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The Three Stooges in Twerk Jerks

10 Dec

December 11, 2013

Oh, how I wish I could travel back in time. Because if I could, I would totally make this Three Stooges short. Moe, Larry, Curley… and Miley???

Twerk Jerks

Picture it. The Stooges are sitting in their room (bedroom/living room/kitchen) gathered around the radio. Wrecking Ball by Miley Cyrus comes on.

Moe: “Hey, it’s that Miley Cyrus dame.”
Curly: “Ever see her dance? Hubba hubba!”
Moe: “You said it, skinhead.”
Larry: “Ah, she ain’t nothin’. I can dance like her.”
Moe: “Shut up porcupine. I can’t hear the music.”

Larry stands up and starts waving his butt in the air. “Hey Moe! I’m twerking! I’m twerking!”
Moe: I’ll show you twerking!”

Moe hits Larry on the top of the head. Larry, who had his tongue sticking out of his mouth like Miley, bites his tongue and screams. Moe grabs Larry by the belt, from behind, and hangs him from a hook on the wall.
Moe: “Let’s see you twerk your way out of that!”

Curly: “You call that twerking? Watch this! Nyuck nyuck!”
Curly stands up and starts waving his butt around, while moving backwards in circles around the room. Moe, caught behind Curly, has to run to avoid him.
Curly: “Woooo! Woo woo woo! Wooooooo!”

Moe jumps on the bed. He reaches out and opens the door. Curly twerks out the door into the hall. Suddenly, a loud crash is heard. Moe runs out the door. Larry takes of his belt and falls off the hook. He runs after Moe, holding up his pants.

Moe and Larry see Curly with his butt stuck halfway through a door. He twerked into the door and smashed it. They pull Curly out of the door and they go back inside.

Moe: “Sit down you mental midgets. I’ll show you how it’s done.”

Moe plays a single note on a harmonica, smiles, and starts a very sedate, deliberate twerk.
Moe: “See boys? That’s how it’s done and no one gets hurt.”

Larry: “Ahh, you don’t know nothin’. C’mon Curly, let’s twerk!

Fade out on The Stooges twerking.

———-

Ok, it’s a little short, but you get it. Gold! It’s gold! The Three Stooges in Twerk Jerks. If you ever see it, you’ll know my time travel experiments paid off.

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The Saturday Comics: The Shadow (Mysterious Repost)

23 Nov

from June 4, 2011

Who Knows What Evil Lurks In the Hearts Of Men?

The Shadow Knows!

I refer, of course, to perhaps the most famous show OTR ever produced.

So who was The Shadow?

“Years ago in the Orient, The Shadow learned a strange and mysterious secret, the ability to cloud men’s minds so they cannot see him”

Or “using advanced techniques that may one day be available to law-enforcement, The Shadow fights crime as invisible as the wind, as inevitable as a guilty conscience.”

In his everyday identity, The Shadow is “Lamont Cranston, wealthy young man about town.”

Or an amateur criminologist. Or sometimes he was the best friend of the police commissioner.

Usually he was just some rich guy who stumbled into plot to rob a bank, or spent the night in a haunted mansion, or ran into his double, who just happened to be newly released from prison and planned to frame Cranston for war crimes or something. The show ran for almost three decades so the quality depends on when the episode was made. It could be a supernatural show with ghosts one season, a show where Cranston foils attempts at art forgery the next season.

But it doesn’t matter. An invisible man is the perfect character on radio- everyone is invisible. It’s radio, everyone is a disembodied voice. No special effects were needed. All they did was give his voice some echo and poof! He’s The Shadow.

BAD GUY 1: We got the Cranston locked up in the vault. No one can get in or out, see?
BAD GUY 2: Hey! The vault is empty! What happened?
SHADOW: Ha ha ha, Cranston is gone, I am the Shadow!
BAD GUY 1: How did you get in? And what happened to Cranston? He was here just one second ago.
 SHADOW: Heh heh heh!

Once you suspend a ton of disbelief, this is a really good show. (Please discount the story where the guy thought he was a gorilla simply because he was hairy, thank you very much.)

On the radio, The Shadow was played by a whole lot of actors, but the first one was the best, Orson Welles. He only stayed for one season but his is the voice everyone remembers.

The Shadow was so popular they made a series of movies about the character. For some reason they never turned him invisible. He was just a silly looking guy in a hat that was too big for him and long black cape that he almost tripped over. Why he didn’t turn invisible is anybody’s guess. Roll film, stop film, actor walks off set, start film, hey! He turned invisible!

