ attitude was, publicly, ‘What’ve we got to lose?” The revival was all-too brief. This final version of Calling All Cars was directed by Charles Vanda and scripted by Harold Medford, the same two men who would have greater success in the summer of 1942 when they launched a radio program many fans of old-time radio today known as Suspense.

Hollywood 360 Schedule

2/5/22

The Bing Crosby Show 2/16/53 w/ guest, Jack Benny

Dangerous Assignment 12/30/50 When a Friend is Not a Friend

Mr. Keen, Tracer of Lost Persons 4/23/52 The Mother’s Plea Murder Case

Our Miss Brooks 10/24/48 Birthday Bite, Surprise Party

WhiteHall 1212 4/20/52 The Case of Manerva Bannerman

2/12/22

The Adv. of Philip Marlowe 10/10/49 The Panama Hat

You Bet Your Life 4/13/57 Secret Word: Face

Gunsmoke 7/12/52 The Boughten Bride

The Life of Riley 1/17/48 The Telephone is Rationed

Murder at Midnight 11/4/46 Heavy Death

2/19/22

Arch Oboler’s Plays 4/26/45 The House I Live In

The Great Gildersleeve 11/29/42 Attending the Theater

Mr. President 7/31/49 George Washington

The Line-Up 11/12/52 Buggered Bunco Boys

X Minus One 7/14/55 Dr. Grimshaw’s Sanitorium

2/26/22

The CBS Radio Workshop 2/17/57 Space Merchants Pt. 1

The CBS Radio Workshop 2/24/57 Space Merchants Pt. 2

The Jack Benny Program 1/5/47 w/ guests, Bogart & Bacall

The Man Called X 3/17/51 Student Riots at Leiden

Philo Vance, Detective 6/6/50 The Alibi Murder Case

View Details

https://www.hollywood360radio.com/wp-content/uploads/2022/01/the-matrix-resurrections.mp3 “The Matrix Resurrections” is the sequel to “The Matrix Revolutions” in 2003. It’s also the fourth movie in the Matrix franchise that started in 1999.

Keanu Reeves plays Neo, and Carrie-Ann Moss is Trinity; they reprise their roles from the previous films.

The setting is 60 years after the events of “The Matrix Revolutions,” we find Neo living an ordinary life as a video game creator. He begins to struggle with knowing the difference between his dreams and reality.

Neo begins sessions with a counselor to sort out his troubles. He asks, “Am I going crazy?” Neal Patrick Harris plays, The Analyst and says, “We don’t use that word in here.”

The co-writer and director, Lana Wachowski, has written and directed the series from the beginning with her sister, Lily, yet she goes solo this time. It’s been 18 years since Neo and Trinity sacrificed their lives in the finale of the Matrix trilogy; Lana wanted to explore another chapter to the story with Keanu Reeves and Carrie-Anne Moss—yes, they are back for another journey down the rabbit hole. Cue “White Rabbit” theme song.

Lily teams up with “Cloud Atlas” author David Mitchell and screenwriter Aleksandar Hemon. Together they continue the pragmatic crises of man versus machine, Matrix versus reality, and blue pill versus a red pill. As sequels go, this one seemed perfect as Moss and Reeves are reunited.

The film’s first hour serves as a reminder of the events that led to Neo’s first awakening. Clips from the 1999 film are shown and serve as a reminder.

There is more humor here, which is appreciated, and the chemistry between Reeves and Moss is a sight to behold. Their romance is, as they say, ”one for the ages,” together, they lift every scene. They deliver an iconic couple who are fighting for a common goal.

I’d strongly suggest watching the first “Matrix” as it’s been over 20 years between the films. The great news is that I loved the new film. Seeing Neo and Trinity reunite is so exciting; their scenes are my favorites. Another reason to see the film is the spectacular special effects.

Thanks for listening in tonight, I’m Sarah Knight Adamson, your National Film and TV Critic for Sarah’s Backstage Pass, and I’ll see you next week.

Cast:

Keanu Reeves as Thomas A. Anderson / Neo
Carrie-Anne Moss as Tiffany / Trinity
Yahya Abdul-Mateen II as Morpheus
Jonathan Groff as Smith
Jessica Henwick as Bugs
Neil Patrick Harris as The Analyst
Jada Pinkett Smith as Niobe
Priyanka Chopra as Sati

View Details

https://www.hollywood360radio.com/wp-content/uploads/2021/12/west-side-story-the-kings-man.mp3

Tonight, I’m going to review the film “West Side Story” it’s rated PG-13 and is the remake of the 1961 movie. Steven Spielberg directs with Tony Kushner as a screenwriter; I recently watched the 1961 film and couldn’t help but focus on Rita Moreno as she has a big part in the 2021 film. I’d also like to tell you that I have conducted a Q&A with Rita after a screening of “West Side Story” along with Russ Tamblyn (Riff) and George Chakiris (Bernardo), former stars of the cast.

The great news is that the updated “West Side Story” is as magnificent and in some ways better than its predecessor. Stephan Spielberg’s seasoned direction brings magnified camera angles that enhance the fast-paced choreographed dance numbers while illuminating the emotions of the actor’s nuanced vocal melodies. The closeups draw us into the characters’ storyline, individualities, and intentions. This technique raises the bar, as the songs and dramatizations heighten the viewing experience and deepen our understanding of the plot.

Speaking of plot, two gangs, one white, (Sharks) and the other new immigrants, from Puerto Rico, (Jets) similar in theme to Shakespeare’s “Romeo and Juliet,” that draws a line a forbidding the two to intermingle— a line that may lead to death. Tony, (Ansel Elgort), founder of the Jets, has been released from prison; he no longer chooses to associate with the Jets. He meets a newly arrived to America girl, a Puerto Rican, the sister, Maria (Rachel Zegler, sister of the Sharks’ leader Benardo, (David Alvarez). Despite the loud vocal warnings, the two fall in love, yet as in “Romeo and Juliet,” there is no happy ending.

