POLISHING THE ‘COPPER’ FOR BBC-AMERICA

For years, BBC America has brought a mix of British programming stateside, but starting on Sunday, August 19th, they will begin presenting their very first, very own dramatic series, COPPER. 

Kevin Ryan and Tom Weston-Jones

It’s an Eastern rather than a Western, set in New York City in the 1860s, and focuses on Kevin Corcoran (Tom Weston-Jones) a tough Irish-American cop working the city’s notorious Five Points district. Corcoran must balance his work, his ethics and his quest to learn the truth about the disappearance of his wife and the death of his daughter. A Civil War vet, two compatriots from the battlefield -- Robert Morehouse (Kyle Schmid), the wayward son of a wealthy industrialist, and Dr. Matthew Freeman (Ato Essandoh), a black physician -- expose him to both New York society, and the black community of Harlem.  They further share a battlefield secret that inextricably links their lives. Corcoran's closest friend is his partner at the 6th Precinct, Detective Francis Maguire (Kevin Ryan).

Among the female characters in the tale are in Eva Heissen (Franka Potente), the madame of Eva’s Paradise and Molly Stuart(Tanya Fischer), the ambitious courtesan at Eva’s brothel.  The uptown girl is beautiful and sophisticated Elizabeth Haverford (Anastasia Griffith).   Sara Freeman (Tessa Thompson) is the wife of Dr. Matthew Freeman.

Franka Potente and Weston-Jones

In the back-story, Dr. Freeman went to war not to fight, but to serve as Robert Morehouse’s valet.  Morehouse has returned from the war minus a leg, and too restless to settle down as his father’s business partner.  And while Dr. Freeman uses his scientific skills to assist Corcoran in his investigations, his contributions are kept secret: Corcoran’s superiors, already dubious about science, would never seriously consider evidence provided by a black man.

Many in the cast come from across the pond, and are not particularly familiar faces here, but there are exceptions.  Franka Potente made a splash as the title character in RUN, LOLA, RUN, and co-starred opposite Matt Damon in two BOURNE movies.  Anastasia Griffith first gained attention in DAMAGES and can currently be seen in ONCE UPON A TIME. Kyle Schmid was so liked as a vampire in the series BLOOD TIES that he’s playing another vampire on the current Syfy series BEING HUMAN.  (I guess if the audience doesn’t quickly warm to COPPER, they can take a cue from how the DARK SHADOWS soap was saved, and have him bite Kevin Corcoran.)   

Ato Essandoh, Kyle Schmid, Weston-Jones

The series, shot in Canada, and with a ten-episode first season, was created and co-written by Tom Fontana of BORGIA, OZ, HOMICIDE and ST, ELSEWHERE fame.  Working with him is Oscar-nominated (for MONTERS BALL) Will Rokos and Oscar winner (for directing RAIN MAN) Barry Levinson.  Cineflix Studios’ President, Christina Wayne, was in charge at AMC when they produced BROKEN TRAIL and MAD MEN. 

TWO MUST-HAVE BOOKS FOR WESTERN FANS AND WESTERN FILMMAKERS

Author Peter Sherayko

“I’m going into a meeting with a producer, and he slaps this book down on the table in front of me, and says, ‘This book tells you how to make a Western.  Have you read it?’

“Have I read it?” Peter repeated, incredulously.  “I wrote it.”

Buck Taylor,Val Kilmer, Kurt Russell, Michael Rooker, Peter Sherayko

I’ve long suspected that all the things I don’t know about making a historically accurate Western could fill a book.  Peter Sherayko has filled two books with that knowledge.  The first, TOMBSTONE: THE GUNS AND THE GEAR, an updated edition of his 2004 original, tells and illustrates what went into the making of the most beloved and influential Western of the last two decades.  The second book, THE FRINGE OF HOLLYWOOD, tells how to make a historically accurate Western, even on a low budget.  With the ever-growing knowledge of detail and history on the part of the Western fan, as a direct result of TOMBSTONE, I would say reading both books before you make your Western film is more than just a good idea:  making a Western today, without the benefit of first reading TOMBSTONE: THE GUNS AND GEAR and THE FRINGE OF HOLLYWOOD, would be foolhardy.

