Posts Tagged ‘Batman’

Way Out Wednesday: The Bat Boys, “Batman”

batmanbatboys frontWith the Batman: Arkham Asylum game coming out this week (for PS3, Xbox360 and PCs), I thought I’d throw out another Batman-related album for you. When the Batman TV show came out it seemed like you couldn’t swing a dead bat without hitting some sort of Caped Crusader tie-in, and record albums were no exception. Some were pretty good. Some, not so much. I’ll let you judge where this one falls.

This first song is the Bat Boys’ version of the Batman theme song. This really isn’t too bad, with a nice swinging organ solo.

Batman Theme

I hope you liked the previous song because, despite the name Batman and all the sound effects on the album cover, absolutely nothing else on this album is remotely Batman related! There’s not even any name checking in the song titles. What the songs I picked from this album do have in common, though, is that they’re jazzed-up versions of classical tunes. The first, “Uppercut Blues,” borrows heavily from “Flight of the Bumblebee” (which was actually the Green Hornet’s theme song). The titles of these songs seem to be pretty random. You can maybe imagine people punching each other while listening to this song, but there’s nothing bluesy about the song at all!

Uppercut Blues

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Way Out Wednesday: “Songs and Stories About the Justice League of America”

jla_recordcover(tifton)Here’s another album to go with the Superman and Batman ones I talked about earlier. Although they aren’t credited, these songs are most likely performed by the Merriettes again. This album features the entire Justice League. Unlike the Superman and Batman albums, this actually has songs and stories on it, but since we’re all about the music here, let’s take a listen to the songs.

We’ll start things off with the Justice League’s song. The line-up here is Superman, Batman, Wonder Woman, Flash, Aquaman, Metamorpho, and Plastic Man. Correct me if I’m wrong, but I’m pretty sure that this particular incarnation of the Justice League never existed. In fact, I don’t think Plastic Man was ever in the League until a few years ago. I really like this song’s swinging organ accompaniment. Listen for the Justice League roll call: Wonder Woman sounds like a guy speaking in falsetto and Batman sounds like an old Jewish man!

The Theme of the Justice League of America

This album also features a song about each of the individual heroes (except for Batman and Superman who, as you know, had their own records). Here’s the song about the Flash. Many of these songs seemed to work from a checklist: give the hero’s true identity, explain his power, and mention something special about him. The first verse is about how fast the Flash is; the second verse covers his real name (Barry Allen), that he works for the police, and that he keeps his Flash costume in a ring on his finger. What else do you need to know?

The Flash

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Way Out Wednesday: The Merriettes, “Children’s Treasury of Batman Musical Stories”

Here’s a wonderful record of songs featuring Batman and some of his DC Comics cast of characters, sung by a group called the Merriettes. Like the Children’s Treasury of Superman Musical Stories, each character gets two songs.

This first track has an intro reminiscent of the Batman TV show’s theme, which I would assume was the reason for the album in the first place. I did find one thing odd, though: on the show, I thought the Caped Crusader was always referred to as Batman, but on this record he’s always called the Batman. I know he’s called that occasionally, but I didn’t think it was happening yet in the ’60s.

Look Out for the Batman

Here’s the second song featuring (the) Batman. It’s a sprightly little tune, even though they sing about “When someone tries to plot a holdup or a killin’.” Yeah, I know they just used the word to have something to rhyme with “villain,” but that’s still a bit more intense than I’d expect on a children’s record!

It’s the Batman

The next song features Robin the Boy Wonder. (At least they don’t call him “the Robin.”) In this one they sing about all the amazing things Robin can do. Heck, if he’s “an acrobat, a pugilist, mechanic, wizard, and scientist,” what does he need Batman for? I do like the jazzy little instrumental break in the middle, though.

There Goes Robin

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Bootleg City: 3 in New York City, April ‘88

Happy Fourth of July, everyone! As the mayor of Bootleg City, it’s my responsibility to give you the best aural fireworks display money can buy, but therein lies the problem — Bootleg City has run out of money.