Other significant changes in the casting of Maria; back in the 60s, movies were cast with known box-office stars to draw in a crowd, Nathalie Wood was a popular star, yet she was white, the role of Maria, in today’s casting would typically go to a Latino/Latina actress, and that is the case here. Wood’s voice was dubbed as she wasn’t a singer, here Zegler’s vocals are beautifully highlighted. As a side note, Rene Zellweger did not sing Judy Garland’s songs; she was dubbed in “Judy.” In that case, the iconic singer’s voice is the focal point of the film, in “West Side Story,” the story is the key. One should also know that lip-synching is not an easy task, and in most cases, more difficult.

When analyzing the violence, the 2021 film is rated PG-13 for violence—blood is shed, creating dreadful anticipation for the rumble scene between the two gangs. To actually experience the two gangs fighting over race feels depressing and senseless, even more so today as we are subjected to racial violence in America in our daily news.

As for Rita Moreno’s new role as the is that of a drugstore owner Valentina, a role similar to the Doc character from the original, she’s warm but with a tantalizing sense of humor. She’s also wise and advises her community.

The Bottomline, the remake is tremendous, the choreography is on target, the drama has more depth, the cinematography during the vocal numbers resonates with viewers film in ways the original was lacking, and the depiction of violence creates higher stakes. I’d be remiss, not to mention the overall energy and look of the film— the vibrant colors pop against the gritty muted black and white graffitied wall and street set design.

I’m wondering if could Rita Moreno could win another Academy Award? I sure hope she’s nominated.

Cast: Ansel Elgort as Tony

Rachel Zegler as María

Ariana DeBose as Anita

David Alvarez as Bernardo

Mike Faist as Riff

Rita Moreno as Valentina

Director: Steven Spielberg

Writer: Tony Kushner

Run Time: 2 hours 36 minutes

Next up “The King’s Man.” It stars Ralph Fiennes (Orlando) and is a prequel to “The Kingsman” films. The beginning of the London secret service group known as the Kingsman is explored. The director and co-writer are Matthew Vaughn. Fiennes, who also executive produced, plays a British aristocrat and the Duke of Oxford. When he and Emily, his wife, and their young son Conrad visit a Red Cross aid camp in South Africa during the Boer War, she is killed by a sniper attack. The Duke of Oxford returns to England with one mission: to protect his son Conrad.

Orlando, a sworn pacifist, is determined that the world needs help to stop these types of conflicts before they occur. Twelve years later, Orlando recruits two of his servants, Shola (Djimon Hounsou) and Polly (Gemma Arteton), into his spy network dedicated to protecting the United Kingdom and the British Empire from WWI. Conrad, eager to fight, is forbidden to join up by the over-protective Orlando, who speaks with the leader of the British war effort to ensure Conrad cannot enlist. Orlando and Conrad also meet Captain Morton (Matthew Goode) and World War I-era British Army officer Herbert Kitchener (Charles Dance).

Tom Hollander juggles three roles (King George, Kaiser Wilhelm, and Tsar Nicholas). You may recognize him from Robert Altman’s 2001 murder mystery “Gosford Park” and Pride & Prejudice 2005. Most recently, he played the role of the band’s Queen long-time manager Jim Beach in “Bohemian Rhapsody.”

The major villian’s are Rasputin (Rhys Ifans) and Erik Jan Hanussen (Daniel Bruhl). Subtlety in most scenes are rare; while whiplash is evident, the transitions are sudden and unexpected. The toggling back and forth between and war drama and absurdity plagues the film as a ‘tonal mess. What does become clear is the set-up for the next installment with an even better cast namely Taron Edgerton, who is sorely missed in this film.

The Bottomline: I’m out two stars out of four; the script lacks the humor of the first two films and frankly is missing the actor Taron Edgerton. You may enjoy the action scenes, but those don’t carry the entire film.

Thanks so much for listening in tonight. This is your National Film and TV critic Sarah Knight Adamson for Sarah’s Backstage Pass.

Studio: 20th Century Studios

Run time: 2 hours and 11 minutes

View Details

NEWSLETTER | VOL. 9, JANUARY 2022

Welcome to this month’s edition of The Hollywood 360 Newsletter, your place to get all the news on upcoming shows, schedule and interesting facts from your H360 team!

Carl’s Corner by Carl Amari Hello everyone – here’s the Hollywood 360 Newsletter, January 2022 / Vol. 9. As someone on our mailing list, you’ll receive the most current newsletter via email on the first day of every month. If you don’t receive it by the end of the first day of the month, check your spam folder as they often end up there. If it is not in your regular email box or in your spam folder, contact me at carlpamari@gmail.com and I’ll forward you a copy. The monthly Hollywood 360 newsletter contains articles from my team and the full month’s detailed schedule of classic radio shows that we will be airing on Hollywood 360. Each month I’ll write an article on one of the classic radio shows we’ll present on Hollywood 360. The week of January 1st, 2022 we’ll be airing an episode of THE RED SKELTON SHOW so here’s an article on this comedy genius. Enjoy!

THE MANY CAREERS OF RED SKELTON

By Carl Amari and Martin Grams

Red Skelton’s brand of entertainment – top-notch, wholesome comedy and musical interludes — maintained a level of consistency that won him a devoted radio (and TV) following for decades. He was a light comedian with a background in burlesque and vaudeville, always ready to clown around and ridicule himself. Known for his sharp tongue and sassy jokes, Skelton was the consummate professional on air.

Skelton made his radio debut in 1937 on Rudy Vallee’s The Fleishmann’s Yeast Hour and in 1938 replaced Red Foley as the host of Avalon Time on NBC. His wife Edna joined the cast under her maiden name; a talented writer, she finalized many of his bits. Two years later Skelton got his own radio show, The Raleigh Cigarette Program, in October 1941. The bandleader for the show was Ozzie Nelson, and his wife, Harriet, was the show’s vocalist and worked with Skelton in bits.

In addition to satirizing events in the newspaper headlines, Skelton performed routines regularly featuring characters such as “Junior, the mean widdle kid.” This naughty child contemplated the consequences of his bad behavior with the immortal catchphrase: “If I dood it, I get a whippin’ … but I dood it!” Many of the comedian’s stock characters, including singing cab driver Clem Kadiddlehopper; “Deadeye,” the fastest gun in the west; and “Willie Lump-Lump,” the loveable poet, soon found their way into listeners’ hearts. Skelton had an enormous file of gags that he consulted daily – but he often improvised, on the spot, to emphasize a joke.