Old Man Clanton's .45s

Over the past few years, I’ve had the pleasure of being on a number of Western movie and TV sets with Peter Sherayko, and been exposed first-hand to his encyclopedic knowledge of the American West in 19^th and early 20^th centuries, and his enthusiasm in sharing that knowledge.  It’s no surprise that he and Kevin Jarre, who wrote, and was the original director of TOMBSTONE, were fast friends.  It was their mission to do as meticulously detailed and historically accurate a telling of the O.K. Corral gunfight as could be imagined, and they succeeded so well that it forever changed audiences’ expectations of accuracy in weaponry, art direction and costuming in the Western movie.  Also as part of the process, Peter organized The Buckaroos, a group of historically knowledgeable re-enactors who have all the period Western skills, in and out of the saddle, to add to every scene a patina of authenticity.

Virgil Earp's (Sam Elliot's) rig

Poring over historical documents and photographs, they not only got the events right, they found out what kind of weapons each man was known to possess at that time in their lives.  And instead of the drab brown wardrobe movies have traditionally assigned to Western characters, their research revealed the gaudy and colorful clothes these dapper Victorian men wore.  In the extravagantly photo-illustrated TOMBSTONE: THE GUNS AND THE GEAR, you’ll not only see every rifle, shotgun, sidearm and knife that each major character in the film had, you’ll see the same for the minor characters, the riding extras, characters whose scenes were cut out, and characters whose scenes were never even shot!  The same is true of rigs (holsters to us non-pros), saddles, hats, shirts, boots, and every sort of hand prop.  And the choice for each, based on personality, known wardrobe preference or logical deduction, is explained in detail. 

Doc's knife with retractable blade

Also in the book, entitled ‘A Brief Tombstone Timeline,’ is the most succinct telling of events from 1872 to 1903 that I have ever read.  And Peter states what so few have the courage to even utter: that Doc Holliday was believed to be involved in a series of stagecoach hold-ups.  The book opens with an introduction by gun expert George J. Layman, the original forward by writer-director John Milius, and a new forward by John Fasano, the writer who script-doctored  TOMBSTONE when Kevin Jarre was fired, and who provides fascinating details on how the movie was made.  If you love TOMBSTONE, owning TOMBSTONE: THE GUNS AND GEAR is an absolute must. 

Sherman McMasters 1878 Double Action Colt

Following the popularity of TOMBSTONE: THE GUNS AND THE GEAR, THE FRINGE OF HOLLYWOOD was written to teach how to make accurate Westerns, even on a tiny budget.  What could be a dry recitation of rules – don’t use this gun before this year, don’t use that kind of saddle – is instead entertaining, engaging and informative because, again, Peter Sherayko knows his subject so well.  For instance, he could just have said that the most oft-seen gun-rig of movies and TV since the 1940s, the low-on-the-hip holster known as the buscadero gun belt, is wrong.  Instead, he tells us why.  It was developed in Texas at the turn of the century for a lawman who found the traditional, higher-worn rig uncomfortable when driving his Model-T Ford!  And the leather that used to cover the side of the gun up to the grips was cut away, exposing the trigger guard not for lawmen, but for 20^th Century quick-draw competitors – the same reason the round-the-thigh strap was added, and the leather loop over the hammer! 

Similarly, the clothes of the cowboy in movies, from the jeans to the hats with the bent-up side brims are not from the Old West but the fashion of modern rodeo-riders.  And the saddles – don’t get Peter started on the saddles!  But again, rather than just saying that almost all the saddles seen in Westerns are much too modern, he explains the economic realities of the wrangler’s job that makes them tend to flat-out lie to producers about what is correct-to-period, and what is not.  His heaviest criticisms are for wranglers and weapon suppliers.  “The majority of Western films have depicted two firearms which, to the uneducated, appear to be the only guns in existence: the 1873 Colt Single Action and the 1892 Winchester carbine.  The icon John Wayne used these guns in virtually all his Westerns from 1939’s STAGECOACH to 1976’s THE SHOOTIST.  He used them in THE COMANCHEROS taking place in the 1840s, THE SEARCHERS 1868 and TRUE GRIT mid-1870s, all historical times when those guns simply did not exist.” 

