Saturday, April 5, 2008

Charlie Sheen...attends documentary on alleged OJ SIMPSON crimes; supports Investigator Deer's theories!

Was it all a charade to protect Jason Simpson?


When I noticed the "Backlot Film Festival" scheduled a documentary on OJ SIMPSON (Nicole Simpson and Ron Goldman murders) for screening, I was inclined to pass on taking it in.

After all, during the course of the original trial in Los Angeles I wiled away a number of leisure hours following the legal wranglings in detail. But later felt ripped off when a quickie verdict was rendered within a few hours after deliberation began.

Yeah, I thought at the time that "white folks" should take to the streets and riot for a change!

But, by a twist of fate I ended up at the screening yesterday. And consequently, I came face-to-face with Investigator - William Dear - who has been investigating his theories on the Simpson-Goldman murders for the past fourteen years.

After a brief discussion on some of the semantics the charismatic investigator noted that actor Charlie Sheen was so intrigued by the suppositions that he was on his way to the Theatre to take the screening in.

A few years ago I worked on a minor scene in the feature film - "The Boys Next Door" which was directed by Penelope Spheeris and starred Mr. Sheen. On that occasion, we acknowledged each other from a distance; but basically, we were just two ships that passed in the night.

As he stepped in the door I was taken by his confidence and the manner in which he carried himself these days. A far cry from his wild bachelor days! After a few perfunctory handshakes the entourage entered the theatre for the unveiling of the doc.

In passing, I overheard one filmmaker ask - "Is the LA Times here?"

When a staffer said "no" he probed further,

"Did they slip in without you noticing?"

Again, a response in the negative. That appeared to be a portent of what was to come.

After the screening of the provocative doc - which was not unlike a TV infomercial in many respects - Dear lamented to the enthused audience "Where are the media?"

And exasperated, answered his own question, "They're not here!"

That was unfortunate because in his insightful documentary - titled "OJ IS GUILTY...BUT NOT OF MURDER" - Mr. Dear has presented an interesting scenario supported by evidence he has gathered in his lone investigation over the past decade or so.

In a nutshell...

Mr. Dear alleges that Jason Simpson, OJ's son, was the real killer; then, proceeds to systematically present the evidence in straight-forward convincing manner to support his claims.

For starters, the respected investigator notes that Jason Simpson suffered from a bipolar disorder and was subject to nasty outbursts and rages. Then, Dear proceeds to establish that just prior to the murders there were a couple of documented incidents of Jason pounding on his girlfriend.

Evidently, Jason stopped taking his medicine - Depakote - which heightened the problem.

At this juncture Dear takes a foray into the world of an afflicted person and underscores the potential scenarios that may unfold when a bipolar individual neglects to take their medications to curb the illness.

As that bit of evidence settles into the old psyche he moves on with gusto.

The investigator now focuses on disturbing revelations that pertain to Jason's alibi for the night of the murders. When questioned, the LAPD allegedly stated for the record that the alibi had been checked and Jason had been summarily written off as a suspect.

However, Dear's investigation proved otherwise.

After a thorough examination of transcripts and in-depth interviews with key witnesses it was determined that Jason's alibi had not been verified. Moreover, there were huge holes in it, as well.

For instance, Jason Simpson testified in a deposition in Goldman civil suit that he was preparing a dinner at Jackson's restaurant (where he was a chef) for 200 people that fateful evening. However, employees verified in on-camera interviews that - on the contrary - Sunday night was not only slow but no such dinner party was ever hosted.

In sum, convincing testimony established that Jason's whereabouts as he recalled them did not ring true.

Moreover, an inspection of a "time" card at the trendy eatery in Brentwood raised a spectre of doubt as to the veracity of information of its face. So much so, that as Mr. Dear probed further, a silent partner in the restaurant finally admitted on record that Jason's alibi was foisted up as a defense was not the truth.

But what about motivation for the crimes?

The main theory is that Jason became angry when Nicole and the family decided to forgo on stopping by the restaurant that evening for dinner and that the slight pushed Jason (prone to rages) over the edge.

Dear theorizes that after taking his girlfriend home around 9:30 p.m., Jason sped over to Bundy and knocked on Nicole's door to confront her about the blatant rejection which rubbed him the wrong way.

OJ's ex - who was expecting Goldman that night - allegedly opened the door and an argument ensued. At some point in an exchange of harsh words Nicole triggered a nerve in Jason and he struck her.

At this juncture, Dear contends that Goldman arrived on the scene.

To subdue Nicole, Jason drew a knife out of his boot (which he was known to carry and which was later recovered) and struck a blow to her head. Stunned, she fell to the ground.

Now, Jason turned on Goldman who became trapped in the small fenced in area near the front door that has been subject of much controversy.

To further the argument that Jason was the true killer Dear notes that Jason was a more likely suspect for a couple of obvious reasons overlooked by the LAPD.

First, OJ was inclined to get nauseous at the sight of blood; so, Dear asserts that he did not have the "stomach" to commit such a gruesome crime. Further, he stresses that Simpson's weak knees and lack of overall strength in the lower extremities would have made it very difficult for him to overpower Goldman, a young athletic man in his prime.

On the other hand, Jason had studied combat in the Navy and was a capable fighter who was expert in the handling of knives.

But, hold on.

Curiously, additional evidence was uncovered which is even more compelling.

For instance, Dear was able to purchase a boxful of personal effects which Jason Simpson had placed in storage which went up for auction when the bill was not paid. In that box there were a number of incriminating items.

In personal handwritten diaries, Jason referred to himself as a "Jekyll & Hyde" personality in one paragraph - then laments in the next - that he was currently "living in the year of the knife."

Astoundingly, a double-edged knife that experts concede could have been the murder weapon was found in the box, as well.

And, do you recall that wool cap that Johnny Cochrane made the fuss about in the courtroom when he barked about the glove,

"If it doesn't fit you can't convict"?

The Investigator found photos of Jason wearing a similar hat in the carton of keepsakes.

In sum, Dear concludes that OJ Simpson was not guilty of the murders of Nicole and Ron; but rather, an obstruction of justice - or quite possibly - complicity in the commitment of one.

Bottom line, it would appear that OJ Simpson took the rap for his son, a young man who was mentally unstable and incapable of defending himself for the crimes allegedly committed.