As Skelton’s radio ratings soared, so did his celebrity status. During the notorious talent raids of 1949, CBS lured Skelton away from NBC in exchange for a large slice of financial pie. The move ensured Skelton’s transition to television, where he delighted a generation of baby boomers who had missed out on his radio comedy.

Although a big hit on radio, it was movies, television and his passion for painting clowns that brought Skelton his greatest success. Throughout the 1940s and 50’s, he starred in 19 films, including Ship Ahoy (1941), I Dood It (1943), Ziegfeld Follies (1946) and The Clown (1953). His television show premiered in 1951 and garnered huge ratings.

Throughout his life, he loved to paint clowns. Sales of his original oil paintings, prints and lithographs earned him millions per year in his later years. Shortly after his death in 1997, his art dealer said Skelton made more money on his paintings than from his television work.

LEND ME YOUR EARS | THIS MONTH’S SONG: HELPLESS (HAMILTON, MUSICAL BY LIN-MANUEL MIRANDA) by Lisa Wolf

“In terms of musical theatre, it’s the opposite of what most people’s prejudices with musical theatre is: It’s not sunny and uplifting. I think that’s why it struck such a universal chord with people. This is not happy show tunes…It’s like a masterclass in how to use themes in order to take a short circuit to someone’s tear duct or heart or gut.” ~ Lin Manuel-Miranda

Hamilton tells the story of the nation’s Founding Fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording. As I have been fortunate enough to experience the Chicago production four times, I can assure you that it is nothing like any musical I had ever seen before. Hamilton is a high-energy show that tells Hamilton’s story using hip-hop, R&B and pop.

Lin-Manuel Miranda was on vacation in Mexico when he read Ron Chernow’s biography about Hamilton, and began to imagine it as a musical.

Originally planned for theatrical release on October 15, 2021, Hamilton was instead released worldwide to stream on Disney+ on July 3, 2020. It became one of the most-streamed films of 2020. The film was named as one of the best films of 2020 by the American Film Institute, and was nominated for Best Motion Picture – Musical or Comedy and Best Actor in a Motion Picture – Musical or Comedy (for Miranda) at the 78th Golden Globe Awards.

“Helpless” is the tenth song from Act 1 of the musical, and one of my favorites. The song focuses on the romance and eventual wedding of Eliza Schuyler and Alexander Hamilton. The original name for “Helpless” was “This One’s Mine”.

Vince’s Verbiage: The 1960s by Carl’s Crabby Brother Vince Let me start out by wishing all of our readers and their loved ones a Happy and Healthy New Year and many, many more. If you are a baby boomer like me and grew up in the Chicago area you might remember Riverview Amusement Park. It was located on 74 acres in the heart of the city at the corner of Western & Belmont Aves, an area the locals called Sharpshooters Park. It opened in 1904 with just a couple of rides and didn’t draw many visitors.

However, with an infusion of $550,000 in 1907 (a huge amount at the time) by a couple of investors, Riverview was able to add a few more rides. In 1909 they added a rollercoaster called The Derby which was incredibly popular right up to its destruction by fire in 1932. Four more coasters were built in the next few years. The Blue Streak in 1911 followed by The Gee Whiz in 1912, The Jack Rabbit Racing Coaster in 1914 and The Cannon Ball in 1919. The Roaring Twenties saw no less than five additional coasters built in the decade. The Big Dipper (AKA: Zephyr & The Comet) in 1920, The Pippen ( Later named The Silver Flash or Flash) in 1921, The Sky Rocket (AKA: Blue Streak & Fireball) in 1923, The Bobs in 1924 and then The Kiddie Bobs in 1926. The Bobs was probably the most famous roller coaster at Riverview over the years because of its sheer speed. The construction of new rides came to a screeching halt from the effects of the Great Depression in 1929.

In 1932 workers re-tarring a roof started a massive blaze that heavily damaged The Derby roller coaster and destroyed an attraction called Bug House Fun House which was soon replaced by a new fun house, The famous Aladdin’s Castle. They then purchased a used ride called The Flying Turns in 1934 and placed it where The Derby once sat. In 1936 they converted an old observation tower into a new ride called The Pair-O-Chutes. You could see this ride from miles away because of how high it was. The first time I ever went on this ride I thought I was going to meet my maker. I must have been maybe 10 or 11 years old, two people sit in a wooded seat as you slowly ascend skyward, then once you reach the top, a parachute opens and you not so slowly come back down to Earth. However, what I didn’t know that first time was when you reach the top it stops quickly and lifts you off your seat. I thought I was going to fall out of the chair!

In 1958 they added a ride called The Wild Mouse. This was a very unique roller coaster. It wasn’t fast, it didn’t have high scary drops or loops. You sat in a car that had a mouse head in the front. It had a turning mechanism attached to the track on the bottom in the MIDDLE of the car so when you reached a turn the front half of the car would keep going straight (you thought the car was going to plunge off the track into the river or to the ground) until the MIDDLE of the car reached the edge and would make a sharp turn. This was very scary for young kids. By the time I started going to Riverview in the late 1950’s they had many more rides and attractions like The Rotor. A couple dozen people would stand with their backs against a red padded wall in a round enclosure. Once everyone was in place, the ride would spin faster and faster until the floor drops out from under you and you’re plastered against the wall while the floor is about six feet below. A very cool ride. One of my favorite attractions was the freak show which featured the usual bearded lady and a mermaid half woman half fish. Also a man named Popeye, this guy would make his eyeballs pop half way out of their sockets. Hence the stage name Popeye. Another man would drive nails into his head and up his nose. He was billed as The Human Blockhead. But the roller coasters were the most fun.

I was lucky enough that my Uncle Philip for years worked for a construction company that built many of the rides and knew a lot of the people that worked there. A few times every summer he would come and pick up my two sisters and me (Carl wasn’t born yet) and would take us to Riverview. He would drive up to the ticket booth with us in the car and when they saw it was him they would always wave us in for free — EXCEPT for one time. This one time was not a good day for the gentleman that refused to let us in. Now my uncle Philip was only about 5’ 5” tall but he looked like a body builder and was as strong as a bull. He pulled the car over, got out and went inside the ticket shack. About 10 minutes later he came back to the car and somebody else proceeded to let us in. Needless to say the man that refused us entry never did that again.

