Growing up as John Wayne’s son in O.C.

NEWPORT BEACH – Ethan Wayne, as his surname implies, is one of the seven children of John Wayne, one of Orange County’s most famous residents.

Despite that, Ethan Wayne insists that his life growing up was “not typical Hollywood at all.

“Our life was basically small-town beach life,” the 49-year-old Wayne said. “(Dad) drove a station wagon. He shopped at White Front and Sears.”

Newport Beach was a much smaller place back then, he said, admitting the routinely heavy traffic on Coast Highway tends to irritate him.

Still, he has no intention of leaving his hometown for locales elsewhere.

John Wayne left the San Fernando Valley for Newport Beach in the 1960s. Even before Wayne lived in Orange County, he frequented Newport Beach. In fact, he lost his football scholarship with USC because he injured himself surfing there.

“He had a long history himself down here. Newport was a smaller beach and fishing town,” Ethan Wayne said. “At that time, it was much more low-key.”

The Wayne family lived in a home Ethan Wayne characterized as in a regular neighborhood. One neighbor a couple of doors down was a single mother who worked as a dental hygienist.

There were no big fences, no checkpoint in the driveway … though John Wayne once joked he needed to wear a wig when he went out front to water the lawn.

“There weren’t paparazzi. We didn’t have bodyguards. (Dad) answered the phone; he answered the door,” Ethan Wayne said. “My life was pretty normal for having such an iconic, legendary father. … We did get a lot of mail.”

Ethan Wayne still lives in town, though he admits it’s grown – and a bit too much.

“I saw a paid parking lot the other day, and it annoyed me to no end.”

But he still likes it for the same reason his father did: The lapping waves of the Pacific Ocean.

After travelling with his father for most of his childhood, Ethan Wayne returned to the motion-picture industry as a stuntman, spending several years crashing cars and taking tumbles.

His first gig was working for stunt coordinator Gary McLarty doing “Blues Brothers.”

“It was a natural transition,” Wayne said. “As a kid, I grew up around the stuntmen. I had a relationship with these guys. They knew I could drive a car or motorcycle and do the fight.”

He also made appearances in “Knight Rider” and “BJ and the Bear.”

That led to guest appearances on those shows, and an eventual transition to acting.

“I liked acting better, because stunt work can escalate to where it gets pretty dangerous,” Wayne said. “You have to do it when it’s cold dark and rainy. You have to be a professional about it and doing it 10 times over.”

In the 1980s, he played attorney Storm Logan on the soap, “The Bold and the Beautiful.”

The show had been on in the U.S. for four years when it began airing in Italy and became a hit. That made Wayne an international star. At one point, he kept rental homes there, because he visited so often promoting the show.

Though he more often stays closer to home these days, Wayne is no stranger to travel.

Much of his youth was spent on the Wild Goose, John Wayne’s beloved yacht.

For Ethan Wayne, it was no luxury liner. He had to earn his keep.

“On the boat, you had chores. You mopped the deck, you wiped down the rails … hauling garbage,” Wayne said. But it was worth it, he added. “It was like being on Jacques Cousteau’s team. It was a constant adventure. …

“I didn’t know when it was winter, summer, Halloween or whatever, because I was waiting for my dad to say, ‘We’re going this way,’ or ‘We’re going that way.’”

When not on the water, Wayne travelled with his father from filming location to filming location.

Much of that time they spent in the Mexican state of Durango, where an Old West main street was built in the middle of the high desert.

“I loved it. I liked being with my dad … in Mexico – in the wilderness. You’re in John Wayne country. For me, it was like growing up on a ranch or going to camp. … I wish I could go back there.”

John Wayne loved Mexico. There, he got the same recognition, “if not more so than back home,” Ethan Wayne said. “He spent a lot of his career in Mexico. He married three Latin women.”

One of them, a Peruvian woman named Pilar Pallete, spent 27 years with John Wayne. They had three children together: Marisa; Ethan; and Aissa.

Ethan Wayne looks like his father, and has a calm demeanor. His speech carries his emotions. He isn’t idle.

He’s president of John Wayne Enterprises, the company that manages John Wayne’s image and the merchandising that goes along with it, from Wayne-inspired Western wear to small-batch Bourbon and organic beef jerky.

He also heads the John Wayne Cancer Foundation

John Wayne recovered from having lung cancer in the 1960s, but died in 1979 from stomach cancer. Before he passed, he decided to help others suffering from the disease.

The foundation funds awareness programs, support groups, cancer research, trains oncologists through the John Wayne Cancer Institute.

“In my opinion, my father’s greatest legacy is helping people who are sick,” Ethan Wayne said.

Wayne also hasn’t left Hollywood completely. He’s currently writing a screenplay.

“I am concentrating on this, though I am working,” he said. “It’s a human story about choices that we make when we’re young and how they affect us when we get older … the emotional consequences of turning right or left. It’s set around a life that’s somewhat adventurous.”

A kind of life, it seems, Wayne knows something about.

By MICHAEL MELLO / THE ORANGE COUNTY REGISTER

Seasons Greetings from JWAYNE.com

The staff at JWayne.com would like to wish you and yours a Very Merry Christmas and a Happy New Year!!

Have a Great and Blessed Holiday Season!