Yes, Mr. Dear has put together a tantalizing theory supported by evidence that cries out for justice - or at least a second look by Law Enforcement.

But, guess what?

The investigator has been stone-walled in his efforts to have the case re-opened. The LAPD, for instance, won't take a look at his findings. And, despite his pleas, the State Attorney General's office refuses to re-open the case, either.

Dear's only hope now is that by presenting his "case" - by way of the documentary - a concerned public will become intrigued with the wealth of incriminating evidence and demand that Justice be served.

Do the murders warrant further investigation?

You decide.

Info: http://www.theoverlookedsuspect.com



William C. Dear argues that Jason Simpson is the true killer...

Warped Tour...punk, X-treme sports, and fanticipation!

For the past ten years, as the sleepy days of summer rolled out, roadies have loaded up a caravan of trucks and barreled on down the highway - at-the-ready - to unleash the "Warped Tour" on die-hard fans across the Nation.

The "Tour" was created in 1994 by Kevin Lyman, who got the idea while working on skateboarding shows such as Vision Skate Escape. The moniker "warped" comes from the short-lived Warp Magazine which covered surfing, skateboarding, snowboarding, and music.

The fledgling festival started out small - 10,000 heads or so in the halcyon days - but soon mushroomed into a gargantuan event that now attracts about 1 million Americans throughout the course of punk season each year.

Essentially, the festival is an eclectic mix of spunky punk bands, extreme sports, and an endless parade of colorful die-hard punkers who dive into the fray head on each season with great machismo.

There's the occasional human cannonball thrown in for good measure, too.

"We love to surprise the fans. Each year, we come up with something novel," noted the savvy festival producer, who has been at the helm since day one.

The carnival-like grounds are comprised of booths in a flea market-like setting where proprietors in canvas tents sell merchandise, independent record labels flog their artists, and magazine publishers and non-profit orgs ply their way.

The "Warped Tour" benefits upstart bands looking to gain recognition. After all, the tour provides a direct market so the musicians may obtain or extend a fan base.

Recently, I was in for a treat when a documentary - shot on a tour in 2004 - was unveiled.

Although a bit ragged around the edges, in its context - "Warped Tour" - not only resonates, but thoroughly entertains.

The range of - um - anti-music is far-reaching; from heavy metal to anarchistic, in nature. And, in a take on the surreal, a non-stage offers up out-in-the wild fringe bands for the far-reaching punk ear.

When queried about the bands, one fan cackled,

"Punk musicians don't know how to play instruments, that's the idea."

Ah, so that accounts for the ear-splitting explosions of sound - the strident rhythmic clashing - and the smattering of jolts and jangles that jars the musical sensibilities now and then.

Tickets have remained at $25.00 per head over the years. And, while corporate sponsors have tried to muster up a presence into their cozy fold, the show organizers have resisted their purse-strings, in an effort to stay "pure".

In keeping with tradition, there is no "star" billing here, either. Although major acts have appeared over the years, they wipe their a**es in the bushes along with everyone else, I'm assured.

Actually, the documentarians didn't take much of a foray into the musical roots of the phenomenon, which rendered a big hole in the doc.

So, here goes...

Punk rock is an anti-establishment rock music genre and movement that emerged in the mid-1970's. For those in the know - the Ramones, Sex Pistols, and The Clash - are recognized as the vanguard of the musical movement. And, by 1977, punk was spreading around the world.

The pioneers of punk created a furious, hard sound, with stripped-down basic instrumentation, and lyric themes of a political or nihilistic nature. Essentially, the true punk note expresses youthful rebellion and is characterized by an audacious style, hinged to anti-authoritarian ideologies.

A big draw at the "Warped Tour" festivities?

The fans; after all, they're an eyeful!

Throughout the event, the punksters strut their hard-core plumage, and exalt their rabid style.


And, as the stage musically rages, endless streams of tangled bodies - for the most part all tatted up and strung with rings - are inclined to surf over the throngs. A punk sport, that is a mainstay of the proceedings and awesome to watch.

And now, Punkers have somethin' to crow about. Punk has been inducted into the "Rock 'n Roll" Hall of Fame.

Part of the philosophy?

"Punk accepts everyone," one leather-clad fan noted.

The throngs reflect that; festival-goers are young and old, costumed and not. Either way, they're at the ready for a blast of punk enthusiasm to come their way full throttle for the duration of the carnival-like extravaganza.

Surprisingly, there wasn't a lot of colorful footage on teen space-outs or much focus on the use of recreational drugs. Odd, given the milieu.

Since "Woodstock" was rife with reefer madness, I was inclined to ask the producers if the younger generation was just sober, or if there had been a deliberate effort to edit those parts out.
At first, the director asserted there weren't any problems of that nature. But, I expect when they caught the look of disbelief on my face, they quickly re-thunk that one!

"Well, we've experienced some problems in a couple of the larger cities, but that was about it," he noted, almost under his breath.

Ah, I had an inkling.

As much as I found the doc entertaining, it appeared that something was amiss.

And, when the ads for this year's "Warped Tour" starting up in the local press just recently, it hit me like a mac truck.

Quite simply, "Warped Tour" is a squeaky-clean full-length promo, calculated to boost tickets sales and lure fans in the gate.

That's cool, man!

But, I wasn't born yesterday.


Kids will be kids...

Friday, April 4, 2008

Pedestrian blues...and a little RR.


I was sprinting across the crosswalk at Canon Drive in Beverly Hills today, when I nearly got struck down by a stately Rolls Royce cruising along at a fast clip.

What did I mutter under my breath?

"Hit me! I need the money."

OJ IS GUILTY...BUT NOT OF MURDER. Wins Best Documentary at Culver City Backlot Film Festival.

Was it all a charade to protect Jason Simpson?



"OJ IS GUILTY...BUT NOT OF MURDER" won the Best Documentary Award at the Backlot Film Festival in Culver City, California, this past week.

When I noticed the "Backlot Film Festival" scheduled the documentary on the shocking murders of Nicole Simpson and Ron Goldman for screening, I was inclined to pass on taking it in, initially.