You see, Fiscal Year 2008 was kind of a downer in Bootleg City, just as it was for many other cities around the world. Did you hear Gotham City is liquidating its entire police department and putting all further law enforcement in Batman’s hands? And in Erotic City, the Fruit on the Bottom Edible Underwear factory closed earlier this year, putting thousands of citizens out of work and forcing them to wear real underwear for the first time. Mayor P.R. Nelson responded to the crisis by saying, “If we cannot make babies, maybe we can make some time. Thoughts of pretty you and me, Erotic City come alive,” which seems to indicate City Hall is heavily courting the cuckoo-clock industry to set up shop there sometime soon.

Here in Bootleg City I was hoping to present you with a great Jackson 5 bootleg on the Fourth, but instead you’ll have to settle for 3. You remember 3, don’t you? Yeah, neither do I, but here’s a little bit of background …

Popular prog-rock trio Emerson, Lake & Palmer broke up in 1979. Six years later, keyboardist Keith Emerson and bassist Greg Lake got back together without drummer Carl Palmer, who was in Asia at the time (the ’80s supergroup, not the continent; then again, I don’t have the man’s itinerary for that decade, so anything’s possible), and formed Emerson, Lake & Powell with drummer Cozy Powell. ELP thus became a slightly different ELP, with a drummer whose initials were the same as the first guy’s. Totally uncool, guys. But at least Steve Augeri, the Steve Perry look- and soundalike who replaced Perry in Journey in the late ’90s, can’t say a precedent hadn’t already been set.

ELP2 broke up after one album, at which point Emerson got back together with Palmer and they added a new guy, Robert Berry, on bass. Somewhere along the way they must have decided “EBP” wasn’t catchy enough, so they did a quick head count and came up with “3,” giving Geffen Records’ marketing department a terrific reason to reach for the nearest noose.

Like ELP2, 3 only recorded one album: 1988’s To the Power of Three. On April 14 of that year they performed a show at the Ritz in New York City that was then broadcast on WNEW-FM, and is brought to you today by our own Dw. Dunphy. Thanks for the bootleg, Dw.!

Next week the citywide budget cuts continue, with a bootleg of Three Dog Night performing one song — Nilsson’s “One,” of course — that will only be available for download for half a minute. We all have to make sacrifices, people.

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Blu-ray Review: “Batman: 20th Anniversary Edition”

Batman: 20th Anniversary Edition (2009, Warner Bros.)
purchase from Amazon: Blu-ray

The movie industry seems to break a new record for box-office totals every single year, but if you remember the summer of Tim Burton’s Batman — and all the crazy lengths people went to in order to get tickets for an opening night screening — you know that the movies themselves tend not to inspire the same level of frenzy that they once did. I was 15 when Batman came out, and I remember spending pretty much an entire day looking for a theater that wasn’t completely sold out; I ended up at a midnight screening at a dingy little multiplex over an hour from where I lived, and I went home absolutely thrilled with the experience.

I’ve seen all of Warner Bros.’ subsequent Batman adaptations, but none more than once, including the original, so I was eager to break in my new Blu-ray player with the 20th Anniversary Edition release that hits stores tomorrow. Although there isn’t really anything new here — it just breaks off Batman from the previously released Anthology box — it was all new enough to me, and having never been a fan of the “buy the whole series or you don’t get none” philosophy that studios love, I was staunchly in favor of this edition even before I unwrapped it.

The movie, though? It doesn’t hold up so well. Twenty years can do a lot of things, and not all of them are kind. (more…)

Sugar Water: “Stay Strong”

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Laid Off But Not Lying Down
The
Daily Planet’s veteran crime reporter discovers a new scene.

In 1978, one week before Christmas, Clark Kent was hired as the Daily Planet’s newest reporter on the metro crime beat. Last October he was laid off, another casualty of the newspaper industry’s current downsizing, as profits from print advertising continue to dry up and a workable business model for online ads remains elusive.

