SANTA CLARITA COWBOY FEST THIS WEEKEND!
The Santa Clarita Cowboy Festival
will once again take place in Old Town Newhall, at William S. Hart’s own old
stomping ground, Hart Park. The Festival
was inspired by a cowboy poetry event in Nevada, and expanded by an
earthquake! Taking their cue from the
Elko, Nevada National Cowboy Poetry
Gathering, an annual Cowboy Poetry event had been held at the Santa Clarita
High School for a few years when, in 1994, the Northridge Earthquake that
leveled much of California flattened the school’s auditorium. The event was going to be cancelled when the
Veluzat family, owners of Gene Autry’s old Melody Ranch movie studio, offered
their Western street as a location.
It was a hit, and the Festival would
continue there for two decades, growing with each year, shifting its focus beyond
cowboy poetry to include cowboy music and shopping and a celebration of cowboy
culture and Western life, although the doggie
doggerel is still a big part.
Happily, interest in Western film and
TV has had a mighty resurgence, and Melody Ranch, which had been a sleepy
hamlet since the cancellation of DEADWOOD, became in great demand: Quentin Tarantino leased it for a year for
DJANGO UNCHAINED, and HBO for two years for WESTWORLD. The Festival had to relocate, and is now
celebrating its 3rd year among the historical buildings at Hart
Park.
Andrea Kidd, Peter Sherayko, Don Edwards, Bobbi Jean Bell
There will be five performance
stages, two large shopping areas – Sutlers’ Row and Mercantile Row – living
history activities, decidedly Western activities for grown-ups and for the
little squirts, a vast array of grub, a tour of Hart’s mansion, and a slew of
presentations at the Buckaroo Book Shop and OutWest Stage, right across from
Hart Hall. This venue is presented by
Jim and Bobbi Jean Bell of the OutWest Western Boutique and Cultural Center just
across the street from Hart Park. In
addition to the opportunity to meet your favorite Western authors and buy their
books, there will be events aplenty. Among
the musical talents who will be performing there both days are the legendary
John Bergstrom, Almeda Bradshaw, Women on the Move Trio, and Jerry Hall and
Trick Shot. Bobbi Jean and Jim
Christina, who co-host the Writer’s Block Radio Show, will be hosting panel and
interviewing guests. Cheryl
Rogers-Barnett, daughter of Roy Rogers and Dale Evans, will be speaking about
growing up among Western royalty, and about the smartest horse in the movies,
Trigger.
Western authors Andria Kidd and
Janet Squires will be reading their stories and poems to the youngins, and for
grown-ups, Andria and P.W. Conway will share their poetry. Peter Sherayko, actor, author, and undisputed
go-to man for creating historical authenticity in Western films, will share his
insights on succeeding in the Western film industry. Jim Christina will chat with Western
non-fiction authors J.R. Sanders and Jeff MacArthur about some of the
less-known but fascinating lawmen and characters that enlivened the Old West.
And, yup, I’ll be there, too. At 1 p.m. both days I’ll be with C. Courtney
Joyner, author of the SHOTGUN books series, discussing the odd world of Weird
Westerns, sagebrush tales with horror and sci-fi elements. Sunday at 11 a.m. I’ll be talking with
Westerns novelists and screenwriters Dale B. Jackson and Eric Heisner about
turning Western books into movies and movies into books!
Cliff Retalick creating a live soundtrack for silents!
For the second year, Tom Barnes, he
of the long-running Retroformat series at Hollywood’s Egyptian Theatre, will be
back at the Pardee House to present two days of silent Westerns, all in
glorious 8mm celluloid. And once again the
films will be accompanied by the keyboard virtuosity of
Cliff Retalick. As Pardee House, built
in 1890, was at times a filming location for Tom Mix, Harry Carey and John Ford,
any lingering ghosts should be delighted. Here is the screening schedule, which includes a William S.
Hart and an Art Acord feature:
Saturday
10:00
a.m. Broncho Billy Anderson in Shootin' Mad (1919) (approx. 25 min.)
10:45
a.m. Will Rogers in Hustlin' Hank (1923) (approx. 25 min.)
11:30
a.m. Stan Laurel in West of Hot Dog (1924) (approx. 25 min.)
12:00
p.m. William S. Hart in Knight of the Trail (1915) (approx. 25 min.)