After all, during the course of the original trial in Los Angeles, I wiled away a number of leisure hours following the legal wranglings in detail. But later, felt ripped off, when a quickie verdict was rendered within a few hours after deliberation began.

Yeah, I thought at the time, "white folks" should take to the streets and riot for a change!

But, by a twist of fate, I ended up at the screening yesterday. And consequently, I came face-to-face with Investigator - William Dear - who has been investigating his theories on the Simpson-Goldman murders for the past fourteen years.

After a brief discussion on some of the semantics, the charismatic investigator noted that actor Charlie Sheen was so intrigued by the suppositions that he was on his way to the Theatre to take the screening in.

A few years ago, I worked on a minor scene in the feature film - "The Boys Next Door" - which was directed by Penelope Spheeris and starred Mr. Sheen. On that occasion, we acknowledged each other from a distance; but basically, we were just two ships that passed in the night.

As he stepped in the door, I was taken by his confidence and the manner in which he carried himself these days. A far cry from his wild bachelor days! After a few perfunctory handshakes, the entourage entered the theatre for the unveiling of the doc.

In passing, I overheard one filmmaker ask, "Is the LA Times here?"

When a staffer said "no", he probed further,

"Did they slip in without you noticing?"

Again, a response in the negative. And, that appeared to be a portent of what was to come.

After the screening of the provocative doc - which was not unlike a TV infomercial in many respects - Dear lamented to the enthused audience, “Where are the media???"

And exasperated, answered his own question, "They're not here!"

That was unfortunate because in his insightful documentary - titled "OJ IS GUILTY...BUT NOT OF MURDER" - Mr. Dear has presented an interesting scenario, supported by evidence he has gathered in his lone investigation over the past decade or so.

In a nutshell...

Mr. Dear alleges that Jason Simpson, OJ's son, was the real killer; then, proceeds to systematically present the evidence in straight-forward convincing manner to support his claims.

For starters, the respected investigator notes that Jason Simpson suffered from a bipolar disorder, and was subject to nasty outbursts and rages. Then, Dear proceeds to establish that just prior to the murders there were a couple of documented incidents of Jason pounding on his girlfriend.

Evidently, Jason stopped taking his medicine - Depakote - which heightened the problem.

At this juncture, Dear takes a foray into the world of an afflicted person and underscores the potential scenarios that may unfold when a bipolar individual neglects to take their medications to curb the illness.

As that bit of evidence settles into the old psyche, he moves on with gusto.

The investigator now focuses on disturbing revelations that pertain to Jason's alibi for the night of the murders. When questioned, the LAPD allegedly stated for the record, that the alibi had been checked and Jason had been summarily written off as a suspect.

However, Dear's investigation proved otherwise.

After a thorough examination of transcripts, and in-depth interviews with key witnesses, it was determined that Jason's alibi had not been verified. Moreover, there were huge holes in it, as well.

For instance, Jason Simpson testified in a deposition in Goldman civil suit, that he was preparing a dinner at Jackson's restaurant (where he was a chef) for 200 people that fateful evening. However, employees verified in on-camera interviews, that - on the contrary - Sunday night was not only slow, but no such dinner party was ever hosted.

In sum, convincing testimony established that Jason's whereabouts - as he recalled them - did not ring true.

Moreover, an inspection of a "time" card at the trendy eatery in Brentwood, raised a specter of doubt as to the veracity of information of its face. So much so, that as Mr. Dear probed further, a silent partner in the restaurant finally admitted on record that Jason's alibi was foisted up as a defense was not the truth.

But what about motivation for the crimes?

The main theory is that Jason became angered when Nicole and the family decided to forgo on stopping by the restaurant that evening for dinner - and that the slight - pushed Jason (prone to rages) over the edge.

Dear theorizes that after taking his girlfriend home around 9:30 p.m., Jason sped over to Bundy and knocked on Nicole's door to confront her about the blatant rejection which rubbed him the wrong way.

OJ's ex - who was expecting Goldman that night - allegedly opened the door and an argument ensued. At some point in an exchange of harsh words, Nicole triggered a nerve in Jason, and he struck her.

At this juncture, Dear contends that Goldman arrived on the scene.

To subdue Nicole, Jason drew a knife out of his boot (which he was known to carry and which was later recovered) and struck a blow to her head. Stunned, she fell to the ground.

Now, Jason turned on Goldman, who became trapped in the small fenced in area near the front door that has been subject of much controversy.

To further the argument that Jason was the true killer, Dear notes that Jason is a more likely suspect for a couple of obvious reasons overlooked by the LAPD.

First, OJ was inclined to get nauseous at the sight of blood; so, Dear asserts that he did not have the "stomach" to commit such a gruesome crime. Further, he stresses that Simpson's weak knees and lack of overall strength in the lower extremities would have made it very difficult for him to overpower Goldman, a young athletic man in his prime.

On the other hand, Jason had studied combat in the Navy and was a capable fighter, who was expert in the handling of knives.

But, hold on.

Curiously, additional evidence was uncovered which is even more compelling.

For instance, Dear was able to purchase a boxful of personal effects which Jason Simpson had placed in storage, which went up for auction when the bill was not paid. In that box there were a number of incriminating items.

In personal handwritten diaries, Jason referred to himself as a "Jekyll & Hyde" personality in one paragraph, then laments in the next that he was currently - "living in the year of the knife."

Astoundingly, a double-edged knife - that experts concede could have been the murder weapon - was found in the box, as well.

And, do you recall that wool cap that Johnny Cochrane made the fuss about in the courtroom when he barked about the glove,

"If it doesn't fit, you can't convict"?

The Investigator found photos of Jason wearing a similar hat in the carton of keepsakes.

In sum, Dear concludes that OJ Simpson was not guilty of the murders of Nicole and Ron; but rather, an obstruction of justice - or quite possibly - complicity in the commitment of one.

Bottom line, it would appear that OJ Simpson took the rap for his son; a young man who was mentally unstable and incapable of defending himself for the crimes allegedly committed.

Yes, Mr. Dear has put together a tantalizing theory, supported by evidence that cries out for justice, or at least a second look by Law Enforcement.

But, guess what?

The investigator has been stone-walled in his efforts to have the case re-opened. The LAPD, for instance, won't take a look at his findings. And, despite his pleas, the State Attorney General's office refuses to re-open the case, as well.