To me Riverview had the most awesome rides, even better than Six Flags. Although maybe I feel that way because I was so young. Sadly, in October of 1967 it was announced that Riverview would not reopen ever again. Chicago was stunned and so was I. Now that I’m older I wish I could go back to those days for maybe just a week to enjoy Riverview one last time. We can dream can’t we?

Observations on the Obscure: MYSTERY IN THE AIR: Peter Lorre’s Psychopathic Studies in Horror by Karl Schadow You have seen him in Fritz Lang’s M and also in The Maltese Falcon and Casablanca. On radio he served as host, introducing the weekly thrillers of the Armed Forces Radio Service Mystery Playhouse. Kate Smtih, Al Jolson and Ed Gardner invited him as a guest on their respective shows. Moreover, he made several appearances on such thrillers as Inner Sanctum and Suspense during the 1940s. It is a wonder that Peter Lorre did not rate his own radio series prior to the 1947 series Mystery in the Air. This article will provide a brief overview of the often-neglected horror program.

Mystery in the Air was not the first vehicle intended to star the native of Hungary. As early as 1943 Lorre was considered a possible candidate as The Whistler (Variety, May 12, 1943). The following year radio producer Norman Winter was promoting (via the 1944 Radio Daily Annual Shows of Tomorrow) Journeys Into Fear starring Peter Lorre in a half-hour suspense horror venue. Neither of these progressed past the audition phase.

The June 9, 1947 issue of Broadcasting Telecasting stated that Wm Esty & Co., the advertising agency for R.J. Reynolds Tobacco Co. (promoting its Camel cigarette brand) was slating Horror Stories as the summer replacement for the vacationing Bud Abbott & Lou Costello. The proposed venture would undergo a second name change to Horror in the Air before it was finally determined that Mystery in the Air would be acceptable to all parties. Perhaps the recent proclamation by NBC in toning down terror on network productions was the main factor in determining the moniker.

Commencing Thursday, July 3rd at 10 pm Eastern, listeners tuned in a chiller that was introduced by “The Voice of Mystery” Henry Morgan. The actor would later be known as Harry Morgan (of MAS*H and other television series). Stories chosen belonged to two literary camps with adaptations of 19th Century works of Edgar Allan Poe, and Alexander Pushkin intermixed with those of 20th Century masters W.W. Jacobs and Ben Hecht, among others. Lorre was a major factor in selecting the stories as Paul Luther noted in his syndicated newspaper column (July 9, 1947): “Few performers have a greater first-hand knowledge of the world’s literature than does Lorre – and he’s convinced that a deep appreciation and understanding of literature is absolutely necessary for any actor who really aspires to reach the top.”

Frank Wilson of the ad agency adapted the first four scripts which included the opener, Poe’s The Tell-Tale Heart. Not surprisingly, Lorre’s performance received high praise in Daily Variety, (July 7, 1947) which heralded: “For case-hardened mystery fans it was a field day for here were the Master Shockers of them all (that Welles’ Martian scare was sissy stuff) – Mr. Terror and Mr. Horror in person.” For the following twelve weeks, Lorre captivated not only listeners at home but also the audience which packed Studio A of the KFI-NBC Hollywood facilities.

Another interesting aspect of the series was that the orchestra, directed by Paul Baron was concealed behind two heaven curtains. Moreover, a rounded plexi-glass barrier was positioned on stage with Lorre and the cast working in front. These intricacies were promulgated by producer Don Bernard and director Calvin Kuhl. The all-important sound effects were performed by Floyd Caton. The studio booth engineer was John Pawlek. It is a credit to Lorre and the production staff that full casts were acknowledged at the end of each broadcast. Special recognition was bestowed upon Agnes Moorehead in “The Lodger” (August 14, 1947).

Unfortunately, there is no extant audio of any of the first five episodes of the series including that of the second installment, “Leiningen Versus the Ants.” It would be a fascinating study to compare Lorre’s performance with those of William Conrad on both Escape and Suspense. Moreover, the fifth chapter “Nobody Loves Me” was the second opportunity Lorre had to perform this script as his initial engagement was on Suspense (August 30, 1945). Another story that was produced first on Radio’s Outstanding Theater of Thrills was “Beyond Good and Evil.” Both series utilized the Douglas Whitney adaptation of the Ben Hecht yarn. Lorre’s interpretation of the role of the murderer – Philip Gentry – is comparable to that of Joseph Cotten’s in Suspense (November 11, 1945). Also of interest, is that a month prior to the broadcast on Mystery in the Air (August 28, 1947), a repeat rendition of the script starring Vincent Price was aired on Suspense (July 17, 1947).

Among the additional episodes of Mystery in the Air that are extant include the Guy de Maupassant classic “The Horla” and “Crime and Punishment” adapted by Tom McKnight from the Columbia picture based on the novel by Feodor Dostoivsky. The latter closed out the series on September 25, 1947.

Have questions regarding Mystery in the Air, contact the author at khschadow@gmail.com

MartinGrams.biz: BING CROSBY, A MAN OF MANY TALENTS by Martin Grams For collectors of old-time radio, the common complaint is that many radio broadcasts were never recorded and therefore cannot be heard and enjoyed today. For historians who know better, we can thanks Bing Crosby for giving us so much to listen to. Radio broadcasts of the 1930s and 1940s aired live and was at that time considered a “throw away medium” — broadcast today, scripts were tossed into a box and hours later the script writer was hard at work on the next episode. No one thought about preserving the radio broadcasts via recording and since someone had to foot the bill, unless their was a practical reason the network and sponsor never took time to pay a company to record them. During the 1940s, as a result of a rising trend in technology, many of the top-rated radio personalities wanted to pre-record their radio broadcasts for convenience of a busy schedule. By 1945 there was high pressure and stormy implications brewing for the major networks and of all radio personalities, Bing Crosby was the big barometric push… the preamble of a condition long plaguing the big chains – that of playing a transcription disc across the nation through network feed.