John Wayne: A unique American hero

(CBS News) For fans who can’t get enough of the movies of John Wayne, there will be an opportunity later this week to acquire a piece of his private life, as John Blackstone is about to show us:

We knew him on the big screen as the cowboy … the co-pilot … The Green Beret colonel.

But the private John Wayne stood just as tall as the characters he played.

“Life with him was, at least for me, an adventure,” said Ethan Wayne – John Wayne’s youngest son.

“We didn’t live in Hollywood; we lived at the beach,” he told Blackstone. “We didn’t have bodyguards. If we heard noise on the dock, we’d get guns and we’d walk outside and we’d say, ‘Who the hell is out there?’”

John Wayne was – and, 32 years after his death, still is – one of this country’s most popular actors, ranking third just this year in a poll of America’s favorite movie stars (after Johnny Depp and Denzel Washington).

“John Wayne was not only the most important film star of the 20th century in America – he was actually one of the most important Americans of the 20th century,” said John Powers, film critic for Vogue magazine.

“He defined an entire sense of manhood, authority, and powerful control of self in the situation that people yearned to have protect them – and yearned to be themselves,” Powers said.

Now, for the first time, those admiring fans have a chance to take a little piece of John Wayne’s history home with them. Personal items his family has stored for decades will be sold at a public auction later this week in Los Angeles.

“What compelled you to start selling your father’s things?” asked Blackstone.

“I just thought it was natural to let some of this go out and live with people who will really appreciate it,” Ethan Wayne said.

- CBSnews

John Wayne auction rustles up $5.4M

The winning bid for the wool cap worn by John Wayne in the 1968 war film "The Green Berets" was $179,250. (Heritage Auctions/Warner Bros.)

(CBS/AP) LOS ANGELES — Organizers say a two-day auction of more than 700 costumes, scripts, awards and memorabilia from the estate of film star John Wayne brought in $5.4 million.

Heritage Auctions said Friday that the auction included items such as Wayne’s last driver’s license ($89,625), a holster and gun belt from the film “El Dorado” ($77,675), and an eye patch he wore as the iconic Rooster Cogburn in the 1969 movie, “True Grit” ($47,800).

The highest price went to the green wool beret that Wayne wore in “The Green Berets.” It fetched $179,250.

A cowboy hat that Wayne wore in THREE westerns – “Big Jake,” “The Cowboys” and “The Train Robbers” – pulled in $119,500.

The Golden Globe trophy he won for “True Grit” went for $143,400.

John Wayne’s personal items are up for auction

Ethan Wayne, his youngest son, knows choosing what to keep and what to sell is delicate. The Duke’s ‘True Grit’ Golden Globe and an eye patch from the film are among available items.



Ethan Wayne, the youngest son of Hollywood legend John Wayne, hates to have anything in his pockets because as a young boy he couldn’t go out of the house with his dad without a stack of business cards that read, “Good Luck, John Wayne” on one side and the Duke’s name typed on the other side stuffed in his pockets.

“He would always take care of the fans no matter how busy he got,” said Wayne, 49, who is named after his father’s character in John Ford’s influential 1956 western “The Searchers.”

“If he couldn’t sign [an autograph] or talk to them, they at least got a card,” said Wayne. “I would say to him, ‘Dad, why do we have to talk to this guy?’ He’d say, ‘Son, because these are the people who allow me to do what I do.’ “

Since 2003, Ethan Wayne has headed John Wayne Enterprises in Newport Beach, which is owned by the Duke’s children and grandchildren and whose primary mission is to preserve and protect the image of the larger-than-life movie star. He also has such a large collection of his father’s movie memorabilia that he has opened his archives for auction.

“We get phone calls here, not daily anymore, but certainly weekly from fans saying, ‘How can I get one of your dad’s vests from this film or these films?’” said Wayne, sitting in a conference room at his office. “People have been calling for 32 years. His films affected people and they have a personal relationship with the guy and they want that connection. I remember how important the fans were to my father.”

Ethan Wayne ( Don Bartletti, Los Angeles Times )

As a result of that continuing interest, Wayne has joined with Heritage Auctions in Dallas to conduct the first single-owner auction from Wayne’s personal collection. Public exhibitions will be held in Dallas on Sept. 16-18 and in New York on Sept. 23-26. An exhibit and the auction itself will take place at the Hyatt Regency Century Plaza Hotel in Los Angeles and also online Oct. 3-6.

Among the items being offered are the actor’s Golden Globe for “True Grit” — with an estimated value of $50,000 — one of his eye patches from the movie, plus 400 other costumes, scripts, personal documents and awards.

“We tried to create a broad, honest sampling of this guy’s life and all the stuff that he kept,” said Wayne.

Though the actor most widely known for his westerns died of cancer in 1979 at the age of 72, his popularity remains unparalleled. A Harris poll released earlier this year listed Wayne as America’s No. 3 favorite actor after Johnny Depp and Denzel Washington. Wayne won the lead actor Oscar as the wily one-eyed marshal Rooster Cogburn in 1969′s “True Grit,” and starred in some of the most respected films of the 20th century working with John Ford on such acclaimed movies as 1939′s “Stagecoach,” 1948′s “Fort Apache,” 1949′s “She Wore a Yellow Ribbon” and 1952′s “The Quiet Man.” He also appeared in director Howard Hawks’ “Red River” in 1948, 1959′s “Rio Bravo” and 1962′s “Hatari.”