12:30
p.m. William S. Hart in Bad Buck of Santa Ynez (1915) (approx. 25
min.)
1:30
p.m. Art Acord in The White Outlaw (1929) (approx. 70 min.)
Sunday
10:00
a.m. Broncho Billy Anderson in Shootin' Mad (1919) (approx. 25 min.)
10:
45 a.m. Stan Laurel in West of Hot Dog (1924) (approx. 25 min.)
11:30
a.m. Will Rogers in The Cowboy Sheik (1924) (approx. 25 min.)
12:15
p.m. William S. Hart in Bad Buck of Santa Ynez (1915) (approx. 25
min.)
[Lunch
break]
1:30
p.m. William S. Hart in The Narrow Trail (approx. 70 min.)
3:00
p.m. Will Rogers in Hustlin' Hank (1923) (approx. 25 min.)
3:45
p.m. Stan Laurel in West of Hot Dog. (1924) (approx. 25 min.)
4:30
p.m. Broncho Billy Anderson in Shootin' Mad (1919)
5:00
p.m. William S. Hart in Knight of the Trail (1915) (approx. 25 min.)
5:30
p.m. William S. Hart in Bad Buck of Santa Ynez (1915) (approx. 25
min.)
With more than twenty
music acts, American Indian dance by The Wild Horse Dancers, traditional
Mexican dance by Ballet Folklorico, rope-twirling by Dave Thornbury, and gun-spinning
by champion Joey Dillon, there will be plenty to entertain attendees of all
ages and interests.
The hours are 10 a.m.
to 7 p.m. Saturday, 10 ‘til 6 Sunday.
Daily tickets are $13 for adults, $9 for kids, free if you’re under 3,
and you can save more if you buy in advance.
Parking is free, as is the shuttle to the event. You can learn tons more at the official site,HERE.
REMEMBERING STEPHEN LODGE
This February many of us Western fans lost a dear friend, author Stephen Lodge. His career was so far-flung that I was trying to figure out what to write about him, and then I realized he told his own story better than anyone else possibly could. I first met Stephen back in 2011 I reviewed the book that was the story of his life, AND.....ACTION! and interviewed him. Knowing that many of my current readers weren't reading The Round-up back then, I'm re-running the review and interview below. If you'd like to read Stephen's books, you can find them all at Amazon, HERE.
BOOK REVIEW: AND…ACTION!
And…Action! is the story of a fascination with the Western film as seen through the eyes of four people: a kid who grew up on the edge of the film business, an aspiring teenage actor, a TV and movie costumer, and a screenwriter. The odd thing is, they’re all the same man, Stephen Lodge.
Stephen was eight years old in 1951, and like most American boys of the time, he and his kid brother Bobby were obsessed with Westerns -- the B kind and the TV variety. But unlike the rest of us, he was in a position to do something about it that went far beyond wearing his cap-gun rig and watching the tube. Not only did he live in the San Fernando Valley , where so many of the movies were made, his Aunt Bette was a secretary at Monogram Studios, and his Uncle George was a script supervisor for Gene Autry’s Flying A Productions!
(Steve and Bobby with Johnny Mack Brown)
So Stephen begged and bugged his mom until she finally broke down and got his Aunt and Uncle to arrange a visit to a set. The first time it was the Iverson Movie Ranch, for a Johnny Mack Brown film, and from that moment on, the kid was hooked. Soon mom was driving the kids to Corriganville to watch the GENE AUTRY SHOW being filmed, where they met Gene, Pat Buttram and Ray ‘Crash’ Corrigan; the family vacationed at Big Bear Lake
(Gail Davis shooting ANNIE OAKLEY at Melody Ranch)
And Stephen could be a pretty conniving little cuss: he pretended to have started a Jimmy Hawkins fan club to get into Melody Ranch, where THE ANNIE OAKLEY SHOW was being filmed – Hawkins played Annie’s kid brother, Tagg. Over the next few years he had the chance to visit Pioneertown, Bell Movie Ranch, Spahn Movie Ranch (yeah, the one the Manson Family moved in on). As teenagers, he and his friends even got kicked off the set of BAT MASTERSON, although Gene Barry turned out to be such a nice guy that he shared his lunch with the outcasts.
