Sunday, May 22, 2011
BearManor Fiction, in conjunction with the North American Jules Verne Society, presents a series of stories that have never before appeared in English translation. Tales from fantasy to humor, of castaways, outlaws, and swashbucklers, even stage plays, here are all the adventures that have made Verne such a beloved author. These books are unavailable from any other publisher, and the series has been underwritten by the generous bequest of the late Society member, Ed Palik, for whom it is named. Leading Verne scholars from around the world are collaborating to bring readers the finest translations and analysis about each story, under the general editorship of Society Vice President Brian Taves. Each volume is lavishly illustrated with engravings from the original French editions of Verne’s stories.
Saturday, May 21, 2011
Tuesday, May 17, 2011
Dolores' biographer and friend Stone Wallace wrote this tribute:
TRULY A FULLER LIFE
A TRIBUTE TO DOLORES FULLER
A rediscovery of sorts occurred for Dolores Fuller following the 1994 release of Tim Burton’s “Ed Wood”. Contemporary audiences became familiar with the name of the actress and songwriter who, while perhaps best known as the girlfriend of director Edward D. Wood Jr., possessed many other talents and had accomplished, through fortitude and perseverance, numerous achievements in the competitive and often heartbreaking world of professional entertainment.
Unfortunately, at the same time, this rediscovery through the Burton film had a bitter edge. The Dolores Fuller portrayed onscreen by Sarah Jessica Parker was seen as a basically unsympathetic, cigarette-smoking hanger-on who left her lover, Ed Wood, once the going got rough. Parker’s comments on the talk show circuit following the release of the movie did little to change audiences’ perceptions of Dolores. Without going into detail, her remarks concerning Dolores were unflattering and downright rude. What especially bothered Dolores was that Parker never sought to contact her prior to playing her in the movie, as Patricia Arquette had with Kathy O’Hara and Lisa Marie with Maila Nurmi. Had Parker taken the trouble to do so – and it wouldn’t have been difficult since Dolores, as they say, was “in the book”, perhaps she may have colored her role differently. Because, simply put, Dolores Fuller had none of those negative qualities exemplified by Parker’s characterization.
The real Dolores had great warmth and charm. Her true spirit was reflected when her lips would widen into one of the most beautiful smiles and her blue eyes would instantly brighten. She had tremendous pride, but virtually no ego. She had great appreciation for her fans and delighted in meeting them at the various conventions she attended around the country, always in the company of her loving and supportive husband Dr. Philip Chamberlin. They were a couple entirely devoted to one another. Truly inseparable. Throughout their years together, Philip championed and protected Dolores, and Dolores reciprocated: proud of her husband’s many achievements. But as with his wife, Philip Chamberlin remains a kindly, generous and modest man.
Professionally, Dolores possessed an impressive and lengthy resume. At the age of ten she appeared, albeit as an extra, in the Clark Gable-Claudette Colbert classic “It Happened One Night”. Later she became a much-in-demand model, becoming, in fact, the Vanna White of her day as the “Gustinette Girl” on the popular television program “Queen for a Day”. She soon parlayed that success into an acting career, both in motion pictures and on early television. On TV she worked alongside such greats as Gene Kelly, Red Skelton and Danny Thomas, not to mention a guest stint opposite George Reeves on the original “Superman”. In films, though generally her parts were rather small, Dolores acted opposite screen heavyweights Fred MacMurray, Barbara Stanwyck, Shelley Winters and Raymond Burr.
Dolores’s life took another turn once she met a young, independent filmmaker named Ed Wood. They began a personal and professional two-year relationship that, far different from the one portrayed in the Burton bio-pic, saw Dolores as Eddie’s major support – financially, creatively and even emotionally during his efforts to “break through” in Hollywood.
And by the way: unlike Sarah Jessica Parker’s cigarette-inhaling characterization, Dolores was a self-proclaimed “health nut” who never smoked in her life.
Eventually Eddie’s increased drinking and career frustrations took a toll on Dolores and, despite his pleas, she left him. She was especially hurt when Eddie reneged on his promise that Dolores could play opposite their dear friend Bela Lugosi in “Bride of the Monster”.
Strong in her independence, Dolores traveled to New York, where she studied under Stella Adler and shared classes with no less than Warren Beatty. Her training with the renowned acting coach paid off and Dolores began appearing in such plays as “Bus Stop” and “Teahouse of the August Moon”. She also developed a quite active social life, dating such high-powered men as Frank Sinatra, Johnny Carson, Joe DiMaggio, George Raft, and even Henry Kissinger.
In 1960, her film career languishing, Dolores appealed to her good friend, producer Hal B. Wallis, to cast her in the role of the schoolteacher in the upcoming production of “Blue Hawaii”, starring Elvis Presley. Wallis, having previously been exposed to Dolores’s musical talent, demurred, stating that she could have a much more successful career behind-the-scenes, as a songwriter. Her collaboration with composer Ben Weisman resulted in 12 Elvis tunes, including such hits as “Rock-a-Hula Baby”, “Do the Clam” and “Have a Happy”, each of which was prominently featured in an Elvis movie. She also co-wrote the lyrics for songs sung by Terry Stafford, Shelley Fabares, Peggy Lee and her dear friend Nat King Cole.