Selecting what would be in the auction was a difficult decision, said Wayne, who has worked as an actor and stuntman, and starred opposite his dad in 1971′s “Big Jake.” “No matter what you do, someone is going to be looking over your shoulder saying that it’s great that you are allowing it to go and another person is saying that it’s horrible, how can you do that? Yes, the Golden Globe is going but the Congressional Medal of Honor and the Oscar are not going. We are keeping some scripts and letting some go.”

Besides the “True Grit” Golden Globe, other high-end items in the auction include a costume from 1949′s “Sands of Iwo Jima,” which has an opening bid of $20,000; a Stetson cowboy hat from 1953′s “Hondo,” at $25,000; and an Andy Warhol limited edition signed print from the “Cowboys and Indians” series, also at $20,000.

But not everything on the block will be for the deep-pocketed serious collector. There are a handful of items for the average fan that are valued at less than $100, including two lapel buttons reading “I Have True Grit” that have an opening bid of $25, a “True Grit” mouse ornament that is going for $55 and a group of cocktail glasses from the 1960s that have a current bid of $100.

Ethan Wayne said that he believes his dad still resonates with fans around the world not only because of his movies “but he was also liked personally. People knew he was the same kind of guy off screen as he was on screen. You can sense that about him. He never got bogged down with the darker side of his life.”

For the younger Wayne, the bond went much deeper. “This was an outdoor adventurous guy who lived life to the fullest. I lived with my father until the day he died. I drove him to the hospital and I held his hand when he took his last breath. He was a good friend of mine. I have my memories of times with a great coach.”

For more information about the auction go to http://www.entertainment.ha.com.

By Susan King, Los Angeles Times

First authorized book on John Wayne

JOHN WAYNE ENTERPRISES GIVES GREEN LIGHT FOR FIRST
AUTHORIZED BOOK ON JOHN WAYNE TO POWERHOUSE BOOKS

To be Released Fall 2011, Book to Feature Never-Before-Seen
John Wayne Archived Photo Collection

Newport Beach, California (March 14, 2011): John Wayne Enterprises (JWE), LLC, exclusive owner and licensor of the John Wayne brand, has entered into a publishing agreement with powerHouse Books, the independent publishing house best known for its fine art, documentary, pop culture, fashion, and celebrity books, for the creation of the first-ever authorized John Wayne photo book. The book will be released in fall 2011. The announcement was made today by Ethan Wayne, President of John Wayne Enterprises and son of the late Hollywood legend.

“We knew of powerHouse’s impeccable reputation in the publishing world, but it is Daniel Power and Craig Cohen’s commitment to quality and innovation and their respect for both John Wayne the icon and the man that made it possible for us to enter into this agreement,” said Wayne in making the announcement. “As the first-ever authorized book on John Wayne, my family is looking forward to sharing the myriad of personal memories and never-before-seen images that will comprise this unique representation of our father’s life.”

“Our unique approach to publishing photographic books that celebrate the lives of iconic individuals, books such as Gary Cooper: An Enduring Style, Phil Stern: A Life’s Work, and But That’s Another Story: A Photographic Retrospective of Milton H. Greene, that have proven our ability to present a rare and intimate glimpse of all facets of the person, not just the persona they embodied,” said Daniel Power, founder and CEO, powerHouse Books.

“We are grateful for the trust the family has bestowed on us and look forward to working with John Wayne Enterprises to bring this unique collection of images from the John Wayne estate to his millions of fans around the world,” added Craig Cohen, Vice President and Executive Publisher, powerHouse Books.

Combining never-before-seen photographs culled from the family’s vast personal archives with images from some of John Wayne’s 175 feature films, the book (as yet untitled) will celebrate the qualities John Wayne embodied. Comments from family members, friends and co-stars will recount first-hand examples of John Wayne’s loyalty, honesty, dependability and courage. Personifying the American spirit, John Wayne was and continues to be a true Hollywood icon.

JWE’s worldwide licensing and promotional partnership programs continue to expand the global awareness of the John Wayne brand. In addition to the organization’s two core licensing programs — “classic collectibles” targeting adult collectors and John Wayne fans, and the John Wayne “lifestyle program,” which is inspired by John Wayne’s western casual heritage and geared towards the young adult male – JWE also has licensing partnerships in such key categories as novelties, apparel, accessories, home furnishing, interactive, publishing and more. The agreement with powerHouse Books marks the company’s first foray into publishing.

Pre-order your copy today!

John Ford honored with postage stamp


The Cape Elizabeth native is one of four film directors who will be featured in the Forever stamp series next year.

The face of a Maine native who became a Hollywood legend will appear on a postage stamp next year.

Award-winning film director John Ford, born John Martin Feeney in 1894, is one of four film directors to be featured on the U.S. Postal Service’s Forever stamp series in 2012. Frank Capra and John Huston will also be featured, with the name of the fourth director to be announced later.

The film directors series was selected from tens of thousands of stamp-design suggestions submitted to the post office each year, a spokesman said. Of these, about 25-30 images are selected for use on postage stamps.

The Ford stamp was illustrated using pastel pictures created by artist Gary Kelley of Cedar Falls, Iowa, and was designed by Derry Noyes, an art director under contract with the post office.

Ford, the son of Irish immigrants, was born in Cape Elizabeth and raised on Sheridan Street on Munjoy Hill in Portland.