Dear's only hope now is that by presenting his "case" - by way of the documentary - a concerned public will become intrigued with the wealth of incriminating evidence and demand that Justice be served.

Do the murders warrant further investigation?

You decide.

Info: http://www.theoverlookedsuspect.com


William C. Dear argues that Jason Simpson is the true killer

Olympic Torch...San Franciscans, to protest!

A bridge to oppression?



Next Wednesday, the Olympic Torch touches down in San Francisco for a quick sojourn around the Bay area.

But, crowds lining the streets may be less than welcoming.

Thousands of activists critical of the Olympic host are expected to protest in the wake of the recent outbreak of violence in Tibet, for instance.

The Chinese Government has shrugged off the implications, asserting that the demonstrations are merely the actions of a few who are trying to hijack a historical event, to meet their own agendas.

Mayor Gavin Newsom was initially inclined to conceal the route the Eternal Torch would traverse to thwart the protesters' efforts - and ultimately - avoid embarrassment to San Francisco residents.

But, amid an outcry, he finally relented.

The second-term Mayor has called the opportunity to host the relay an extraordinary honor, adding with emphasis that,

"The flame is about sports, not politics."

However, Mr. Newsom is missing the point.

If China hankers to participate in the Global Community, she must observe the rules of polite society.

Until the Human Rights Violations stop in Tibet, protesters should rise up and take every available opportunity to throw a spotlight on the atrocities, until they cease.

Desiderius Erasmus once opined,

"He who allows oppression shares the crime."


Thursday, April 3, 2008

Anderson Cooper...an underwear fetish? WAAF Rocks!

Dont' be shy, Coop...show your bootie!


Spies gossip that Anderson Cooper takes a shower at the gym in a pair of tight white form-fitting spandex boxer-style shorts.

Do you suppose he has a kinky fetish for silky wet fabric against the naked flesh?

Or, is he concerned that if he goes in the buff some sly gym bunny might surreptitiously nab a 360 degree image of the shower scene and stream the video onto the Internet for prying eyes to screen?

News at 11!

To strip or not to strip, that is the question...

Inalienable...Walter Koenig script entertains, solid Sci-Fi Thriller!


The highlight of the Backlot Festival yesterday was undoubtedly the Sci-Fi thriller - "Inalienable" - starring Richard Hatch, Walter Kroenig, and Courtney Peldon.

In the opening scenes - which move along quickly to establish the basic plotline - the audience learns that the lead character (Hatch) is a research scientist who is still recovering from the loss of his wife and child a few years earlier.

When a friend stumbles on a curious specimen among the charred ruins of a meteor, he drops it off for the good doctor to examine; but, Hatch's character - Dr. Norse - is too busy and too sapped of energy to even humor him.

The duffel bag that contains the specimen is tossed aside as the scientist tucks into bed that night for some much-needed rest and relaxation.

The following day, the doctor suddenly feels ill, and is shocked to discover there appears to be a cyst festering in his side.

He turns to a doctor he trusts, who takes an extensive series of tests. Both are startled by x-ray chart results that suggest the unexplained growth may actually be a parasite feeding off Norse's life functions.

The prognosis?

If the growth is surgically removed the doctor may face instant death.

In a curious twist, the scientist ends up giving "birth" to an alien child.

But now, the complications escalate.

The Feds swarm in and place father and "child" in quarantine until the Government can make a determination as to what further action to take to ensure the American people are not in potential danger of alien attack.

The script by Walter Koenig (Star Trek) is tight and well-crafted and makes for an entertaining Sci-Fi thriller.

In particular, I found the courtroom scenes that focus on a myriad of legal fine points (Constitutional issues), and hypotheticals, intriguing and thought-provoking.

Mr. Koenig certainly knows how to stir up the pot.

Richard Hatch turns in a surprisingly believable performance, in spite of the unusual challenges he faces in this role. With dead earnest, and integrity, he acts out the scenario without cliché or melodrama.

The supporting cast rises to the occasion, too.

I particularly found the Judge who presided over the legal maneuverings amusing, bang on in her characterization (played by Judy Levitt); while Mr. Koenig carried off an admirable turn as a villain with aplomb.

"InAlienable is a work of love by all that were involved," Walter Koenig stated. "I'm extremely proud of our production team, cast and crew."

They should be - it’s a little gem.

Lucille Ball...hard-knocks, B-movies, and lettuce days!


Lucy's glam days





When I was a kid, I recall catching "Dubarry was a Lady" on the idiot box on late-night TV.

The wide-screen experience eluded me over the years, 'til now.

As part of its tribute to legendary filmmaker - Arthur Freed - the 3rd Annual Backlot Festival screened the Lucille Ball classic and I was there to savor every minute of the experience.

Lucy stars with Red Skelton and Gene Kelley in this screwball comedy - one of a handful of "B" movies the screwy red-head was featured in - just before her career took off after the successful launch of "I love Lucy" in the early fifties.

Actually, it's a hoot to watch Ms. Ball (pre "Lucy" days) saunter across the screen in a swirl of elegant gowns and outrageous designer hats and tangle with the likes of comic genius, Mister Red Skeleton.

The legendary star holds her own, admirably.

One of my favorite lines in the film?
On the subject of romance, Ms. Ball quips.

"I'm too poor to get married for love."

In this hilarious piece of studio pap, Mr. Skelton charms. Here, his timing is impeccable; especially when it comes to quick repartee, pratfalls, and off-kilter shtick, right up the alley of the former vaudevillian.

Gene Kelley is a revelation, too.

In a handful of breezy dance numbers, he executes each step with such grace and style.

In fact, it's difficult to fathom any other dancer of this or any other era, managing the painstakingly intricate step sequences (save for Fred Astaire, of course).

Although Lucy became one of the most powerful women in Hollywood - by virtue of her holdings in Desilu Productions with husband Arnaz - life was not always a snap for the performer.

Lucille Ball was born August 6, 1911 in Jamestown (New York).

Fresh out of the gate, Ball took a job as a model, using the stage name, Diane Belmont.

Moderately successful, Ball became an Earl Carrol showgirl and landed modeling gigs for popular fashion designer, Hattie Carnegie.

But the career climb was not always rosy.