As he points out, those movies were made at a time when good reproductions of the correct firearms were not available, and originals were costly and hard to come by.  Happily, things have improved, and the wide array of proper repros makes it possible to have a wide range of weaponry, and still keeps things accurate. 

Sheriff Behan's gear

Actors also come in for serious drubbing, when they dishonestly claim to be good on horseback.  Still, wranglers don’t trust them with horses, and armorers don’t trust them with guns, so they need to be proactive if they’re going to get the experience they need. 

With sections devoted to proper saddles, ropes, whips, hobbles, scabbards, canteens, bedrolls, bridles, bits, spurs, and saddlebags, you’ll find not only a wealth of information, but perusing the material can frequently provide inspiration as well.  Both books are available from Amazon and wherever fine books are sold.  

ROY ROGERS UNDER STARS AT ANDRES PICO ADOBE

ROY ROGERS UNDER STARS THURSDAY AT ANDRES PICO ADOBE

The Andres Pico Adobe at10940 Sepulveda Blvd., at the corner of Brand, in Mission Hills, is the headquarters of the San Fernando Valley Historical Society.  On Thursday, June 28^th at 7 p.m., they’ll present a program where several Historical Society members will be presenting their collections, including Civil War uniforms and weapons, and John Brooks’ collection of percussion revolvers, followed by a screening of SAN FERNANDO VALLEY (1944), starring Roy Rogers, Dale Evans, Bob Nolan and the Sons of the Pioneers. 

I’d not been aware of the Andres Pico Adobe before this, but it sounds fascinating.  It’s the second oldest home in Los Angeles, its oldest portion being built by former San Fernando Mission Indians in 1834.  It was the headquarters of Don Andres Pico in 1945 when he leased the entire San Fernando Valley to run cattle – he was already running his cattle in the entire Antelope Valley, but the steers were complaining about feeling cramped!  Andres brother, incidentally, was Pio Pico, the last governor of Mexican California. 

GLEN CAMPBELL ROCKS THE HOLLYWOOD BOWL

I just came back from a magnificent performance by Glen Campbell at the Hollywood Bowl.  Part of his GOODBYE TOUR, so-named because his Alzheimer's probably won't allow him to perform much longer, he was in wonderful voice as he performed many of his hits, including, of course, RHINESTONE COWBOY and TRUE GRIT.  A virtuoso guitarist who was a hugely successful session player before he began making his own records, he demonstrated skill with a guitar that I can only compare to THE WHO's Pete Townshend.  His band includes a son on drums and another on guitar, and Glen and his daughter Ashley brought down the house with a tremendous rendition of DUELING BANJOS.

For a show whose second half was excellent, the first half, the 'tribute' section, was astonishingly poor.  After a decent, brief set by the band DAWES, Courtney Taylor-Taylor, late of the DANDY WARHOLS, took the stage and sang a pair of MONKEES songs that Campbell had played guitar on -- and sang them in bass, and was so horribly flat that I assumed for a while that it was a joke, and he would be revealed to be Ray Romano or someone.  No such luck.  He was followed by Lucinda Williams, who was also flat, listless, and slurred her words.  The iconic Kris Kristofferson followed, and tried, but was not in good form.  You could feel the growing anxiety throughout the Bowl when Jenny Lewis took the stage, and actually sang!  Identifiable words and notes!  We didn't want to let her go, but happily she was followed by Jackson Browne, who was in fine form, and led all the others back on stage for a fine rendition of VIVA LAS VEGAS before intermission.

Have a great week, folks!