He was baptized at St. Dominic’s Roman Catholic Church in Portland, where he served as an altar boy; and was a successful athlete at Portland High School.

He graduated in 1914, moved to Hollywood in the footsteps of his older brother Francis, and changed his last name to Ford, as his brother had done. Francis Ford would later be cast in John Ford films including “The Quiet Man,” and “Young Mr. Lincoln.”

Considered to be one of America’s greatest filmmakers, Ford won Best Director Academy Awards for “The Informer,” “The Grapes of Wrath,” “How Green Was My Valley,” and “The Quiet Man.” He also made two Oscar-winning World War II documentaries: “The Battle of Midway” and “December 7th.” In total, he directed more than 130 films.

Ford died at age 79 of colon cancer in 1973. He is buried at Holy Cross Cemetery in Culver City, Calif.

A bronze statue of Ford is located at Gorham’s Corner, at the intersection of Danforth, Pleasant, York and Center streets in Portland; and the auditorium at Portland High School is named after him.

- The Portland Press Herald

Glen Campbell on music, memories and saying goodbye to life on the road

John Wayne (left) with Glen Campbell - 1974 Photo: REXFEATURES

Six months ago, the one-time Beach Boys frontman and country singer par excellence was told he had Alzheimer’s. Now he talks exclusively about his music and his memories.

In November 2003, Glen Campbell drove his BMW into another car in Phoenix, Arizona. He then left the scene of the incident and was later picked up at home by Arizona police. Smelling alcohol on his breath, they arrested him and took him to Maricopa County jail. There, Campbell kneed a sergeant in the thigh, which led to an additional charge of aggravated assault on a police officer. He was convicted of extreme DUI (driving under the influence) and sentenced to 10 days in prison; his police mugshot was made public and became a widely viewed internet sensation.

It was, unfortunately, one of Campbell’s most famous moments in the spotlight, one that temporarily threatened to obliterate the country singer’s many achievements: his classic hits (Rhinestone Cowboy, Wichita Lineman, Galveston, By the Time I Get to Phoenix); his work with some of the biggest names in American rock history; or his acting turn alongside John Wayne in the 1969 version of True Grit.

For a while, the public forgot all about Campbell’s times fronting the Beach Boys, touring with the Doors and playing guitar on recordings by Frank Sinatra (Strangers in the Night), Dean Martin (Everybody Loves Somebody Sometime), the Righteous Brothers (You’ve Lost That Lovin’ Feelin’) and Elvis Presley (Viva Las Vegas). But they were very much reminded of the revelations of his addictions to cocaine and alcohol in the Seventies.

In his mugshot, Campbell, then aged 67, appeared wild haired and slovenly. For a man who had supposedly not touched drugs or alcohol since finding God, and his fourth wife, a quarter-of-a-century earlier, the whole episode was hard to fathom. This was not Campbell’s normal behaviour.

“I first noticed some things maybe eight years ago,” Campbell’s wife, Kim, tells me. It is June 2011 and we are sitting in the lounge of the couple’s home in Malibu, California. “But they could just be normal things ’cause lots of people have their little moments. [Things like] ‘why’d I come into this room?’ We’ve all done that, right?”

“Yeah!” hoots Campbell, who is sitting next to her on the sofa. ‘“Hey, where’s my shorts at?’ Hah hah!”

“But they were so abnormal that I just discounted them,” Kim continues. “When we lived in Phoenix I’d say, ‘something’s in the garage’, and he’d say, ‘where’s the garage?’, I’m like, ‘what do you mean, where’s the garage?’ So that was very abnormal. But it was also not something that occurred every day.”

Does she think this explains the arrest? “I think it could very well. Because there were some things going on that Glen was struggling with. And he was getting anxiety. And anxiety seems to be a symptom of this disease.”

Glen: “What disease?” Kim: “Alzheimer’s.”

“Oh, Alzheimer’s,” says Glen absent-mindedly. He takes a slurp of his iced tea. “No. I don’t know. I still play my guitar and sing.”

Campbell, a father of eight and with 45million record sales to his name, does still play guitar and sing – on his new album, as richly and evocatively as he ever did. But he might not be doing it for much longer. Ghost on the Canvas is, he says, his last album.

Well, he qualifies that in an open letter he’s publishing alongside the album. It’s “the last studio record of new songs that I ever plan to make”, which leaves open the possibility of a live album, or an album of cover versions, like his last one, 2008’s Meet Glen Campbell.

But then later in the letter, he qualifies that qualification: “I’ve done a lot in my life – played, sang, toured, hosted a TV show, acted in a movie. Most of the things that happened were because of the music, because of the records, and now it’s time to just close that book.” Campbell, 75, has Alzheimer’s. He and Kim received the diagnosis six months ago.

They’ve decided to tell the world now because he’s about to embark on what will definitely be his last tour. The couple didn’t want concert-goers to mistake any onstage forgetfulness for drunkenness.

“Music is a natural memory aid,” says Kim, explaining the medical benefits of her husband not hanging up his plectrum just yet. “And it really works for him ’cause that’s what he does: music. So he’s able, most of the time, to remember and even learn new things because they’re set to music.”

Our interview runs like this: starting at around 9.30am, first Campbell and I talk for 45 minutes or so. His long-standing PR and friend sits nearby. Midway through his golf buddy turns up, ready for that day’s round – the interview has been scheduled early to make sure we don’t impinge on this beloved part of Campbell’s daily routine. Kim hovers in the kitchen then, at my invitation, joins us for the last 15 minutes to discuss living with the disease.