In her "lettuce days" in New York - when she was a struggling dancer - Lucy nearly died of malnutrition, according to one biographer.

Jobs were hard to come by, after all.

As luck would have it, one day Ms. Ball was striding down a busy New York street, when she bumped into a casting woman who took pity on her.

The woman offered Lucy a job as a "cigarette girl" (popular gigs in those days).
There was one hitch, though.

The young starlet would have to pack up and head to Tinsel town.

With a bit of consternation, she headed west, reluctantly.

When she arrived in Hollywood, it didn't escape Lucy's attention that many of the female stars were extremely focused on their "Glamour Queen" images, which worked to her advantage.

Whenever a film required a comedy sketch, or a shenanigan or two that were a bit wacky, the prissy grand dames turned their noses up at the job and flatly refused to sign on.

After all, they didn't want to sully their classy siren images.

But the young upstart jumped at the chance to work.

So, plum roles fell into Lucy's lap in the comedic vein, because she'd willingly take a pie in the face, or throw her heart into in some silly on-camera fluff, to please a director.

Within a short while, Lucy was signed to a contract at one of the studios.

Shortly thereafter, Ms. Ball was turning out a batch of "B" movies, fans hungered for in those early days.

Lucille Ball's first role was a cameo in Eddie Cantor's musical, "Roman Scandals".



Ball later landed bit parts the following year in low budget features such as "Blood Money" and "Kid Millions".



By the late 1940's, the aggressive young starlet appeared in no-less than sixty films (!), and included star turns with Katharine Hepburn, Ginger Rogers and Bob Hope.

On one fateful project ("Too Many Girls") Ball fell in love with her co-star, the dashing Desi Arnaz.

The newlyweds often found themselves on opposite sides of the country because of work assignments, which put a lot of stress on their relationship.

Although Lucy filed for divorce in 1944, the two managed to sort things out before the split was finalized by the court.

However, the experience turned out to be great fodder for their creative well.

Taking a cue from their tumultuous relationship, Ball and Arnaz pitched an idea to CBS about the unlikely marriage of a wild red head to a Cuban band leader.

Network execs surmised the American public would never buy the scenario - so Lucy and Desi formed their own production company called "Desilu" - and took the show on the road.

Within a short span of time, the dynamic duo managed to turn the idea into a popular vaudeville act. Then, on the heels of this success (still without a nod from CBS) Ball and Arnaz proceeded to finance a pilot episode of the show - which they summarily titled - "I Love Lucy".

The sitcom premiered in October of 1951 and became the most popular television show in America, running successfully on Television for six straight years.

During the course of the run, "I Love Lucy" won more than 200 awards, which included five coveted Emmys.

In retrospect, it's important to note that at one juncture in her early bid for stardom, the legendary star was advised to die her hair blond or brunette.

"You'll never make it in the business with red hair," agents and managers whined.

Ironic, that.

Ms. Ball became the most famous redhead in show-business history.

The moral of the story?

To thine own self be true!


Shine a Light...Scorsese doc illuminates surface but falls short!



"Shine a Light" igniting the silver screen in IMAX is a visual experience you may not want to miss - if you're a Rolling Stones fan - in particular.

In the fast-paced documentary, with Oscar-winning Director Martin Scorsese at the helm, a penetrating lens slices through layers of the mystique with razor-sharp precision close to the bone.

But, ultimately, the doc misses its mark.

By the end of the film, Jagger remains as elusive and mysterious as ever.

But don't say Scorsese didn't try.

In an insightful effort to add a bit of depth and breadth to mix, Scorsese handily juxtaposed old news clips, with scintillating stage footage, to great effect.

After all, the mesmerizing image of Jagger - prancing, pouting and sashaying about - is still potent stuff.

By today's standards, though, Jagger pales a tad.

Indeed, a younger generation in a feeding frenzy over titillating sensual MTV images ( and used to slick choreographed numbers by boy-bands and the like) may find Jagger a bit tame.

But, the pop icon still awes.

In what amounts to a tribally-inspired sexually-charged strut - a bold-faced tease, if you like - Jagger still manages to captivate and hold the excited crowd in his thrall.

Years ago, when the celebrated Pop Icon was queried about the phenomenon of his success, Jagger (then, a doey-eyed innocent - on the surface at least - who sported a page-boy cut and fashionable tweed jacket with collar turned up, just so) opined off the cuff:

"I guess, there is a chemical reaction, of sorts."

News reels of yesteryear reveal a surprisingly down-to-earth quality and Jagger's healthy sense of humor.

For example, when Dick Cavett starts to pose a simple question - which ends up being a long-winded, confusing one - Jagger grins, shakes his head, and confesses with a sheepish look on his face.

"I've forgotten the question."

Keith Richards could be remarkably quick on the uptake, too.

When one reporter probed - What question are you asked most?" - without skipping a beat e chuckled "That one" - with a delicious smile on his face.

Given the opportunity, I'd ask Mick about his wardrobe selections.

Are they of his own choosing - conjured up with the assistance of a stylist - I wonder?

In "Shine", he sparkled and made tantalizing fashion statements.

The lead singer for the Stones - the world's "top rock band? - tends to favor elegant button down shirts in lush fabrics (oftentimes, fashioned in blood red) usually highlighted with a stylish panels adorned with sequins running down the front.

On occasion, he squeezed into a black "T" with a spray of glitter across the face - which caught the light - and subsequently dazzled.

In one shot, he looked for all-the-world like an idyllic "Prince of Pop" in a tastefully-tailored Tuxedo jacket - with ubiquitous tails and satin lapels - to boot.

A mainstay?

Black jeans, which fit snugly, and screamed out pure "sex" appeal.

At the beginning of the film, Scorsese often came across as a wise old owl perched on high from afar.

His on-the-ball crew often captured the award-winning director fussing about behind-the-scenes - and occasionally - rabble-rousing with Jagger over an issue or two.

But - when the lights went up and the show began - the camera-work was flawless and carried out to perfection.

The expert cameraman were there to catch each solo riff, or striking vocal that chimed in unexpectedly from across the stage, for instance.

In fact, the reveal was so up-close and personal now and then, that the audience caught sight of Jagger's dental work and perspiration soiling his underarms.

Back off a little, Marty.