The Shadow on film was played, I swear I am not making this up, by a guy named Rod LaRoque. A better porn name is difficult to find. “Rod LaRock.” I suppose Long Cockman comes close. And while we are on the subject of dirty-sounding names, the radio Margot Lane, The Shadow’s assisstant, was first played by Agnes Moorehead.

The movie Shadow is a very different character than the radio Shadow, and for a good reason. Like the comic books and strips, the movie Shadow is based on the pulp fiction version of the character. While an invisible man is perfect for radio, it is kind of boring to watch. In print, The Shadow was a man in a dark cloak and hat. He carried a pair of guns and often used them. There was no invisibility for him, this Shadow had to rely on a perfect skill of disguise. And this Shadow wasn’t even Lamont Cranston, he just pretended to be. Confused?

There was a Lamont Cranston in the pulps and the Shadow did claim to be him but he wasn’t. It was a disguise. The real Cranston was a wealthy playboy. He was usually travelling around the world or away at some glamorous resort. His high-class connections were just what the shadow needed to open doors so while Cranston was away, The Shadow would assume his identity.

The real identity of the Shadow, and you didn’t hear it from me, was Kent Allard, a World War One Aviator.

In addition to the pulps there were many comic book versions of The Shadow, and one of the best was put out by DC in the 1970′s, written by the legendary Denny O’Neil and often illustrated by the equally legendary Michael William Kaluta. And since this was a DC comic, he even met Batman. In fact, Batman claimed it was The Shadow who influenced him to fight crime.

But this is a Saturday Comics installment so let’s tear ourselves away from the comics (which I have a complete set of, including those Batman issues) and look at the rarely seen newspaper strip.

These are pretty hard to find. The strip began in 1940 and ended just two years later when World War Two broke out and the strip’s creators were drafted. Examples are hard to find online but luckily I have my own collection.

Some years ago in the 80′s the strips were collected in comic book form. the paper they were printed on was cheap even by comic book standards and my issues are all very, very yellow, much worse than other comics from the same era. The pages were even printed crooked!

I can’t vouch that the strips are formatted the same way they were as originally printed. Compare the dimensions to the strip above and you’ll see why I have doubts. I am also afraid some panels, like the title panel in the strip above, have been removed totally. At any rate, the odds are you have not seen these strips so sit back and check out an OTR legend and comic strip rarity, The Shadow!

 

Like A Walrus Needs A Clam? (Classic Odd Repost)

2 Nov

November 2, 2013

Do I need a reason for reposting this one? Nah, it just makes me laugh.

from June 28, 2012

You need me
Like a walrus
needs a clam
Like a fat kid
needs a ham
You need me

ANNOUNCER: Yes, I’m sure that everyone within the sound of my voice on the WBTR airwaves remembers those words. Hi, I’m Bruce E. Freedkin and the writer of that beautiful verse from the #1 hit single of 1958, “Eat Me, Porcupine,“ is here with me in the studio. He turns 97 today! Welcome to the show, Max Duffy! Hi Max, how are you today?

MAX: Eat me, porcupine.

ANNOUNCER: That was such a great song, how did you ever come up with it?

MAX: Well, back then we used to work in the Brill Building, all of us song writers. It was wonderful. All of us like-minded people, song writers, just writing music, playing music, sitting around piano, banging out tunes, high on pot, naked as jay birds-

ANNOUNCER: I’m sorry, did you just say-

MAX: There was always plenty of blow around back then too. And the broads! I remember one time Carol King did this thing with her-

ANNOUNCER: Excuse, me, are you saying that back then, when you were writing hit songs for the likes of Tony Bennett and Frank Sinatra you were all just, just, -

MAX: Stoned out of our minds. But it wasn’t just the drugs or the booze, it was the power. We were kings! I remember one day not long after Summer Wind was a hit for Frankie we brought in a sack of kittens and some baseball bats and we-

ANNOUNCER: What? I’m sorry but we have to go to-

MAX: -just for the hell of it. Who was going to stop us? We were hot hit song writers, dammit! We did what we wanted! We got The Supremes mixed up with a coven of witches. Except that damn Diana Ross, she was a [BLEEP], quit the group over it. And the orgies!

ANNOUNCER: OK! WOW! That’s it! Thanks Max Duffy! (faintly off mic) Cut his mic! Cut his mic!

MAX: I [BLEEP]ed Marilyn Monroe on a pile of fifties!  

ANNOUNCER: SHUT IT OFF! SHUT IT OFF NOW!

Cut to commercial

The Brill Building. Home of money, madness, and murder.

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