In the early part of our conversation, during which I ask about Ghost on the Canvas, Campbell struggles to recount details of the new album.

As we dive further back in time, his recall – and speech – is clearer, more lucid. Towards the end he seems to become distracted, his speech is garbled, and he’s tired. He also repeatedly forgets what we’re talking about. He does it so often it’s like a comic skit. Afterwards I ask his PR if that was him genuinely forgetting, or if he was pulling mine and Kim’s legs. “A bit of both, I think,” the PR replies.

Kim confirms the insidious nature of the amnesia brought on by Alzheimer’s.

“I think that’s the hardest thing for people with this disease – learning new material, new information. They just can’t store it. So we definitely rely on a teleprompter [on stage]. But if it was just learning lyrics and having to recite them that would be really difficult.”

Kim sets out Campbell’s daily drug regimen: Namenda, Galantamine and, for his anxiety, a dose of Lexapro – “and that does miracles for him. Without it,” she says, looking fondly at her husband, “he just gets anxiety, just crazy. He just can’t handle it.”

As we near the end of our time together, I ask Campbell: does making music do as good a job as all the drugs?

“Oh yeah!” he beams, shifting his baseball cap on his head – it’s been signed by former vice-president Dan Quayle, with whom he once played 18 holes. “I don’t, I haven’t had anything in quite a while. Any of these things, I mean. Just great, I’m sure glad.” Momentarily lost in the conversational seas, he turns to Kim, as if seeking an anchor.

“Have you been giving me something? I take something at the house don’t I? Well, I’m 75, I figure that we’ll get another coupla decades,” Campbell grins.

As for the Fifties? Campbell remembers them well. At the beginning of the decade he was living on the family farm in Billstown, Arkansas, one of 12 children. His clearest memory?

“Looking a mule in the butt, hah hah!” laughs the singer. Guiding a plough as a beast of burden dragged it through the fields wasn’t young Glen’s favourite pastime. He preferred to play the guitar that he’d had from the age of four. But for the hardscrabble Campbell kids there was always work to be done.

“Dad would sit one of us on the cultivator, then before you knew it Daddy wasn’t sitting up there with us no more. He was over there driving a damn goat or whatever it was! And Mom was like, [screech] ‘you’re gonna kill one of ’em kids, they’ll fall off of there!’” Campbell slaps his thighs at the memory.

“But yeah, I wanted to get out of there. I wanted to play my guitar and sing. And I did. I started with my Dad’s sister. Yeah, anyway, she came out to Arkansas and I played. And I auditioned for her husband. They were in Albuquerque at that time. They had a five-days-a-week radio show. And I turned up, you know, got a little audition there with him, and sang, and he gave me the job. We had a five-days-a-week radio show,” Campbell says again.

Those early days playing with his uncle, Dick Bills, on the Albuquerque radio show were clearly one of the pivotal moments in his life. Not least because Campbell mentions them, out of the blue, at three subsequent points in the conversation. It’s like the needle of his memory is stuck in a distant groove.

It was in Albuquerque that he first met Elvis Presley. The year was 1957, and Campbell was 21. It was the beginning of a relationship that, in the Sixties, would result in Campbell – by then one of the best gun-for-hire session guitarists in the business – playing on Viva Las Vegas. The two entertainers had rotating four-week residencies in Las Vegas. Were they rivals?

“Oh no. We both come up the same way, in the sticks. Elvis was a great singer, he really was. I wanted to play the guitar more so than I did singing. He was a great guy.”

We talk about Phil Spector. After Campbell moved to Los Angeles in 1960, he became a member of the Wrecking Crew, a gang of session musos. Spector used them on You’ve Lost That Lovin’ Feelin’. I ask if the trigger-happy producer (currently serving a 19-year sentence for murder) ever pulled a gun on him.

“No, no, no. He was a strange guy. You’ve probably heard that. This guy came up, one of them hillbilly singers, and asked [Spector], ‘what are you on, man?’ And he said, ‘Decca.’ Hah hah! He always had kinda… eyes,” says Campbell, forgetting the adjective. “I think he probably was doing some kind of drug. I don’t know. But he knew the musicians that he wanted to play on the records. And everything that he did was really, really good.”

And we talk about his television programme. The Glen Campbell Goodtime Hour debuted on CBS on May 21, 1969 – the date forms the title of one of the brief musical interludes on Ghost on the Canvas. The success of the show brought him a new kind of fame.

“With the TV shows you get eight zillion people watching you. I was really surprised at the way everything went. I knew television was powerful but that was just… wow. I did what my Dad told me to do – ‘be nice, son, and don’t cuss. And be nice to people’. And that’s the way I handled myself, and people were very, very nice to me.” That celebrity, though, was hard to handle. Campbell began drinking heavily to help him cope.

“I don’t know,” says Campbell when I mention this. “God, I don’t even remember that. What was that?” I tell him again. “God I don’t even remember that stuff.” Again, he laughs, but it’s not really a humorous laugh. “I’m glad I had sense enough to quit. Oh yeah, I’d have a nip occasionally!”

What about the months last year, when he recorded Ghost on the Canvas? Campbell doesn’t remember that time too well. When I compliment him on his new album’s mix of musical collaborators – Chris Isaak, Jakob Dylan (son of Bob), Paul Westerberg, Billy Corgan and the Dandy Warhols – he replies: “Oh it was…” and tails off as Kim enters the room.