Though written by an adult, the stories are told from the perspective of the little kid who lived them, which is so much of their charm, although the adult world peeks in occasionally: Dickie Jones, BUFFALO BILL JR., is unhappy with negotiations with Flying A, and after he does his scenes, drives away like a bat out of Hell. Another time, the family leaves Iverson Ranch, disappointed that a Roy Rogers shoot has been cancelled, only to learn the reason: one of the Rogers children had suddenly died.
(Filming THE ROY ROGERS SHOW)
Stephen pursued an acting career for a time, appearing in TV shows like FURY, THE FARMER’S DAUGHTER, DR. KILDARE and MY THREE SONS, and features like DINO with Sal Mineo. At age sixteen Stephen spent a summer working as an actor/stuntman at Corriganville, and gives a fascinating and nostalgic description of that summer job most of us would have killed for. (Although maybe not on the day Ken Maynard showed up drunk and belligerent!)
But his long-term film and TV career was as a costumer, starting in 1963 with THE FUGITIVE, followed by the short-lived John Mills Western series, DUNDEE AND THE CULHANE, which took him to Flagstaff , Apache Junction and Old Tucson Studios in Arizona . He worked on many series over the years, and even those like the sitcom CAMP RUNAMUCK Burbank , where Gary Cooper faced down the villains of HIGH NOON. The RUNAMUCK location was soon the home for another of Stephen’s series, HERE COME THE BRIDES. No wonder Stephen considers the Columbia Ranch his ‘home’ studio.
Over the years he worked at all of the studios and ranches, and his passion for them is palpable. He has plenty to say about which were great, like Republic; which were ridiculously small, like Allied Artists (once Monogram, then a PBS station and now a studio for the Church of Scientology); which were chopped down to nothing, re-dressed until they were unrecognizable, or nearly burned to the ground. He worked on Western comedies like THE DUTCHESS AND THE DIRTWATER FOX, TV series like THE DEPUTIES (which introduced Don Johnson), TV movies like THE SUNDANCE WOMAN, and has insights into them all. He worked for Quinn Martin and worked around Andrew Fenady (THE REBEL), and tried desperately to work for Sam Peckinpah. He hung out at the last of the great Western Cowboy Saloons, the Backstage Bar, right outside the Republic gate. Now it’s a sushi bar.
And then there was another career, as a screenwriter. With Steve Ihnat, an actor he met as a guest star on DUNDEE , he co-wrote the rodeo comedy THE HONKERS (1972), starring James Coburn and Slim Pickens. But aside from co-writing KINGDOM OF THE SPIDERS RIO DIABLO made in 1993, starring Kenny Rogers and Naomi Judd, it was after more than a decade of trying.
Now retired from costuming, and writing fulltime, he and his wife have moved to Rancho Mirage, not far from one of his favorites haunts, Pioneertown. When I spoke to him about AND…ACTION! recently, he told me he hadn’t set out to write a book. “I wrote every individual story when I felt like writing one. They were stories that I wanted to share with people, and I’d send them to all my friends. And finally I decided that maybe I ought to put them all together into one big compilation of stories.”
HENRY: What was your favorite experience as a kid visiting a set?
STEPHEN: I would have to say it was Johnny Mack Brown at the Iverson Western Town
H: Well, she hadn’t done the SUPERMAN series at that point. What was your favorite encounter on a set, with a star, when you were a kid?
(Steve with Andy Devine)
S: I think probably the coolest guy was Andy Devine. He was nice to my brother and me; let us sit in a chair with him, offered to buy us a Coke. Pat Brady was just great – he really entertained me.
H: You visited pretty much all of the ranches. As a kid, did you have a favorite?
S: Corriganvile. And I ended up working there. That was kind of a dream. I was sixteen years old, believe it or not, with a .45 tied to my side, out there every weekend.
H: What was Crash like to work for?
S: A very pleasant man. I mostly worked for a guy named Charley Aldrich, who ran the street shows. Crash was there every weekend, and had pictures taken with kids, on his horse, and all. He wanted to do movies in the middle of the week, during the summer, for the people, when there were no movie companies out there. He had an old script for a Billy the Kid show, an old 16mm camera, and a sound system. He cast me as Billy the Kid, so I’d go out there every day, and put make-up on – we had a small number of people pretending to be the crew. We started with film in the camera – and I’d love to get my hands on it, and I think Tommy Corrigan’s got it someplace. We shot two weeks or so, and I rode Flash, his horse, and he let me borrow his gun for the whole thing. That went on until September, when I had to leave abruptly, because I got a real job in
H: You acted on shows like FURY.