While the cinematography was excellent for the most part, the lighting - in contrast - was not very flattering to the boys, at all.

If what they say is true - you get the face you deserve at fifty - then it applies in this instant case.

The mugs of Mick and the boys were haggard and deeply-lined; a roadmap which reflected the downside of their jet-setting, party-hearty lifestyle, eh?

One failing of the documentary?

Scorsese failed to take a foray into their backstage personas; in fact, their seemingly endless days of wine and roses and lusty pursuit of women, is left out in the cold.

Essentially, the doc is a superficial glance at Jagger and the lads.

In sum, "Shine A light" doesn't.

Perhaps, it would be more aptly titled "In Concert".

For this reason, as a whole, the audience doesn't get much satisfaction.

Scorsese directed!

Tuesday, April 1, 2008

Bold & Beautiful...the "Blond and the Bad"; set the greedy b**tards adrift!


Well, guess 'ya heard, our two sisters unions are in a big cat fight right now over jurisdictional turf!

This past week my e-mail box has been rattled by missives from the administrative heads of SAG and AFTRA, respectively, begging for support.

A bitter dispute, but there will be a resolution, no doubt.

Traditionally SAG maintained jurisdiction over all productions that were shot on film; while AFTRA kept a vigil over projects taped on video.

The three camera video process first developed by Desi Arnaz for the long-running comedy - "I Love Lucy" - is generally used for the Soaps, TV Sitcoms, and News Broadcasts.

However, a few years ago, shows like "Cheers" - although 3-camera in nature - started using film to rustle up a higher quality image for a more sophisticated night-time audience.

The sad part - for performers anyway - is that working on a project that falls under the AFTRA contract usually means less pay. Hence, the reason actors prefer the more prestigious offerings that come SAG's way.

Of course, in recent years - what with run-away production and industry expansion into Cable, Music Videos, Reality TV, and Internet rich media - AFTRA and SAG have become more competitive about the pickings; hence, the current bitter dispute which is a major departure from the past amiable stance of the two entertainment heavies.

I was quite galled, though, when I learned that part of the recent upheaval was due to the fact a posse of spoiled actors over on the "Bold & Beautiful" suddenly decided to entertain the ludicrous notion of jumping ship (fleeing the AFTRA camp) to take wing under the SAG umbrella for purely selfish greedy motivations: bigger bucks!

You know, I've always referred to that dim-witted show - deservedly so - as the "Blond & the Bad".

For good reason; after all, I know from whence I speak.

When the daytime soap first started up, a storyline featuring a catering company was crafted around one of the young nubile leads, Brooke. For several weeks, I played one of the caterers in the tawdry slow-moving subplot which went nowhere fast.

Yeah, life's a drag for the rich in Malibu, you bet!

What astounded me most were the temperaments of the young stars, who - for the most part - were dredged-up out-of-the-blue with little or no acting experience or newly-minted from some dismal acting academy east of La Brea, somewhere.

In all the years I've been in the "biz" I've rarely encountered such "ATTITUDE" among a regular cast of featured players, a lack of empathy for fellow actors, and an overall lack of professionalism.

Talk about a disregard for others; Ron Moss (Ridge) acted like he owned the show.

But, Susan Flannery - who plays the part of the matriarch to the hilt - was the absolute worst! Rarely ever content, she often haggled with the director - and more-often-than-not - threw her weight around which was considerable.

In fact, the tensions were so high on the set you could cut through 'em with a chainsaw, just maybe!

The soap tattlers are tittling that Flannery may pack it in, retire. Good riddance!

But, the problem was not just in front of the camera.

Shortly after the sweet casting gal Jill hastily departed to marry a rock musician, some mousy little secretary by the name of Christie Dooley crawled out from under a rock to take her reins.

After that, I never worked on the show again. Cast out, like a leper!

I have a theory that she didn't want people around who were witness to her humble beginnings; after all, the low-life schemer was inclined to weave some grand plans of her own!

In a short while - in spite of the fact she lacked the credentials - she was actually conducting acting classes and workshops for struggling actors in the Hollywood area.

Talk about the blind leading the bland.

For twenty bucks or so she'd rent herself out to actors. But the truth of the matter is that most thespians regarded her coaching skills with disdain.

If the truth be known, actors were only signing up to charm her pants off, with the specific aim of landing a plum role on the show.

Of course, Ms. Dooley was wise to the game; she not only played it to the max, but lined her sow's purse with their cash and laughed all the way to the bank, as well.

The acting workshop "scam" is one of the oldest in the business and is generally frowned upon by Agents and Union Officials in particular.

Frankly, I was appalled that head honcho William Bell - the respected producer of "B&B" and "The Young & Restless" - didn't cut her loose.

I mean, it reflected so negatively on CBS and the soaps produced there and industry standards, at best.

So, of course, look who ended up on the show?

A non-charismatic cast of no-talents.

Go figure!

I say, cut the greedy b**stards loose, and set them adrift.

We need unity in our profession now, not petty outbursts from prima donnas, with little regard for what's best for the Industry and the solid traditions of Hollywood.

Monday, March 31, 2008

Backlot Film Festival...Lucille Ball classic screens. Tribute to Carl Reiner!


Lucille Ball classic to screen...


The 3rd "Annual Backlot Film Festival" returns with an eclectic mix of new releases, old classics, and a handful of intriguing shorts and documentaries.

The mission of the Backlot Film Festival is threefold: to give independent filmmakers the opportunity to showcase their work for industry executives and distributors; to create a better understanding of the motion picture art form of the last one hundred years; to explore the rich film history of Culver City, West Los Angeles and the beach cities of Santa Monica, Venice and Playa del Rey.

This year the program includes World Premiers of fourteen feature-length films, celluloid art pieces by the "Masters" of film, and a catalogue of documentary and shorts sure to be crowd-pleasers.

In addition, there will be Arthur Freed tribute screenings and an awards ceremony.

For example - on Wednesday April 2nd - the much-anticipated annual festival will screen "DuBarry was a Lady" (Arthur Freed) starring the screwball comedienne Lucille Ball, funnyman Red Skelton, and celebrated dancer, Gene Kelly.

"DuBarry" is a must see on the wide-screen.

On a more serious note, there will be a world premiere of the feature - "Chekhov and Maria".