“As far back as I can remember, I wanted to work for a newspaper,” Kent said one recent afternoon at Grounded, a trendy new coffee shop on Lester Street that some residents of Metropolis view as a symbol of the surrounding neighborhood’s increasing gentrification. “It was hard not to feel like a big part of my identity had suddenly vanished.”

For the Planet and its readers, the loss of Kent is significant. Always at the scene of the crime before other reporters, he seemed able to predict when bank robberies, muggings, and acts of arson were about to occur, not to mention major attacks by criminals from foreign galaxies. “I just have a nose for news, that’s all,” Kent explained in an aw-shucks manner that betrays his small-town roots.

He doesn’t blame Planet publisher and editor Perry White for the loss of his job. The paper’s owners, however, are another matter. “Wayne Enterprises had no strategy for digging the Planet out of this mess. They’re just letting it die. We’d get these e-mails that said, ‘If you want this paper to continue being a first-rate source of news, you need to stand up and fight for it.’ Great. One more thing to do when I’m not writing copy and keeping a crime blog up to date. Next thing you know, they’ll be asking editorial to sell ads.”

Kent says he’s never met Wayne Enterprises CEO and Planet owner Bruce Wayne. “He might as well be a ghost. I don’t think Mr. White’s even met him. Everybody wishes a crazy rich guy would buy their paper these days, but you don’t want him to be so crazy he won’t even bother to send a mass e-mail when the paper’s going down the drain. I guess he’s too busy flying around in his jets.”

Still, it’s better than when Lex Luthor was in charge. “Wayne may be a military-industrial nut, but he’s not a megalomaniac, and he doesn’t tell Mr. White what he can or can’t publish. He would never buy the paper just to shut it down like Luthor did a few years back.” Kent doesn’t have nice things to say about the tycoon’s newest venture into journalism, the Luthor Log (luthorlog.com), a news website with an ultraconservative bent. Luthor doesn’t pay his contributors, and recently he’s been linked to the disappearance of political columnist Bonnie Barker, who allegedly demanded payment from him last summer, then moved to Canada in disgust. None of her family or colleagues has heard from her since.

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How Bad Can It Be?: “Batman Year 100”

My primary brief, with How Bad Can It Be?, is to look at media product that for whatever reason—an unpromising premise, a poisoned reputation, a creator’s track record—gives me no reason to expect that it’ll be any good, and to try to give that work the benefit of the doubt. But occasionally, something comes along that, on paper at least, should work. The question then becomes, “What went wrong?” Such is the case with Paul Pope’s Batman: Year 100 (DC Comics).

The Batman, of course, is a hugely iconic property, and it’s easy to see why. Through all the various artistic takes and interpretations he remains a strangely inspirational figure; he’s One Man making A Difference, overcoming the trauma of his origins to recast himself as a protector of the weak, with no powers but his own indomitable will. For all that he is a terrifying badass, the Batman is perhaps the most lovable of superheroes, and his hard-edged altruism has proved a durable storytelling engine.

And Paul Pope? He’s your genuine comics rock star. From his earliest small-press works like THB and Escapo to more polished recent productions like Heavy Liquid and 100%, Pope has trafficked in SF adventure with an art-house sensibility. It’s bracing stuff—blazingly paced and compulsively readable, justifying the self-bestowed nickname “Pulphope,” shot through with smart speculative elements and moments of aching tenderness. And it’s all rendered in a kinetic, swaggering line, crackling with energy.

So when DC Comics announced that Pope would write and draw a four-issue miniseries re-imagining the Batman in a near-future setting—2038, to be precise, 100 years after his debut in Detective Comics—it seemed like an aesthetic sure bet. (more…)

Sugar Water: Break On Through (To Another Side of Acting)

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“A liar lies and a thief steals from you, but a hustler gives you something that you don’t mind parting with your money for. You’re entertained by the meal or the sex or the impression that something is going to happen. You’re given a sense of well-being….” –actor Val Kilmer describing porn star John Holmes, who he portrayed in 2003’s Wonderland

Val Kilmer wants to be the next governor of New Mexico. In fact, as he told the Associated Press in a recent interview, “If I run, I’m going to be the next governor.”