In 1945, executives at the Mutual Broadcasting System publicly stated they were welcome to the proposal and insisted that within two years taping radio programs in advance would become the standard. ABC granted permission dependent on certain time slots. NBC and CBS, however, had strict policies avoiding the use of transcriptions. Top-rated radio performers longed to record their programs in advance, at a convenient time, rather than perform “live” to the masses… strongly campaigning for the privilege. And it was this fallacy that NBC was short-sighted… costing them a number of their top-rated comedians… including Jack Benny.

It was in the summer of 1945 that relations between Bing Crosby and Kraft Foods was in a state of flux, with the strong possibility that the crooner would not return to the radio mike for the next season. Crosby’s contract with the J. Walter Thompson agency ran through 1946; his contract with Kraft had another five years to realize. When Crosby and his attorney met in Chicago with Willard F. Lochridge, vice president of Thompson, in August of 1945, the singer explained he received flattering offers from potential sponsors and Lochridge was instructed to inform executives at Kraft that he would remain with the cheese outfit only under the terms of a re-negotiated contract — which included recording the programs in advance. General Motors made a firm offer to sponsor Crosby, broadcast over the Mutual network, via wire recorder. That meant Crosby could make as many as eight or ten radio broadcasts in a single week, thereby allowing him the freedom he wanted for many weeks following. Crosby liked the idea so well he approached NBC with the option of recording the broadcasts in advance on platters. NBC gave a firm no.

The Kraft contract was unusual because it contained a “happiness” clause, which meant Crosby could not be forced to broadcast if he was unhappy about the terms of the contract. His financial advisors assured crooner that if he dropped off radio entirely, he would be losing only $1.50 a week, taxes being what they were. Crosby made his fortune through investments nevertheless his star status and draw appeal was an influence on his business ventures and staying in the radio spotlight was essential to long-term security.

In September, there was an attempt to arrive at an amicable agreement on disputed points in Crosby’s contract. Lawyers in Chicago grappled with the contract problem for a couple of weeks but long discussions ended in the decision to submit Kraft’s latest proposal to Crosby through the offices of the top two executives. Upon learning of the possibility that Crosby might drop Kraft, top radio bankrollers were ordering executives at New York ad agencies to “get Crosby or else.” Everett Crosby, Bing’s brother and agent, handled most of the negotiations, assuring Lochridge that other offers were on the table and some were appealing. Lochridge, when grilled by reporters, claimed “Bing is just tired and wants to take a long rest. There is no contract dispute and he is apparently contented with other phases of his association with Kraft and Thompson.” With five years on the contract, Kraft was unwilling to release Crosby for another sponsor.

“They know Bing’s weakness is canned broadcast so that he isn’t tied down every week and it’s on that promise from which the big pitch is being made,” Jack Hellman reported in Variety. “If it’s open season on Crosby, what’s to prevent Bob Hope, Jim and Marian Jordan, Jack Benny and a few other top-holers from becoming fair game?”

Everett Crosby, meanwhile, asserted that the Kraft contract expired last July, under California law, which placed a seven-year limit on the term of any employment contract. The Thompson agency would not recognize the California law, insisting Crosby was tied to Kraft until 1950.

The stalemate lingered for months, with Kraft in early December making the following public statement, through the J. Walter Thompson Agency, which could be interpreted as a legal threat against any company seeking Crosby as a new client: “Bing Crosby’s sponsor is not trying to force [him] to return to the air, but is rumored to wonder how any other firm could contemplate having Bing for radio in view of his present long-term contract. Legal action is entirely possible under the contract which runs until 1950.”

On January 3, 1946, the Kraft Food Co. filed a suit for declaratory judgment and injunction. On January 2, Crosby was asked to resume with Kraft Music Hall on January 3, the start of a new cycle, and when Crosby flatly refused, court action was initiated.

In a statement issued by Kraft: “The contract originated in 1937 provided for Bing’s radio services during that year with options to Kraft to renew the contract each year into 1950. We have exercised these options to date and have notified Bing of our exercise of the option for 1946. However, Bing claims that there is no longer any agreement enforceable against him, and Kraft has filed this suit in order that the court can determine whether these contracts are still binding and enforceable.”

On January 22, Bing Crosby and Kraft kissed and made up. Crosby would complete the season at the request of the sponsor. Kraft would then give him his release, satisfied with a moral victory.

In March, Procter & Gamble offered Crosby a transcription deal at $22,500 a week if he whipped out his fountain pen. The Mutual Broadcasting System had the firm offer typed on paper, ready and waiting. In May, ABC offered Crosby a stock deal, making him a partner in the network… also offering him a transcription deal.

Transcription business and recording studios were looking forward to halcyon days – and by many account they all depended on Bing Crosby. Where the crooner goes, thus goes the trade, was the belief. Crosby definitely wanted a platter program and he got it. On Thursday, August 15, 1946, Philco and Crosby signed a contract, closing the deal, which would send his voice over 600 stations weekly. The package price for the series was $30,000 a week, with the stipulation that in the event the Hooper rating fell below 12, the series would revert to live broadcasting. (Crosby would snare 24 on his premiere broadcast.) Philco originally wanted five seasons; Everett Crosby negotiated the compromise to a three-year contract. Crosby would get an additional $40,000 per week from 400 independent radio stations for the rights to broadcast the 30-minute show, which was sent to them on three 15-inch lacquer/aluminum discs that played ten minutes per side at 33 and 1/3 rpm.

In mid-October, network fears of the threat of transcribed shows were stressed when several gags about Bing Crosby’s transcribed show, which were to have been used on Rudy Vallee’s live layout for NBC on the evening of October 22, were blue-penciled by NBC brass shortly before the show went on the air. The network’s action brought cracks to the effect that “it’s about time” from trade columnists, who wondered what happened to NBC’s ban on cross references following jokes on the Jack Benny, Bob Hope and Ed Gardner programs also about Crosby being transcribed.

Despite the ban on Crosby jokes on Rudy Vallee’s program, Bob Hope came through for his sidekick via ad-libs on his New York-originated show the same evening, also on NBC, in which he plugged Crosby in an exchange with guest Clifton Fadiman – to give further credence to the fact that the names were hot to follow Crosby’s lead in going plattered. Crosby, meanwhile, tucked six disc shows under his belt and went off on a hunting trip at his ranch in Elko, Nevada, with Jimmy Demaret and Ben Hogan, pro golfers. Crosby would not have had to make additional transcriptions for more than a month. Legend has it that Crosby wanted to record productions in advance so he could devote more time to golf. In reality, he visited a hospital twice during his strike with Kraft Foods as a result of exhaustion. Network executives couldn’t understand how it was so fatiguing to work seven days a week with writers conferences, rehearsals, agency executives and radio studios. Meanwhile, Benny, Hope and Gardner had to continue working week after week, live at the studios.