Dolores thrived on keeping active. She had her own record label: deedee records, and with her sharp eye for talent was responsible for the discovery of such talent as Johnny Rivers, Tanya Tucker and Ronnie Fuller.
Perhaps Dolores’s only professional regret was that she was never able to see the realization of her dream project: A stage musical she’d wrote celebrating the years she’d spent with Ed Wood, creatively titled: “Ed Wood . . . But I Wouldn’t”. Dolores worked passionately to see this project come to light, even composing a number of songs to be featured in the production. Sadly, this never came to be.
On the afternoon of May 9, 2011, after a long illness, and in the presence of loving husband Philip Chamberlin, as well as her caregiver Joy and a hospice nurse, Dolores Fuller quietly passed away. She’d reached the end of a long, remarkable journey and a rich, full life – one that could be envied as she’d fulfilled the true purpose as to why each of us has been set upon this planet: Her time on earth had touched many hearts and souls, both through her many talents and her genuineness of spirit.
This was made evident when news of her death reached the world. Fans and the media alike noted her passing. Columns celebrating Dolores's remarkable life appeared in major newspapers from coast to coast, including the New York Times and L.A. Times. Even across the pond in the U.K. The Telegraph saw fit to print a tribute to Dolores. Admirers posted their own tributes and personal remembrances on fansites across the Internet. A consistency that flowed through the recollections of those who had met her was an acknowledgment of her warmth, kindness and approachability. Dolores always remained grateful and never disappointed her fans.
Despite her full and productive career and enviable accomplishments, Dolores was most proud of her family: Sons Don and Darrel (who predeceased her) and her three grandchildren. But of course her deepest affection was for her soul mate Philip Chamberlin. Together they experienced the “romance of living”, enduring triumphs and tragedies, yet the strength of their bond grew and remained ever intact. Dolores exemplified the finest qualities of strength, courage and, to the end, dignity.
Dolores Fuller has left behind a personal and professional legacy that will live on . . . even as the stars in Heaven became a little brighter.
Saturday, May 14, 2011
Friday, May 13, 2011
Monday, May 9, 2011
Thursday, May 5, 2011
Dr. Who, Super Spies, and Hot New Music coming on the next Dave White Presents!
On Tues. May 10, hop in the Tardis and travel in time and space with Don Krouskop, author of the hot-off-the press Dr. Who trivia book—The Wibbly-Wobbly, Timey-Wimey Trivia Guide. He’ll talk about the Doctor then, now, and what’s coming—lively fun for all fans and those who haven’t yet discovered this 47 year old phenomena.
Then, we go behind the scenes of making spy spoofs with stunt co-coordinator, fight choreographer, writer, and film maker Scott Rhodes. He will be discussing his comedy short "Super Seven: Triple Cross," a parody of all those action films of the 1960s and 1970s. He’ll also chat about what makes for good movie stunts and what’s wrong with what Hollywood is doing these days.
Music Maestro Wes Britton then talks with Richard X. Heyman, a songwriter and Power Pop performer with an impressive new, two CD set called “Tiers/ And Other Stories.” Richard talks about his years working with Brian Wilson, Link (“Rumble”) Wray, Peter Noone of Herman’s Hermits, his band The Doughboys, and how the over two hours of “Tiers” came out on one generous new release. We’ll play two samples to whet your appetite.
All this and the “predictably unpredictable” comedy of Dave White Presents debuts this Tues., May 10, at 7:30 p.m. Eastern, then 7:30 Pacific over—
On Wed. May 11, the 90 minutes of variety entertainment will become available for download access anytime you like at—
Hear you then!
Wednesday, May 4, 2011
Tuesday, May 3, 2011
JAMES SHELDON was directing the radio show We, The People when it became the first commercial CBS network program to telecast nationally on June 1, 1948. Since then he has experienced the technological changes from live to electronic tape to film, from black and white to color, and from a few hundred thousand to the multi-millions of television sets in use today. His early live credits include dramatic series like Robert Montgomery Presents and Studio One, comedies like Mister Peepers and musicals like Don Ameche's Holiday Hotel. He was part of the move from New York to Los Angeles as television production shifted west in the mid 50's. Credits during that period: The Johnny Carson Show, West Point Story, Harbor Command and Dick Powell's Zane Grey Theater. In the 60's, he directed many episodes of 87th Precinct, Naked City, Route 66, The Millionaire, My Three Sons, The Twilight Zone, Walt Disney's Wonderful World of Color and Gunsmoke. In the ‘70's, M*A*S*H, The Virginian, Sanford & Son, Rock Hudson's McMillan & Wife and Raymond Burr's Ironsides. In the ‘80's, Seven Brides for Seven Brothers, Cagney & Lacey, and The Equalizer. Included in the list of the many actors whose careers he helped start are: James Dean, Paul Newman, Dustin Hoffman, Gene Hackman, Carroll O'Connor, Clint Eastwood, Burt Reynolds, Lee Remick, Tony Randall and Tyne Daly.