Henry

All Original Contents Copyright June 2012  by Henry C. Parke -- All Rights Reserved

JOHN WAYNE TRIBUTE PACKS CINERAMA DOME

On Thursday night, November 10^th, more than 800 of Marion Robert Morrison’s closest friends and biggest fans filled the Arclight Cinerama Dome in Hollywood for a tribute to Oscar-winning movie star John Wayne.  Wayne, who died more than thirty years ago, has been in the Harris Poll of Top Ten Movie Stars every year for over fifteen years – and he’s the only deceased actor on the list.  It was a perfect location for the tribute, as so many John Wayne movies, among them, HOW THE WEST WAS WON, had played there over the years.

(Nikki Pelley shows off buckle)

Folks in Western costume and regalia massed outside the theatre, and filled the lobby.  One I spotted was trick-rider and costumer Nikki Pelley, showing off the John Wayne Rodeo buckle she’d won at the Dean Smith Tribute to John Wayne Rodeo, where she and Western actor Ben Cooper were penning partners.  Also spotted were SILVER SPUR AWARD producer Cyndi Tracy and Western film and TV producer Rob Word. 

The orchestra section of the theatre was quickly filling up as the 7:30 start of the program neared, and sizing up the remaining spots, I grabbed the last seat in the first row of the balcony, reasoning that any farther back and I’d be looking through a sea of Stetsons. 

(Tommy Morgan and Clyde Lucas)

Music was provided, at an on-stage campfire set, by harmonica virtuoso Tommy Morgan, accompanied by singer and guitarist Clyde Lucas.  Morgan’s distinctive sound can be heard in John Wayne movies like HOW THE WEST WAS WON, THE WAR WAGON, RIO BRAVO, RIO LOBO, CHISUM, THE COWBOYS, and other Westerns from THE WILD BUNCH to BLAZING SADDLES, DANCES WITH WOLVES, and the current video game RED DEAD REDEMPTION.  He even plays solos on The Hollies’ ‘HE AIN’T HEAVY, HE’S MY BROTHER’, and the Beach Boys’ ‘GOOD VIBRATIONS.’ 

After a well-deserved hand for Morgan and Lucas, and ‘a word from our sponsor’ – in this case Land Rover of Encino -- the program began with Jules Verne Festival co-founders Jean-Christophe Jeuffre and Frederic Dieudonne speaking about their organization and its many good works – their annual Legendaire Award is their principal fund-raiser.  To underline where their inspiration comes from, they showed an original 1871 edition of Verne’s 20,000 LEAGUES UNDER THE SEA, which they’ve carry around for inspiration, from the Arctic to the Amazon when making their documentaries. 

Next onstage was John Wayne’s son Patrick Wayne, who commented, “If you had told me, in 1980 that my father’s popularity and celebrity would be as it is today, I would have said you were crazy.  I am in awe and amazed and humbled – and happy to have you all here – and I’m not alone.”  He asked his siblings, nieces and nephews, and step-mother to stand up, and it was a quite a group – well over a dozen.  He pointed out that the poll that still puts Wayne in the top ten movies stars, is taken with people from eighteen to twenty-six, none of whom were alive when Wayne died. 

Patrick next did an onstage Q&A with Nick Redman, whose WILD BUNCH documentary was Oscar-nominated.  “My dad was driven; he was driven to be successful.  He was focused.  When he was in high school he wanted to go to the Navy Academy, but they didn’t have the political connections to get him in there.  By the way – if he got into the Navy Academy he would have been the head of the Joint Chiefs of Staff.  He was offered a football scholarship to S.C..  He played football his freshman year, and during the summer he broke his shoulder showing off for the girls in Newport Beach.  He couldn’t play football; he lost his scholarship.  But the kids who played football at S.C. worked at the studios for summer jobs, So he started working as a prop man, a stunt man…and went on to become John Wayne.  He was going to be successful wherever he went, and it just turned out by fate that it was to be in films...  He was encouraging.  He never tried to tell any of his children what they should do in their lives, he was always supportive.  But I think he was proud that Ethan and I decided to work with him.” 