This independent feature is a drama which focuses on the Russian playwright and his sister - who were at odds with each other - over the author's secret marriage.

The filmmaker also zeroes in on the difficulties Chekhov encountered creatively - as he struggled to put the finishing touches on his stage masterpiece - "The Cherry Orchard".

I once starred in a stage production of - "The Marriage Proposal" (a Chekhov comedy) - and won a drama Festival award for my portrayal of the lead character, Lomov.

So, I'll probably want to catch this feature, starring Ron Battitta and Gillian Brashear.

The project was directed by Eric Till.

To top off the first exciting day of events, there will be a World Premier of a Sci-Fi entry - "InAlienable" - which looks like a sure bet.

Guilt-ridden over the death of his family, a man discovers his body is host to a parasite from another world that the government believes is a threat to mankind.

The thriller stars Richard Hatch, Courtney Peldon and Walter Koenig.

The former "Star Trek actor" - Walter Koenig - penned the script.

The independent feature was directed by Robert Dyke.

A Question and Answer session will follow that screening.

This year, the festival bestow the honor of a coveted "Arthur Freed Award" on best student film.

Arthur Freed was a legendary songwriter and producer.

Three of his classy entertaining films - "DuBarry Was A Lady", "Cabin In the Sky", and "Gigi" - will also be screened.

The award will be presented by Stephen A. Saltzman (President of Arthur Freed Productions) who is the grandson of the legendary filmmaker.

In addition, Zev Yaroslavsky (Los Angeles County Supervisor) will receive a "Founder’s Award" for his contributions to the Arts and Film industry.

This year’s "Backlot Film Festival" will also honor gifted comic Carl Reiner (a multi-faceted talent who wears several hats) with the prestigious "Thomas Ince Award" for his contribution to the industry.

Carl Reiner’s illustrious career spans seven decades.

He made his directorial film debut in 1967 with "Enter Laughing".

He went on to direct the comedy, "Where’s Poppa?" (starring George Segal and Ruth Gordon); "Oh God!"(George Burns and John Denver); and "The One And Only" (Henry Winkler).

The legendary entertainer - by virtue of his God-given gifts - has been instrumental in puffing up the careers of other luminaries in the biz such as Steve Martin, John Candy, Kirty Alley and Bill Pullman, to name a few.

Recent film appearances have included blockbuster hits like the "Ocean’s Eleven" series - but old-timers fondly recall his finely-tuned performances in full-length comedy features such as - "The Russians Are Coming", "It’s A Mad World", and the "Slums of Beverly Hills".

In the 1950’s, Reiner’s career initially took off on Broadway when he landed a role in the stage production of, "Call Me Mister".

From there he smartly sidled up to Max Leibman on the "Your Shows Of Shows", which starred Sid Caesar.

After creating the "The Dick Van Dyke Show" (he wrote and directed many episodes) he was inducted into the Emmy Award Hall of Fame.

And, there has not been any looking back since.

The "Thomas Ince Award" is named after Thomas Ince - a pioneer in early film production - who greatly influenced the model for motion picture production standards in the modern day.

Thomas Harper Ince was born into a vaudeville family in Newport (Rhode Island) just before the turn-of-the century.

The precocious lad first graced the stage at age six, often appearing in Broadway hits of the day.

Though motion pictures were held in low regard by serious actors in the early part of the 20th Century, Ince - desperate to spread his wings - abandoned the theater to pursue a film acting career many thought disreputable, at best.

After a handful of on-camera acting jobs with Biograph Films, the young upstart joined forces with Carl Laemmle's IMP Productions, where he was given the opportunity to direct.


Once in the fold - he was fortunate to cross paths with Mary Pickford - whose star was just on the rise.

Laemmle wooed the popular actress from the Biograph Company which was a part of a Motion Picture Trust headed by Thomas Edison.


To avoid legal hassles with The Motion Picture Trust, Ince and Pickford (America's sweetheart was Canadian, like moi!) went to Cuba where they set up production.

Sounds a little like run-away production headaches we hear about today, eh?

The venture ended when their cameraman landed in a Cuban jail!

Both Ince and Pickford moved back to Tinsel town where the golden boy soon gained a reputation for directing films of superior quality.

Tired of the low quality of westerns shot at the time, he sought to combat that problem by putting a whole Wild West show (complete with real cowboys, Indians and a herd of buffalo) on the payroll.

He demonstrated his business savvy, too, when he purchased 20,000 acres of land (which became known as "Inceville") to faciliate as locations for a slew of Westerns he intended to shoot out-of-doors.

Francis Ford directed some of Ince's earlier westerns - which starred a charismatic actor he knew from the Broadway stage - Willam S. Harte.

Thanks to Ince, Harte became the most popular western star of the era.

Ince later built two motion picture studios in Culver City, which included a scene dock and a carpenter shop to build sets. Not to be left idle, he generally presided over the production details of all the films shot on the lot and gave detailed shooting instructions to the directors, as well

On the night of November 19, 1924, Ince was fatally injured aboard the yacht of newspaper mogul William Randolph Hearst.

After the scandal rocked Hollywood, Thomas Ince's film contributions kind-of faded to black; subsequently, his rightful place in Hollywood film lore has become greatly diminished over the years.

Ince's early studio and filmmaking techniques are often put up there today on a pedestal alongside those of film great, W.G. Griffiths.

Past honorees of the award include producer Daniel M. Selznick ("Gone With the Wind") and writer/producer Budd Schulberg ("On The Waterfront"; "A Face In The Crowd").

The festival will also screen two of Carl Reiner’s features, "The Comic" and "All of Me".

A couple of episodes from - "The Dick Van Dyke Show" - will also screen.

See ya there!


Film Pioneer, Tom Ince died mysteriously on Hearst Yacht...

Los Angeles City Council...SJR 20 intro by Councilman Zine, April 2nd, 2008! Vote on Medical Marijuana resolution!



On April 2, 2008, The Los Angeles City Council will vote on a resolution introduced by Council Member Dennis Zine supporting CA Senator Carole Migden’s Senate Joint Resolution 20 (SJR 20), which calls on the President and US Congress to stop raiding medical cannabis facilities.