It’s a tuneful, warm, reflective and brilliant record. The country twang and backwoods soul that Campbell brought to his biggest hits are present and enthralling. The album begins with A Better Place, co-written by Campbell and his producer Julian Raymond. The first lyrics are: “I have tried and I have failed, Lord/ I’ve won and I have lost”. I ask him: why was that the opening song?

“Oh,” he says. “Run it by me again.” So I do.

“Oh yeah.” Then Campbell sings: “I have failed and I have…” He stops and starts again. “I have tried and I have failed, Lord… Yeah, it’s a good song.”

This morning in Malibu, it’s foggy outside – the view of the Pacific is obscured by billowing clouds. And, at the risk of sounding trite, it’s foggy inside too. As it happens, the news of his illness had broken this very morning, via a pre-arranged interview with the American magazine People. I ask Kim if, listening to the album, she hears her husband looking back over his life.

“I do,” she nods. “I do. And it also reflects what I think he’s going through now.” Raymond, who also worked on Meet Glen Campbell, kept a journal during the making of that earlier album. He would note down what Campbell would say between takes and put those things to music. “That’s how the [new] songs were co-written.”

She singles out Strong: “This is not the road I wanted for us/but now that it’s here/I want to make one thing perfectly clear/all I want to be for you is strong”. And she talks about A Better Place: “Some days I’m so confused, Lord/my past gets in my way/I need the ones I love more/more and more each day”.

It’s powerful and heartbreaking music. The most obvious comparison is with Johnny Cash’s elegiac Hurt. Not that Campbell is as frail as, by all accounts, Cash was when he recorded his final album.

But at the same time: the firecracker wit and fighting spirit that I recall from previous interviews wasn’t so present during our time together. The flame is still there, but it’s flickering. It was an honour to meet the man in his home. A place where the walls are covered in memories of a life well-lived. But I can’t say I left with a spring in my step.

Does he feel like this is a farewell record?

“I don’t know,” he replies. “There’s the old joke – I’ve been doing this since Hitler was a corporal,” he chuckles.

Is he suffering any physical problems from the Alzheimer’s? “I haven’t noticed it,” he shrugs. And indeed, for all his conversational fatigue at the end of our time together, Campbell is upright, restless and eager to get out onto that first tee. “I’ve been pulling their leg,” he smiles. “What am I now? I’m 75. I’m cool with everything. I still go out and play [music] the same. And play golf. It’s fun.”

Visit the Glen Campbell store to get your copy of Ghost on the Canvas

By Craig McLean, Telegraph
http://www.telegraph.co.uk/culture/music/8695036/Glen-Campbell-on-music-memories-and-saying-goodbye-to-life-on-the-road.html

True Grit: Rooster to the rescue

Why, in troubled times, does America turn to a hard-drinking, half-blind US marshal? Frank Rich on how True Grit speaks to the Obama generation as profoundly as it did to Nixon’s

A month before John Wayne won the 1969 best actor Oscar for True Grit, Richard Nixon wrote him a “Dear Duke” fan letter from the Oval Office: “I saw it in the WH with my family and for once we agree with the critics – you were great!” Some four decades later, his rave was echoed by another Republican warrior, this time in praise of the True Grit remake with Jeff Bridges in the role of the old, fat, hard-drinking, half-blind 19th-century US marshal Rooster Cogburn. Shortly after New Year, Liz Cheney, daughter of former vice-president Dick, told the New York Times that her parents saw True Grit at the Teton theatre in Jackson, Wyoming, and gave it “two thumbs up”.

The double-barrelled success of True Grit, then and now, spreads well beyond those conservative gunslingers. In America’s current winter of high domestic anxiety, as in the politically tumultuous summer of 1969, it is a hit with the national mass audience and elite critics alike. The new version is doing as well in New York and Los Angeles as it is in Cheneyland.

That True Grit still works is first a testament to the beauty of the remake, as directed by the Coen brothers, and to the enduring power of both films’ source, a 1968 novel by Charles Portis that refracted a western yarn through a scintillating and original comic voice. But the latest True Grit juggernaut also has something to say about Americans yearning at a trying juncture in their history – much as it did the first time around.

The original film opened at Radio City Music Hall, New York, on 3 July, 1969, the same day that antiwar protestors incited a melee at the adjoining Rockefeller Centre, shutting down Fifth Avenue. In that climate, the movie’s success was hardly preordained. The previous year, The Green Berets, Wayne’s jingoistic Vietnam potboiler, had divided audiences, been ridiculed by the press and shunned by the Oscars. The western, like the war movie, was seen as a dying genre, usurped by darker and ever more violent takes on frontier mythology like 1967′s Bonnie and Clyde and The Wild Bunch, which opened just a week before True Grit. July of 1969 would also bring Easy Rider, the iconic 60s dope-and-biker movie in which Dennis Hopper, who played a villain in True Grit, would reinvent himself as an era’s archetypal cultural antihero. The Easy Rider tagline ran: “A man went looking for America. And couldn’t find it anywhere.”