Patrick Wayne was just a boy when John Ford offered him a whopping five bucks a day to work along with his dad in movies.  “It was a very special experience for me, because at that time I had four brothers and sisters, and none of (them were) interested in working in film.  So when I’d go on a film with my dad, I had him to myself, and didn’t have to share him.  It was special.”  He talked about how Ford was, “…brilliant, cynical, acerbic,” and how anyone who worked with Ford knew that one day they would become his target.  Patrick actually fared pretty well, outside of playing gin rummy with Ford.  “I thought I was pretty good, so I thought, ‘Well, I’ll let this old man win one.’  He catches on and says, ‘From now on, just play with Ward Bond and young boys.’”

Patrick held up the TRUE GRIT eye patch, which he explained was actually ‘a’ TRUE GRIT eye patch, because Wayne decided, what with dirt and sweat and make-up, to use a new one every day, so there were something like sixty eye patches. 

(Patrick, Marisa, Ethan and Pilar Wayne admire Legendaire Award)

Next to speak, briefly, was Ethan Wayne, and then Duke’s daughter Marisa and former wife Pilar were brought onstage to receive the Jules Verne Legendaire Award.

Next was Robert Mitchum’s son Christopher, who appeared with Duke in BIG JAKE.  “Duke was one of three mentors in my life.  My father of course, and much later Charlton Heston.  But in the middle I did three films with Duke, and he was my mentor.  And he took me from a two-line part in CHISUM, introduced me to Howard Hawks, to a co-starring role in RIO LOBO.  He asked me, ‘How’d you like to play my son?’  How do you say ‘no’ to that?  I love this family.  And I’m delighted and proud to be here.”

(Earl Holliman and Christopher Mitchum)

Next up was Duke’s brother from the SONS OF KATIE ELDER, Earl Holliman.  “It was a thrill for me.  I was a movie usher, and I used to see all these John Wayne movies.  I could never call him ‘Duke.’  It was always ‘John’ and ‘Big John.’  I was never a member of that inner clan.  I was like an orphan on THE SONS OF KATIE ELDER, because John had all these other people he’d worked with all these years – it was like a family.  And there was Dean Martin, who was in a world of his own – who was a great guy, a wonderful guy.  So I just kind of stood aside and watched all these folks, and it was really a great experience.  I think John at first kind of doubted my potential, because he didn’t know me at all.  And when he found out that I could fight and I could shoot and actually act, he was wonderful.”  And turning to Chris Mitchum, he added, “And your father, I played with too, in ANZIO.  It was a great experience.  It’s great fun to be here – thank you for letting me come.” 

Next onstage was John Wayne’s costar from TRUE GRIT, Kim Darby.  “I want to thank the Wayne family for asking me to be here tonight, and always being so supportive of me.  There is one story that sticks out in my mind, and that was at Paramount.  We had been on location, and we were back at the lot shooting.  And there was a big picture being taken of all the stars at Paramount.  They were shooting there (on the lot) all at the same time: Barbra Streisand, Clint Eastwood, John Wayne, Goldie Hawn, and there were some others in there.  There was this big room, and in the middle was (Paramount boss) Bob Evans.  So I was standing on the side watching this, and – I never called him Duke either – Mr. Wayne stepped out of the picture, walked over to me and said, ‘You’re not going to be on the side,’ and put me right in the middle of the picture with him.”

(Ethan and Pilar Wayne, Kim Darby, with Councilman Tom LeBonge presenting a proclamation)

There was one last surprise before the screening of TRUE GRIT on the Dome’s giant screen.  A filmed greeting was shown from Glen Campbell, who looked very well, and showed no signs of the Alzheimer’s Disease he’s been diagnosed with.  He told the story of John Wayne coming backstage after one of his concerts, because one of his daughters thought Campbell had talent, and offering him the part of LeBoeurf in TRUE GRIT.  When Campbell worried that he had no acting experience, Wayne assured him, “…that he could drag me through it alright.”  He had a great time on the film, though he was put out by the fact that, because he had little riding experience, “…what they gave me was a Shetland pony,” and Wayne enjoyed needling him with, “You understand that when we all ride off, you’re supposed to keep up with us!”  Always modest, Campbell claims that it was his own poor performance that helped make Wayne look so good that he got his Oscar.  But as we all saw a little while later, Campbell’s performance is solid, and considering his lack of experience, compares well to Matt Damon’s as the same character in the recent remake.  And yes, Campbell’s horse does appear to be a Shetland pony.        