S: That was basically a silent bit. But I did shows like MY THREE SONS, and DR. KILDARE. And not too many more.
H: What was it like, after spending so much time on sets, behind the camera, to suddenly be in front of them?
S: (laughs) It’s a little more scary being in front of them.
H: You have a lot to say about Pioneertown.
S: I grew up near Pioneertown. We were up here in the 1950s, when Pioneertown was in pristine shape. We never saw Gene Autry shooting here, but he was shooting up here at the same time. The Red Dog Saloon was open for business, the bowling alley was open for business, the restaurant was open for business – it’s not anymore, but that’s the way it was. It was kind of nice in the old days. I haven’t been there lately, but I’ll be going up there this week. There’s a friend from out of town that I’m going to take up there.
H: What was your first show as a costumer?
S: My first was a commercial at Columbia , and then I did two or three days on THE LUCY SHOW, then I got a quick call to replace the set man on THE FUGITIVE, and I stayed there for the next two seasons.
H: That was a show that was always on the road.
S: We had a lot of fun with that. It was like being in the Army.
H: As a costumer, are Westerns more fun than non-period things?
S: Oh, for me it is. A lot more fun, because that’s what I always wanted to do: whether I was a cowboy or a costumer really didn’t matter.
H: Is it very different being an in-town costumer, versus being off to the Painted Desert or Old Tucson?
S: Well, when you’re on location you get a lot more freedom. So does the director; so do the actors. You get too far out, and someone will make a phone call. I enjoyed the locations more than the at-home stuff.
(Steve at Old Tucson)
H: Do you have any particular memories of Old Tucson?
S: Yeah, that it was awful hot. I always ended up there in July, and it was in the monsoon season. It would rain all night, and bake you during the day. The other little town that Old Tucson owns, I don’t know what they call it now. They used to call it Harmony.
H: Now they call it Mescal.
S: That’s it. They used that in TOM HORN, and I was out there on GUNSMOKE. That was a nice little town. Looked like it was out in the middle of nowhere, but it was actually not that far off the road.
H: You worked on one of my favorite quirky Western series of the late 1960s, HERE COME THE BRIDES.
S: Oh yes! I’m still in touch with a lot of the fans – the middle-aged women. I was on that for half of the first season, and the last season. (We shot that at) Columbia Ranch. And sometimes we’d go up into the mountains of Burbank , or behind Glendale , and we’d go up to Franklin Canyon
H: What’s a ‘green set’?
S: That’s where there’s trees and rocks and it looks like outdoors, but it’s really on a stage. Like WAGON TRAIN, whatever was set up was set up on a green set. That was a fun show to work on. A lot of good people to work with, not only in front of the camera, but behind the camera.
H: In 1972 you went from costumer to screenwriter with THE HONKERS.
S: (laughs) But didn’t stay too long. The money runs out and you go back to rag-pickin’ again. I got three more (movies made) than most.
H: How did THE HONKERS come about?
S: I’d gotten to know Steve Ihnat, we’d done about four, five shows together, and we’d always talk. He’d just finished making this little movie he’d shoot on the weekends I said I’d just written a screenplay, called HONCHO, with Dave Cass, who was my writing partner at the time. I let him read it, and he came back and said, ‘Do you want to write a rodeo script with me?’ I’d go to his place every weekend, write everything down, and during the week I’d put everything into a screenplay format, and come back. We worked on it four weeks. Then we went to a rodeo, to see if we got it right, to get the color, to get the announcer’s way of saying everything. His agent told him to write a script and he could get him a deal directing it, too. They got us a deal immediately with Filmways, for Martin Ransohoff, but Marty passed on it. You’ve got to remember when this was, and we were talking about shooting in real locations, in real houses, and he was talking about building sets in the stage. He passed, and that was a big disappointment. They went to Levy-Gardner-Laven (producers of THE RIFLEMAN and THE BIG VALLEY), and they set up a deal. And before I knew it we were in Carlsbad , New Mexico
H: Any particular memories of James Coburn or Slim Pickens on that?
S: Slim Pickens is probably my favorite guy I ever worked with. And he drove his Mustang like he rode that bomb in DR. STRANGELOVE. A crazy sonofabitch, I’ll tell you. All cowboy.