Two years after Crosby began transcribing his programs in advance, the June 9, 1948, issue of Variety reported that Bing Crosby “has disproved network arguments that transcriptions aren’t as good as live shows. Tape has in the past year completely altered not only the operation on top ABC shows, but has changed the thinking of the entire industry regarding recorded programs.”

Flash forward to 1948. Jack Benny and Amos and Andy made the switch to CBS. This was the start of what has become the notorious talent raids. Sure, CBS threw big money at the comedians and literally owned the actors who were forbidden henceforth to appear on NBC or ABC without permission — they practically became CBS property. But the deal breaker in those negotiations was not the cash aspect… it was permission to record the programs in advance in the same manner as Bing Crosby. According to one source, Jack Benny shook hands with William S. Paley and told him, “You have me.”

It wouldn’t be until February 3, 1949, that NBC made it official that taped or pre-recorded programs would be permitted on the network. By then, however, it was too late and NBC lost a dozen of their top rated radio personalities. The network’s long-standing policy against recorded programs was revived “as a further step towards promoting program flexibility and improving service to listeners,” quoted Ken Dyke, administrative vice president in charge of programs. The procedure would be followed only where talent, advertiser, agency and network agreed that the show would be improved by use of the transcriptions. Ampex tape machines were installed at NBC and it was theorized by many in the industry that most of the network programs would be transcribed before the season ended.* CBS would soon announce a similar policy on recordings since the acquisition of Bing Crosby, whose shows had been taped in advance on ABC, but this was a “public trade release” and CBS was already transcribing their programs for the benefit of their top-rated clients.

Al Jolson got the first crack at tape-recording an NBC show, the first to get the Ampex treatment, for his March 10 broadcast of The Kraft Music Hall.

Crosby fulfilled this three-year commitment to Philco and ABC, accepting a lucrative offer with CBS under sponsorship with Chesterfield, beginning in September of 1949. Seeking better quality through recording, including being able to eliminate mistakes and control the timing of his show performances, the singer used the latest and best sound equipment and arranged the microphones his way; the logistics of microphone placement had been a debated issue in every recording studio since the beginning of the electrical era. Using his own Bing Crosby Enterprises to produce the show, the investment allowed Crosby to make even more money by finding a loophole whereby the IRS couldn’t tax him at a 77 percent rate.

The latest in technology, taping the broadcasts instead of transcribing them, allowed Crosby to do a 35 or 40-minute show, then edit it down to the 26 or 27 minutes required. Taking out jokes, gags or situations that didn’t play well, what remained was only the prime mat of the show; the solid stuff that played big. The second season of the Philco shows were taped with the new Ampex Model 200 tape recorder, using the new Scotch 111 tape from the Minnesota Mining and Manufacturing (3M) company. Crosby’s investment was more prominent than critics could anticipate when the networks began adapting similar technology, becoming customers of an industry standard set by the singer.

On March 1, 1949, NBC executives at the “affiliate crisis meeting” in Chicago spotlighted attention on the just-released annual statement of the parent Radio Corp. of America, with its net annual earnings of $24,000,000, as evidence that it would take more than the loss of a few shows and personalities to put the network out of business. In effect, NBC’s argument was that “with $24,000,000 you can buy 12 Jack Bennys and 24 Bing Crosbys” (at the CBS rate of exchange).

In another effort to counter the talent raids, NBC developed moderately-budgeted programs. Hoping to avoid losses, the network retained either full or part control of the packages, avoiding advertising agencies, and sought commercial sponsorship themselves. Among the projected was the signing of Dean Martin and Jerry Lewis to a weekly series, James Mason and his wife for a whodunit series (titled Illusion, a.k.a. The James and Pamela Mason Show), and a revival of Rogue’s Gallery with Dick Powell. (Powell would star in a detective program, Richard Diamond, Private Detective, after Rogue’s Gallery failed to be revived.) Proposals that never met fruition was a Kenny Delmar series based on the fictional character of Senator Claghorn, and radio serialization of The Man Who Came to Dinner. (The latter of which was revised as a weekly program with Monty Woolley titled The Magnificent Montague.

Less than nine months from Benny’s debut on CBS, Paley managed to lure other comedians from NBC to CBS: George Burns and Gracie Allen, Bing Crosby (both premiered on CBS on the evening of September 21, 1949), Edgar Bergen, Red Skelton (both October 2), and Horace Heidt (September 4). Bergen was a television enthusiast for years, understanding that his act worked best visually, and devoted considerable time during his temporary “retirement” to filming two television pilots, which he bankrolled himself. His television debut was on Thanksgiving 1950, weeks after he made his CBS radio debut. The pilot was produced by Bergen himself, of which 30,000 feet of film was shot – 27,000 feet ended up on the cutting room floor. Bergen understood the risks involved, having to compete against Paul Winchell who beat Bergen to the punch on television, and was willing to take a financial loss on the pilot in an effort to make a big impression with the network. (Footage that remained from the cutting room floor was later edited into a second proposed pilot. Coca Cola bankrolled part of the budget.)

During the summer of 1949, Paley was reported making overtures to Al Jolson into the Columbia fold. Paley was hot after the singer after the theatrical release of The Jolson Story (1946) but the singer was grabbed by Kraft and NBC. With a client interested, stemming from the anticipated success of Jolson’s new pic, Jolson Sings Again (1949), it was Paley’s hope to succeed where he lost two years prior. “Already raising its arm as the Champ of the Year in gross time sales, CBS has demonstrated how money and shrewd business acumen can parlay a network into No. 1 position,” wrote George Rosen in Variety. “NBC’s loss of major accounts and top stars to CBS is already reflected in the comparative billings – this year vs. last year – and in the amount of good time available and client who’s interested.” NBC continued to create in-house programs, co-owned by the network, including Dangerous Assignment, Dimension X and The Big Show — the latter of which (don’t let anyone tell you otherwise) was created solely to kill Jack Benny’s career for switching networks.