EX-GOVERNOR ARNOLD BLOODIED BUT UNBOWED

Former California Governor and action movie-star Arnold Schwarznegger Tweeted this picture of himself, direct from the set of THE LAST STAND his modern-day Western directed by the Korean director of the wonderful THE GOOD, THE BAD AND THE WEIRD, Jee-Woon Kim. "Got a little banged up on set today. Thanks to the medical staff who got me back in action an hour later!"

The story about a small-town sheriff tracking down drug dealers who escape from court, the picture also stars Oscar Winner (for LAST KING OF SCOTLAND) Forest Whitaker (in the role previously announced for Liam Neeson), Rodrigo Santoro, Johnny “JACKASS” Knoxville, and one of the greatest of all Western villains, Harry Dean Stanton.

RFD-TV UNVEILS ROY ROGERS TOURNAMENT OF ROSES FLOAT

The Annual New Years Day Tournament of Roses Parade in Pasadena will feature an RFD-TV-sponsored float honoring the 100^th birthday of the King Of The Cowboys, Roy Rogers!  And though they’ve been gone longer than Roy, riding the float will be Trigger, the smartest horse in the movies, and Roy’s wonder-dog, Bullet!  The artfully taxidermied pair has been touring the country, making public appearances, for about a year, since network owner Patrick Gottsch purchased the dynamic duo at the big Roy Rogers Estate Auction.  RFD-TV shows an episode of the Roy Rogers Show every Sunday, and a Roy Rogers movie – this week it’s JESSE JAMES AT BAY – every Tuesday, with repeats.  To get you in a Roy Rogers mood, click HERE to watch him on HEE HAW, singing a song about an auctioneer.

NEW TV TRAILER FOR INSP’S NOV 25^TH ‘WHIPPERSNAPPER FEST’

The Friday after Thanksgiving, when all those dummies are standing on lines to buy gifts they could as easily buy a week later for the same price, many smart characters like myself will be sitting at home watching the Big Valley Young Whippersnapper Marathon on INSP, featuring guest performances by youngsters on the edge of stardom.  Here’s a preview:

 

TV WESTERNS ALL OVER THE DIAL!

More and more, classic TV Westerns are available all over the TV universe, but they tend to be on small networks that are easy to miss. Of course, ENCORE WESTERNS is the best continuous source of such programming, and has been for years. It’s not in my current satellite package, which is why I often forget to mention it, but currently they run CHEYENNE, MAVERICK, LAWMAN, THE VIRGINIAN, WAGON TRAIN, HAVE GUN WILL TRAVEL, GUNSMOKE, BRET MAVERICK, CIMMARON STRIP, and HOW THE WEST WAS WON. (I’d get it in a minute, if I didn’t have to buy a huge package of STARZ and ENCORE channels just to get the one!)

But there are several new, or at least new-to-me, channels showing sagebrush fare. GEB, which stands for Golden Eagle Broadcasting, is largely a religious-programming cable outlet that runs at least one Western on Saturdays – the ones I’ve caught have been public domain Roy Rogers and John Wayne pictures – and sometimes have weekday afternoon movies as well.

For those of you who watch TV with an antenna, there are at least a couple of channels that exist between the standard numbers – largely unavailable on cable or satellite systems – that provide Western fare. ANTENNA TV is currently running RIN TIN TIN, CIRCUS BOY, HERE COME THE BRIDES, and IRON HORSE.

Another ‘in between’ outfit, ME-TV, which stands for Memorable Entertainment TV, runs a wide collection: BIG VALLEY, BONANZA, BRANDED, DANIEL BOONE, GUNS OF WILL SONNETT, GUNSMOKE, MARSHALL DILLON (the renamed black and white GUNSMOKE), RAWHIDE, THE RIFLEMAN, and WILD WILD WEST. Some of these channels are hard to track down, but if they show what you’ve been missing, it’s worth the search. 