SJR 20 asks that the President and Congress of the United States enact legislation requiring federal law enforcement to respect state medical marijuana laws, to cease raids of medical marijuana dispensaries that are operating legally under California and local law, and to return any assets seized from medical marijuana dispensaries and collectives to the states in which they are located.

And, in sum, urges Congress and the President to take notice that Californians are best equipped to deal with the implementation of their state medical marijuana law.

Essentially, by taking this action, The LA City Council is standing up for patients’ access in the wake of six simultaneous raids at facilities last week which resulted in cries of foul from concerned Medical Marijuana activists who protested last week in downtown Los Angeles.

I reported on the lively demonstrations which took place on the street in front of the DEA Headquarters at 255 East Temple Street.

Post:
March 24, 2008
DEA protest...Americans for Safe Access to picket the Federal Building! Pot Busts must end!

Post:
March 25th, 2008
DEA Protest...House Judiciary Committee to hold hearings!
Supreme Court cracks open door; LA City Council drags feet...

This is an important part of a growing statewide trend to oppose federal intimidation and DEA interference with California State Law.

Hence, Americans for Safe Access urge all concerned California residents to attend the hearings and lend their support:

Date: April 2, 2008 (10:00 A.M.)
Location: Room 340, 200 N. Spring St., downtown LA
Map & Public Transit Info: http://www.ASAaction.org

See ya there!

Tracey Ullman...State of the Union; new show, Showtime!


At long last Tracey Ullman has a new show - "State of the Union" - to preview on Showtime!

At press time it was noted that Ms. Ullman will be playing a wide array of characters - well-known celebrities, politicians, a homeless street person - you name it. She'll undoubtedly accomplish the task in her own inimitable style.

On what is expected to be a wild romp each week, Ms. Ullman will explore a handful of topical issues that take a satirical poke at life in America - the trend towards foreign adoptions (by those who shall remain nameless) or the farce of airline security, for instance - while showcasing Ullman's insightful gift for revealing truisms we're often too embarrassed to acknowledge.

Years ago when I was pounding the pavements for work I cajoled casting directors into landing me spots on two of Fox's big hits - "The Tracey Ullman Show" and "In Living Color".

In spite of the fact I'm not black, I managed to weasel my way into a skit with the "Brothers Brothers", for instance.

Since those heady days when the mention of "In Living Color" pops up in idle chit-chat, I jokingly laugh that I was a token white on the hit variety show. Actually, I was in a scene with Jim Carey before he soared through the roof to mega-star status. Can I be far behind?

There was also an opportunity to work with Ms. Ullman a short time later, too.

The hits kept coming.

In a Christmas special I played a postal worker caught up in the merriment of Tracy's antics as she does a sort-of striptease to "Santa Baby" in the back room at the staff party.

A laugh riot.

Friends occasionally call me up and excitedly gush that they caught me on an old re-run. Yeah, I'm stuck in syndication heaven.

And, thanks to the cable God, I still look about 30!

I wish Tracey well with her new offering.

I understand the reviews have been mixed, but we'll see.

I mean, you either love her or hate her, eh?

Sunday, March 30, 2008

Rage West Hollywood...nightclub, Sunday Dance Party!!!










When you slip into RAGE - suddenly - you are swept up into a sea of toned sexy twenty-somethin' bods amid a swirl of scintillating fashions undulating to the latest pop beat.

On Sunday nights, in particular, there's a lot of high-energy in-your-face gettin' down on the dance floor sure to conjure up an adrenalin rush.

Maybe a handful of politicians should drop by and take a gander; after all, there's no racial tension here. Attitudes are left at the door and a crowd of party-goers - Asians, Latinos, Blacks, and Whites - all mingle and mix for a night of sheer unadulterated fun.

Last night, there was quite a bevy of young beauties on hand sipping on exotic cocktails, chatting up friends, and sashaying about - casting come-hither looks.
Oh yeah!

In my youth, I wiled away many an hour here. Then, usually headed home blasted.

Uh-huh.

They didn't call the bar on the corner - "Lost on Larrabee" - for no good reason!

Warning: the trendy crowd is prone to rush the dance floor when the likes of Britney, Justin, Madge, and Alicia pop up on the wide-screens overhead amid a jubilant laser light show.

Get there early, no cover.

See ya!

Hillary Clinton..."Lust, Caution"; movie drags on!

Tango, anyone?


For someone who is hailed as a bright woman, Hillary Clinton doesn't appear to have a clue.

To some, she's like the party guest who overstayed her welcome, or the elephant in the room that no one wants to talk about.

Some, just wring their hands in despair, and pray she'll move on.

The ongoing battle with Barack Obama - which the news team at CNN is now labelling a "slugfest" - is hurting her each day she hangs on.

A case in point...

Many are worried the former first lady may thwart the Democratic party's play for the White House, if she doesn't make a quick exit soon. For good reason.

The sparring with Obama has turned off voters in such pandemic proportions, that the dog-fight may be the reason the undecided cast their ballot for John McCain this fall.

For sure, McCain's winning the battle at home, if not in Iraq. The old war horse must be sitting back gleefully - as the two prance around the National Stage - in what appears to be a bad segment of Fox's "Dancing with the Stars".

One Senior Senator - Patrick J. Leahy - was blunt; he urged Mrs. Clinton to abandon her presidential bid and cede to Barack Obama - especially in view of the fact that another Senator, Bob Casey of Pennsylvania, publicly announced his support for Barack Obama this past week.

But, Mrs. Clinton isn't ready to toss her pant suit into the ring just yet. That may be part of the problem. Some complain that she's got so much baggage, she can't fathom where to start packing.

Meanwhile, on the sidelines, her rivals snidely snicker that the fiasco is turning into a long drawn-out movie, of sorts.

Ole big ears was quick on the uptake, and inclined to respond with perfect aplomb,

"I like long movies."

Yeah, well this one should be titled, "Lust, Caution"; namely, Bill's lust, and Hillary's need to be cautious, as her political career starts to turns sideways and flip into oblivion.

Unfortunately, the catchy title is taken.

And, not even Ang Lee, could make it a smash at the box office.

Straight to video, for sure!

Leadership...quote!


I am the leader of men
When -
I am the servant of mankind

Julian Ayrs
Chocolate Buddha
Collection of Poems
 
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