Historians have been quick to point out the financials involved, but historical perspective verifies the true lure to CBS was the promise of transcribing broadcasts in advance – and NBC was temporarily shortsighted and stubborn to change their policy regarding pre-recorded radio broadcasts. NBC, however, was a fighting network and still determined to inch back into grandeur and stature, evident by lavish excursions into promotion and public relations, the earmarking of millions of dollars for new programs, proving that there would always be an NBC to reckon with. But that is another story for another time.

Hollywood 360 Schedule

1/1/22

The Red Skelton Show 12/31/48 New Year’s Show

Our Miss Brooks 12/31/50 Exchanging Presents

The Great Gildersleeve 12/31/44 New Year’s Eve

Hopalong Cassidy 1/1/50 Dead Man’s Hand

Danger, Dr. Danfield 12/15/46 Sam Hardy Makes a Bet With Death

1/8/22

Suspense 5/4/44 The Dark Tower

Broadway Is My Beat 5/5/51 Harry Foster Case

Escape 6/2/50 Mars Is Heaven

My Favorite Husband 12/9/50 Trying to Cash the Prize Check

The Shadow 3/13/38 The Silent Avenger

1/15/22

My Friend Irma 3/28/49 April’s Fool’s Party

Barrie Craig, Confidential Investigator 7/8/52 Long Way Home

Have Gun-Will Travel 6/21/59 North Folk

The Whistler 6/2/47 Caesar’s Wife

Night Beat 5/25/51 Fear

1/22/22

The Danny Kaye Show 2/17/45 Teaching Old Dogs New Tricks

The Chase 8/14/52 The Amusement Park

Dragnet 12/29/49 The Flowerland Roof Murder

The Weird Circle 8/12/43 Vendetta

Honest Harold 2/7/51 Harold’s Mother’s Suitor

1/29/22

The Adv. of Frank Race 5/1/49 The Adv. of the Hackensack Victory

Command Performance 5/18/42 w/ George Raft

The Jack Benny Program 10/20/46 Whistler Spoof

Richard Diamond, Private Detective 10/8/49 Gibson Murder Case

Under Arrest 8/21/49 Ruth Cutler’s Burglar

View Details

https://www.hollywood360radio.com/wp-content/uploads/2021/12/being-the-ricardos-ghostbusters-afterlife.mp3

Hi Carl, and hello to all of our listeners out there. Tonight I’m going to review two films that are playing in theaters now.

First up, “Being the Ricardos” is a biographical drama. Written and directed by Academy Award winner Aaron Sorkin.

The film centers on the relationship between Lucille Ball, played by Nicole Kidman, and Desi Arnaz, played by Javier Bardem. William Frawley (J.K. Simmons), who played neighbor Fred Mertz, is Ball’s trusted confidante.

The film is marketed as taking place during a one-week period in the 1950s, although many other life events are also covered.

The transition to the black and white original “I Love Lucy” with the real-life Lucille Ball is a brilliant move.

We view the “I Love Lucy” rehearsals and Lucille Ball’s vocal input in every aspect of the show. Sorkin highlights her gift of comedy mixed with the stresses of dealing with a controlling husband.

I thoroughly enjoyed viewing “Being the Ricardos” as the performances are excellent by Kidman and Bardem. I also enjoyed Lucille Ball’s early work on her very successful radio show!

I’d say 3 and a half stars out of four. “Being the Richardos” is also streaming on Amazon.

Next up: “Ghostbusters: Afterlife” rated it’s PG 13. This supernatural comedy film is directed by Jason Reitman, the son of Ivan Reitman, who directed the original “Ghostbusters” in 1984. It is the sequel to Ghostbusters.

The setting is 32 years after the events in Ghostbuster II, a single mom, Carrie Coon, and her two kids inherit a haunted ranch in Oklahoma.

The family-centered film is a love letter to Harold Ramis, and I enjoyed seeing Bill Murray, Dan Aykroyd, and Sigourney Weaver reunite in a fantastic scene.

3 stars out of 4.

Thanks for listening in tonight; I’m Sarah Knight Adamson, your National film and tv critic for SarahsBackstage Pass.

View Details

https://www.hollywood360radio.com/wp-content/uploads/2021/12/belfast-house-of-gucci.mp3

Tonight, I’m going to talk about one of my favorite movies of the year, “Belfast.” Kenneth Branagh, the writer and director of “Belfast,” creates beautiful moments that will stay etched forever in our hearts. This is a universal love story of family, culture, community, and country. Absolutely, one of my favorite films of the year so far.

“Belfast” is shot in gorgeous tones of black and white, depicting the late 60s during Northern Ireland’s turbulent times. The story is told through the eyes of a carefree 9-year-old boy, Buddy (Jude Hill), with solid performances by all, especially Judi Dench, the grandmother, and Jamie Dornan, the dad.

The movie is from Branagh’s own experience growing up in Belfast. A young mother (Catriona Balfe) calls her son to supper in the opening scenes. Buddy is playing dragon slayer down the street with some friends and has a makeshift shield; a trash can lid. We see the progression of the message until it has found its way to the receipt, at which point, he turns on a dime and heads home. The idyllic opening scene of children growing up in a protective, working-class Irish community creates the environment for the film. This carefree childhood quickly ends when a violent mob of anti-nationalist Protestants speeds around the corner setting fires to Catholic houses in the neighborhood. A frightened Buddy sees the mob and uses his trash can lid as an actual shield as he rushes to seek shelter in his home.

The scenes of respite are the family cinema outings—a Raquel Welch film of Chitty Chitty Bang Bang; one can only surmise the lasting effects these cinema outings had in Branagh’s path to becoming a filmmaker. As the conflict escalates with more and more people are dying or leaving, the family is forced to make life-changing decisions.

I can’t rave enough about this glorious, beautifully shot film. It will tug at your heartstrings while quietly teaching the universal theme of love. “Belfast” will stand the test of time and become a legendary film that will be viewed many times by many people throughout the world as it speaks to us all.