H: He started out as a rodeo clown. You can’t get much more dangerous than that.
S: No, and in THE HONKERS he fought the bull a little bit.
H: You continued as a costumer and a writer – KINGDOM OF THE SPIDERS
S: (laughs) They didn’t pay me too much for that; it was a success for everyone else. But it’s a good credit to have, because it became a ‘midnight classic.’
H: You didn’t write another western movie until 1993’s RIO DIABLO.
S: Actually we wrote that in 1975, and it was optioned a few times here and there – we probably made more off the option money than on the sale. We made some pretty good money on it when CBS picked it up, but that was way later.
(Steve with Dickie Jones on the BUFFALO BILL JR. set)
(Steve with Dick Jones recently at Lone Pine)
H: Was that a cathartic experience, to get it made so many years after you wrote it?
S: Yeah, and it’s also a very disappointing thing when they start cutting big chunks out of it. There was a lot more with Kansas , that was Stacy Keach Jr.’s part. We had a big scene where they drop bodies off of the stagecoach, and that’s when you first meet Kansas .
H: Are you still writing screenplays?
S: Yes I am, still trying to sell ‘em. (The one I’m working on) is called SHADOWS OF EAGLES; it’s one of my novels that I turned into a screenplay. It takes place in Texas during World War II. I wanted to do a play on THE GREAT ESCAPE, but I wanted to do it in Monument Valley Terlingua , Texas Winchester rifles on horseback, against Germans with automatic weapons and quad trucks. And it’s a big chase across Texas ’ Big Bend . I have a guy who’s publishing it as an e-book.
LONE RANGER RADIO REVIVAL!
Back in October, with the Presidential election just around the corner, I had the pleasure of taking part, as announcer, in a series of election-themed Old Time Radio reenactments, One of them was a Lone Ranger episode, 'The Not-So-Crooked Election', and I was delighted to learn that Steven Kirk, who plays the Lone Ranger, had the show video-recorded. If you're a fan of dramatic -- okay, melodramatic -- radio, watching this will bring back fond memories. And if you haven't seen how Old Time Radio shows were performed, with live sound effects, it might even be educational, and hopefully funny. By the way, Jeff Zimmer, who does the sound effects, also directed.
THANKS A MILLION!
Or make that 1,017,241! That's how many pageviews the Round-up has had since it began in January of 2010. I find it astonishing, and hugely gratifying. As I write, the Round-up is being read in the United States, China, Spain, Turkey, France, Belgium, Lithuania, The Netherlands, South Korea, Germany, and Austria. Thank you so much to all of my readers, in more than 100 countries, who regularly read the Round-up!
THAT'S A WRAP!
I hope you're all enjoying season two of UNDERGROUND on WGN, and the new AMC Western THE SON. I've only seen episode one of the former, and one and two of the latter, so don't give anything away! Coming very soon, video reviews, and my coverage of the TCM Festival!
Happy Trails,
Henry
All Original Contents Copyright April 2017 by Henry C. Parke - All Rights Reserved
Back in October, with the Presidential election just around the corner, I had the pleasure of taking part, as announcer, in a series of election-themed Old Time Radio reenactments, One of them was a Lone Ranger episode, 'The Not-So-Crooked Election', and I was delighted to learn that Steven Kirk, who plays the Lone Ranger, had the show video-recorded. If you're a fan of dramatic -- okay, melodramatic -- radio, watching this will bring back fond memories. And if you haven't seen how Old Time Radio shows were performed, with live sound effects, it might even be educational, and hopefully funny. By the way, Jeff Zimmer, who does the sound effects, also directed.
THANKS A MILLION!
Or make that 1,017,241! That's how many pageviews the Round-up has had since it began in January of 2010. I find it astonishing, and hugely gratifying. As I write, the Round-up is being read in the United States, China, Spain, Turkey, France, Belgium, Lithuania, The Netherlands, South Korea, Germany, and Austria. Thank you so much to all of my readers, in more than 100 countries, who regularly read the Round-up!
THAT'S A WRAP!
I hope you're all enjoying season two of UNDERGROUND on WGN, and the new AMC Western THE SON. I've only seen episode one of the former, and one and two of the latter, so don't give anything away! Coming very soon, video reviews, and my coverage of the TCM Festival!
Happy Trails,
Henry
All Original Contents Copyright April 2017 by Henry C. Parke - All Rights Reserved