That’s the spirit! After all, Arnold Schwarzenegger had never held public office before he became governor of California in 2003, and by most accounts he’s done an admirable job in that post. But Schwarzenegger was always more of a movie star than an actor, and one reason he got to be such a huge international star was because he was a smart businessman (and, by extension, politician). He promoted action films like Total Recall and comedies like Twins with equal amounts of salesmanship and hyperbole, appearing on as many talk shows and in as many entertainment magazines as he could. He knew he wasn’t a great actor, and he knew his fans didn’t want to see him try anything Oscar-worthy, which is why the clip of him playing a pyrotechnic Hamlet in 1993’s Last Action Hero is the best joke in that otherwise misbegotten attempt at melding Schwarzenegger’s two favorite genres. (“To be or not to be,” he says before deciding on “not to be” and detonating the royal castle.)

Kilmer, however, is much more of an actor than a movie star, despite matinee-idol looks and brief brushes with superstardom in blockbusters like Top Gun (1986), in which he played one of Tom Cruise’s rivals, and Batman Forever (1995), where his Batman was overshadowed by Jim Carrey’s Riddler and Joel Schumacher’s campy direction. (To be fair, 2005’s Batman Begins is the only Batman film that focuses more on the title character than the villains. Even last year’s critically adored The Dark Knight gave more screen time to the Joker and Two-Face.) Kilmer decided not to reprise his role for 1997’s Batman & Robin. This probably pleased Schumacher, who returned for the franchise’s fourth installment and told Premiere magazine in ‘97 that “Val is the most psychologically troubled human being I’ve ever worked with. The tools I used to work with him — tools of communication, of patience and understanding — were the tools I use on my five-year-old godson. Val is not just high-strung. I think he needs help. I say this to you only because I have said it to him.”

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CHART ATTACK!: 8/19/89

I am totally attacking this chart, mofos!

Hello, everybody! I’ll be honest with you — this chart kind of stinks. I mean, it’s not “wretched,” but I wouldn’t say it’s “good by any stretch of the imagination,” either. But you know what? I open my Billboard book, close my eyes, point to a chart, and deal with what’s in front of me. (Except when I delegate it to other writers.) Anyway, prepare to get your new jack swing on as we attack August 19, 1989!

10. So Alive — Love and Rockets Amazon iTunes
9. Secret Rendezvous — Karyn White
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8. Batdance — Prince
Amazon iTunes
7. I Like It — Dino
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6. Hangin’ Tough – New Kids on the Block
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5. Once Bitten Twice Shy — Great White
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4. Don’t Wanna Lose You — Gloria Estefan
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3. Cold Hearted — Paula Abdul
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2. On Our Own — Bobby Brown
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1. Right Here Waiting — Richard Marx
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Dw. Dunphy On… “Freakazoid!”

For all my pretensions, all my attempts to present myself as a literate, knowledgeable, and discerning fellow, I’m really a lowest-common-denominator guy at heart. I don’t often allow that to come through. I know that a fart joke is just about the basest, most tasteless thing in the world, especially during Holy Communion, but it can also be the most freakin’ funny thing in the world, especially during Holy Communion, especially if it’s insinuated that it was the monsignor who stepped on the duck.

I’ll tell you about it someday.

That may explain my fascination with the Kids’ WB! animated series Freakazoid!, produced by Steven Spielberg back in the rip-roaring mid-’90s. Warner Bros. Television Animation had been through a resurgence of sorts, propped up by the success of the moody, atmospheric, and terrifically written Batman: The Animated Series. They suddenly had the rest of the entertainment world paying attention, so much so that Spielberg’s Amblin Entertainment came to call. From there, a succession of fondly remembered series tumbled out: Tiny Toon Adventures, Animaniacs, and Pinky and the Brain. The word came down that Spielberg’s next series should be a superhero show, so Bruce Timm, an integral part of the Batman show, started spitballing ideas, working up a premise and designing characters. The result was a show far more earnest than Spielberg planned, so he sent back the message to crank up the humor. He should have been more careful with his direction.

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