Such was the dyspeptic mood of a nation deep into a fruitless war and a year after a summer of assassinations and riots. Yet True Grit was warmly received, including by the New York Times critic, Vincent Canby, who put it in a year-end list of bests dominated by such anti-establishment fare as The Wild Bunch, Easy Rider, Midnight Cowboy, and the ultimate anti-western, Andy Warhol’s sexually transgressive Lonesome Cowboys. Canby described True Grit as “a classic frontier fable that manages to be most entertaining even when it’s being most reactionary”.

He was right. Its story and themes could hardly have been more retro. A 14-year-old girl from Yell County, Arkansas, named Mattie Ross hires Rooster to help track down an outlaw who murdered both her father and a Texas state senator before fleeing into Choctaw territory. Though Mattie is a stickler for the law, she’s not averse to frontier justice if that’s required to avenge her dad. But to the grizzled old Rooster’s dismay, the girl insists on joining him on the trail to make sure the job gets done.

Matties had to outlive Roosters

Like classic Hollywood westerns before it, True Grit in all its iterations has an elegiac lilt. Uncivilised hired guns like Rooster may have helped tame the west and dispatched bad guys, but they were also capable of lawlessness and atrocities. As a young Confederate soldier, Rooster had joined in the 1863 Lawrence massacre in Kansas. Ultimately, law, religion and domestic institutions like marriage – which Rooster failed at – had to prevail if America was to grow up. The Matties had to outlive the Roosters. And so they did. For a weary mainstream 1969 audience, and not just a reactionary one, the restoration of order in True Grit, inevitably to be followed by Rooster’s ride off into the sunset, was a heartening two-hour escape from the near civil war raging beyond the cinema walls.

In 2010, expectations for the new True Grit may have been lower than they were for the first. The western has once again been written off as an endangered species. The Coens’ critically admired film-making has never generated blockbuster box office. An added indignity was the complete shutout of True Grit from Golden Globe nominations – a measure of a movie’s advance buzz, if nothing else.

Nonetheless, it is already the biggest draw of any Coen brothers film – poised to at least double the business of No Country for Old Men, their biggest previous hit. Revealingly, I think, it is attracting an even larger audience than The Social Network, a movie of equal quality with reviews to match and more timely cultural cachet. It turns out that True Grit is as much an escape for Americans now as it was in the Vietnam era.

Our age is hardly identical to that one, whatever the resonances between the Afghanistan and Vietnam wars, and whatever America’s own bouts of domestic violence. The new True Grit took off before the Tucson cataclysm in any event, and the movie’s broad appeal, like the demographics of its audience, transcends the running right-left debate. What is most stirring about True Grit today – besides the primal father-daughter relationship that blossoms between Rooster and Mattie – is its unalloyed faith in values antithetical to those of the 21st–century America so deftly skewered, as it happens, in The Social Network.

At its core, the new True Grit is often surprisingly similar to the first, despite the clashing sensibilities of their directors (Henry Hathaway, a studio utility man, did the original) and the casting of an age-appropriate Mattie (Hailee Steinfeld) in lieu of the 21-year-old Kim Darby of 1969. But what leaps out this time, to the point of seeming fresh, is the fierce loyalty of the principal characters to each other (the third being a vain Texas ranger, played by Matt Damon) and their clear-cut sense of morality and justice, even when the justice is rough.

More than the first True Grit, the new one emphasises Mattie’s precocious, almost obsessive preoccupation with the law. She is forever citing law-book principles, invoking lawyers and affidavits, and threatening to go to court. “You must pay for everything in this world one way or another,” says Mattie. “There is nothing free except the grace of God.”

That kind of legal and moral cost-accounting seems distant now. The new True Grit lands in an America that’s still not recovered from a crash where many of the reckless perpetrators of economic mayhem deflected any accountability and merely moved on to the next bubble, gamble or ethically dubious backroom deal. When we think of the law these days, we often think of a system that can easily be gamed by the rich and the powerful, starting with those who pillaged Lehman Brothers, AIG and Citigroup and left taxpayers, shareholders and pensioners in the dust. A virtuous soul like Mattie would be crushed in a contemporary gold rush even if (or especially if) she fought back with the kind of civil action so prized by her 19th-century incarnation.

Talk about two Americas. Look at The Social Network again after seeing True Grit, and you’ll see two different civilisations, as far removed from each other in ethos as Silicon Valley and Monument Valley. While The Social Network fictionalises Mark Zuckerberg, it mines the truth of an era – from the ability of the powerful and privileged to manipulate the system to the collapse of loyalty as a prized American virtue at the top of that economic pyramid.

In contrast to Mattie’s dictum, no one has to pay for any transgression in the world it depicts. Zuckerberg’s antagonists, Harvard classmates who accuse him of intellectual theft, and his allies, exemplified by a predatory venture capitalist, sometimes seem more entitled and ruthless than he is. The blackest joke in Aaron Sorkin’s priceless script is that Lawrence Summers, a Harvard president who would later moonlight as a hedge fund consultant, might intervene to arbitrate any ethical conflicts. You almost wish Rooster were around to get the job done.

Battle of the blogslingers

The Social Network is nothing if not the true sequel to Wall Street. The director, David Fincher (no less brilliant than the Coens), makes the atmosphere almost as murky and poisonous as that of his serial killer movies, Seven and Zodiac. In The Social Network, the landscape is Cambridge, Massachusetts, but we might as well be in the pre-civilised wild west. Instead of thieves bearing guns, we have thieves bearing depositions. Instead of actual assassinations, we have character assassinations by blogpost. In place of an honourable social code, we have a social network presided over by a post-adolescent billionaire whose business card reads: “I’m CEO . . . Bitch!”