TCM FANATIC - WESTERN NOW ONLINE!

That's right, the segment I was interviewed for is now viewable here:

THE AUTRY NATIONAL CENTER

Built by cowboy actor, singer, baseball and TV entrepeneur Gene Autry, and designed by the Disney Imagineering team, the Autry is a world-class museum housing a fascinating collection of items related to the fact, fiction, film, history and art of the American West. In addition to their permenant galleries (to which new items are frequently added), they have temporary shows. The Autry has many special programs every week -- sometimes several in a day. To check their daily calendar, CLICK HERE. And they always have gold panning for kids every weekend. For directions, hours, admission prices, and all other information, CLICK HERE.

HOLLYWOOD HERITAGE MUSEUM

Across the street from the Hollywood Bowl, this building, once the headquarters of Lasky-Famous Players (later Paramount Pictures) was the original DeMille Barn, where Cecil B. DeMille made the first Hollywood western, The Squaw Man. They have a permanent display of movie props, documents and other items related to early, especially silent, film production. They also have occasional special programs. 2100 Highland Ave., L.A. CA 323-874-2276. Thursday – Sunday 12 p.m. to 4 p.m. $5 for adults, $3 for senior, $1 for children.

WELLS FARGO HISTORY MUSEUM

This small but entertaining museum gives a detailed history of Wells Fargo when the name suggested stage-coaches rather than ATMS. There’s a historically accurate reproduction of an agent’s office, an original Concord Coach, and other historical displays. Open Monday through Friday, from 9:00 a.m. to 5:00 a.m. Admission is free. 213-253-7166. 333 S. Grand Street, L.A. CA.


FREE WESTERNS ON YOUR COMPUTER AT HULU

A staggering number of western TV episodes and movies are available, entirely free, for viewing on your computer at HULU. You do have to sit through the commercials, but that seems like a small price to pay. The series available -- often several entire seasons to choose from -- include THE RIFLEMAN, THE CISCO KID, THE LONE RANGER, BAT MASTERSON, THE BIG VALLEY, ALIAS SMITH AND JONES, and one I missed from 2003 called PEACEMAKERS starring Tom Berenger. Because they are linked up with the TV LAND website, you can also see BONANZA and GUNSMOKE episodes, but only the ones that are running on the network that week.

The features include a dozen Zane Grey adaptations, and many or most of the others are public domain features. To visit HULU on their western page, CLICK HERE.

BONANZA and BIG VALLEY

Every weekday, TV LAND airs a three-hour block of BONANZA episodes from 11:00 a.m. to 2:00 p.m. They've stopped running GUNSMOKE.  INSP is showing THE BIG VALLEY every weekday at noon, one p.m. and nine p.m., and Saturdays at 6 p.m., and have just added DR. QUINN, MEDICINE WOMAN to their schedule.

NEED YOUR BLACK & WHITE TV FIX?

Check out your cable system for WHT, which stands for World Harvest Television. It's a religious network that runs a lot of good western programming. Your times may vary, depending on where you live, but weekdays in Los Angeles they run DANIEL BOONE at 1:00 p.m., and two episodes of THE RIFLEMAN from 2:00 to 3:00 p.m.. On Saturdays at 2:00 p.m. it's THE RIFLEMAN again, followed at 2:30 by BAT MASTERSON. And unlike many stations in the re-run business, they run the shows in the original airing order. There's an afternoon movie on weekdays at noon, often a western, and they show western films on the weekend, but the schedule is sporadic. 

AMC has been airing a block of THE RIFLEMAN episodes early Saturday mornings, usually followed by Western features.

And RFD-TV is currently showing THE ROY ROGERS SHOW at 9:30 Sunday morning, repeated several times a week, and a Roy feature as well -- check your local listings.

Have a great Thanksgiving, and take a minute to think about what you've got to be thankful for -- I mean besides getting the drumstick!

Much obliged,
Henry

All original content copyright November 2011 by Henry C. Parke -- All Rights Reserved