Cast:

Jude Hill as Buddy

Caitríona Balfe as “Ma”Buddy’s mother

Jamie Dornan as “Pa” Buddy’s father

Judi Dench as “Granny”

Ciarán as Pop

Lara McDonnell as Moira

Gerard Horan as Uncle Jack

Director/Writer: Kenneth Branagh

Run Time: 1 hour 38 minutes

Studio: Focus Features

Next up: Here’s the movie everyone’s talking about, “House of Gucci” staring Lady Gaga a Patricia Gucci, with Adam Driver, Al Pacino and Jerad Leto.

I’m in 3 stars out of 4 I need to warn you that the film is long, almost 2 and a half hours, also, the second half hasn’t found its center. See it for the campy performances, beautiful wardrobe and gorgeous set designs.

View Details

Izaac Wang, Darby Camp and Jack Whitehall in CLIFFORD THE BIG RED DOG from Paramount Pictures. Photo Credit: Paramount Pictures

https://www.hollywood360radio.com/wp-content/uploads/2021/12/clifford-power-of-the-dog.mp3 Hi Carl, and hello to all of our listeners out there tonight I will review two movies with the word dog in the title, yet they couldn’t be further apart!

First Up “Clifford the Big Red Dog” is a live-action movie based on the beloved Clifford the Big Red Dog books by Norman Bridwell. Fans of the books will be shocked at the quality of the film’s cinematography as this is live-action. Clifford has never ‘looked’ so real. Certainly not an easy feat to accomplish. The jokes do need a significant re-haul, and the story should have focused more on Emily Elizabeth, not the weird villain played by Tony Hale; note to screenwriter (aggressive sheep are not funny, and talking about sawing people in half doesn’t work in a children’s film), yet in the end the film has a big heart.

Yep, Clifford is enormous (about the size of an elephant), and he’s fire engine red! Emily Elizabeth, a 12-year-old, is played by Darby Camp, the director is Walt Becker, who brought us the “Alvin and the Chipmunks” movie. Emily’s single mom Maggie (Sienna Guillory), struggles to provide for herself and her daughter. Desiring a better education for her daughter, Emily attends an esteemed New York private school. Yes, they live in a lovely rent-controlled New York apartment, although they need food stamps to get by to make ends meet. Sadly, the smart and kind Emily Elizabeth is bullied at school. In this ” Clifford ” version, the breath of fresh air is Maggie’s fun-loving brother Casey (Jack Whitehall), who lives in his van.

As a former 2nd grade teacher, I used the Clifford books in my classroom to teach lessons regarding good deeds, kindness, empathy for others, and pet responsibility.

The books were well-worn and tattered as the kids couldn’t get enough of Clifford’s adventures. Personally, I’ve been looking forward to this movie in live-action form and am very impressed by the result. I can also breathe a sigh of relief that the filmmaker decided not to have Clifford speak.

The story begins with Uncle Casey, taking care of Emily Elizabeth while mom is out of town on a business trip. Showcasing New York’s lovely green spaces, they find themselves attending a magical carnival filled with exotic animals. Mr. Bridwell (John Cleese), is named after Clifford’s beloved author and creator, Norman Bridwell. His storyline parallels Oz from the “Wizard of Oz” books, as he’s magical with an ode to love and family. Emily Elizabeth is smitten after finding Clifford, the tiny red puppy, in a tent filled with a sloth, snake, and monkey. Uncle Casey is worried, the puppy is too small and might not survive. Also, what will his sister say about bringing a dog into an apartment with a strict ‘no pets allowed rule? At the end of their visit, Emily Elizabeth asks Mr. Bridwell if Clifford will grow. He replies, “Oh, he will grow…that will depend on how much you love him.”

The duo returns home without the red puppy, although Clifford does end up in their apartment and in Emily Elizabeth’s room for the evening. As in the trailer, we hear Emily whispering to Clifford in a sincere and caring tone. Yes, her wish is for her puppy to grow big, strong, and healthy—the following day is when all the shenanigans begin as Clifford has grown overnight into a big red dog. Of course, Clifford has trouble adjusting to his new size, and keeping him hidden is nearly impossible. The film’s strongest points shine when Clifford does his ‘good deeds’ as in the books. It’s just too bad there has to be a villain involved; this film could have delved deeper into family, friends, and kindness and still be a hit with kids.

In the end, the message of accepting differences is heard loud and clear, a redeemable choice in the movie. So cuddle up with your favorite pet or stuffy to enjoy a family-friendly film for all ages. Emily Elizabeth’s narrative is spot on, “Clifford doesn’t hurt anybody, he loves, and he’s easy to love back.”

“Clifford the Big Red Dog” is playing in theaters and streaming on Paramount +.

Cast: Darby Camp, Jack Whitehall, Tony Hale, Sienna Guillory, David Alan Grier, Russell Wong, John Cleese

Director: Walt Becker

Screenwriters: Jay Scherick, David Ronn, Blaise Hemingway

Run Time: 1 hour 37 minutes

“The Power of the Dog” rated R this is director Jane Campion’s western-based in Montana, and you won’t see a tail-wagging dog in this film.

You will see character studies of two brothers (opposite in personalities), Benedick Cumberbatch and Jesse Plemons, a new wife, Kristen Dunst, and her son, a sensitive male college student, Kodi Smit-McPhee.

Here’s gorgeous cinematography set against the backdrop of a 1925 Montana Ranch.

The Power of the Dog is based on Thomas Savage’s 1967 novel. It tells the story set in the 1920s of a Montana ranch and two brothers different as night and day. Case in point, one bath, the other doesn’t. George, the bather, is neat and polite; he wears his Sunday-best suits and ties to oversee his ranching duties. Phil is rebellious, crude in manners, and dresses as if he’s been on a cattle-herding job for months. Oddly, the brothers share a room in the large ranch house and sleep together most nights. When George falls in love and marries Rose (Kirsten Dunst), the widowed owner of a tiny run-down hotel, Phil’s jealousy consumes their relationship.

If you’re in the mood for a slower pace, with themes of reflection, frustration, dependency, loneliness, and anger, this film is for you.

This is Jane Campion’s first film in 12 years. She’s known for her Award-winning Academy film, “The Piano.” It was great to meet see her in person at a press conference and to hear all of the cast and filmmakers dive deep into the film’s themes.

Hollywood360 Radio: Recent Episodes

None