This hits too close to home. No one should have been surprised that those looking for another America once again have been finding it in True Grit.

VIA: guardian.co.uk

Iowa’s bold claim to John Wayne

WINTERSET, Iowa — In the tiny living room of the tiny clapboard house where John Wayne was born, our tour guide explained that “The Duke’s” family moved to this town southwest of Des Moines in 1906 so his father could work in a pharmacy. They left in 1911 for Wayne’s father to take a similar job in nearby Earlham. I didn’t think much of it. None of us 16 visitors seemed to.

“Wait,” I asked the guide. “So how old was John Wayne when the family left this house?”

“Three,” she said, and continued with his life story.

Three.

Our nation’s most iconic movie star couldn’t tie his shoes when he left the house where we stood, but if you think that demeans the value of the most famous home in this little town, 30,000 annual visitors disagree. Standing in the room where little baby Wayne took his first breath — a dim, back corner space about 8 feet wide and 15 feet long — brings an inevitable hush to the tourists who come from all 50 states and dozens of countries. Some cry.

Like the rest of the house, that room is stuffed with period-era furniture and memorabilia from The Duke’s career, including photos from the 160 films starring the former Marion Robert Morrison, an eye patch he wore in the original “True Grit” and an autographed copy of “The John Wayne Story,” a 1972 biography in which he inscribed:

David —

Haven’t read this yet. Hope I won’t regret signing it.

Duke

Though he lived in the little white house for just three years, visiting it stirs Wayne fans. It reminds them why they love John Wayne and reminds them about themselves.

“When I walked into that house, I felt a connection to my past,” Tom Rizzardo, 48, of suburban Dallas, told me as he finished the house tour I was about to begin. “I thought of playing in the street and my dad calling me inside because ‘The Cowboys’ or ‘Chisum’ was on TV.”

Wayne’s birthplace also makes clear that his greatness wasn’t just a product of the screen; it was in his journey from heartland modesty to West Coast fame. It was classic American success, even if, despite the pleas of Winterset leaders, he apparently never returned to the town.

If true, it was too bad for The Duke because the town of 4,800 could have been built on a studio back lot. A handsome limestone courthouse anchors the town square while the usual small-town suspects orbit on all sides: the movie theater, the shoe store, the coffee shop, the pharmacy (with requisite soda counter), the diner, the chiropractor and so on.

For a relatively small town, Winterset is blessed with a couple of other attractions: George Washington Carver lived here briefly in the late 1880s and is honored with a small park. It also is the seat of Madison County, as in “The Bridges of Madison County,” a book and, even more so, movie that sent countless tourists to Winterset in search of covered bridges.

In true Midwestern style, Winterset also is a friendly place. At the edge of town a sign offers greetings from the Methodists, the Lutherans, the Seventh-day Adventists, the Baptists, the Madison County Gentlemen, the Rotary Club, the Winterset Optimist Club, the VFW and, if that’s not enough, Wayne Cowden, 72, and Marilyn Hull, 73, who, in harvest season, sell freshly picked sweet corn from the back of a truck. Hull, who grew up in Winterset, takes moderate pride in coming from the same place as The Duke.

“You wouldn’t think someone like that would come from Winterset,” she said. “Then again, I didn’t know he was from here for a long time.”

A lot of people didn’t. Until Wayne died in 1979, much of Winterset didn’t give a lick about being John Wayne’s birthplace. Then, as with so many celebrities, death was a great career move. People started showing up at the house at Second and South streets, which, these days, is down the street from a video rental store and tanning salon.

“The gentleman who lived here in the early 1980s, if he forgot to lock his door, would find people standing in his living room wanting to see the birthplace of John Wayne,” my tour guide said.

In 1982, the nonprofit John Wayne Birthplace Society bought the house. It has raised $1 million of a targeted $5.5 million for a proper museum. Until then, it offers visitors a 71/2-foot bronze Wayne statue (rifle in hand, of course), a well-stocked gift shop (John Wayne beef jerky, anyone?) and 20-minute tours of the house: 10 minutes of guided talk and 10 minutes of wandering, though there isn’t far to wander in 860 square feet. Still, the memorabilia is plentiful, including his Page 4 birth announcement in the May 30, 1907, Winterset Madisonian that says, “A thirteen-pound son arrived at the home of Mr. and Mrs. Clyde Morrison Monday morning.”

That always gets the female visitors.

“Thirteen pounds?!” one said. “Where’s the whiskey?”

The main event comes around Wayne’s May 26 birthday, when the birthplace museum hosts a party that draws close to 10,000 visitors. For two days, it’s all Wayne: an auction, music, food and, of course, movie screenings. Not everyone enjoys it.

“It’s pretty interesting seeing who comes to Winterset, but every year for the party I get out of town,” said a woman who lives nearby and didn’t want to be named. “Too many people in my backyard. But I get it. Hell, it’s John Wayne. He’s an icon. And the people need to see something.”

By Josh Noel, Tribune Newspapers – Chicago Tribune

John Wayne Westerns Weekend

Thursday, January 13, at 7:00 p.m. the Beltonian Theater will feature “The Searchers”, starring John Wayne, as part of our mini-film festival weekend of John Wayne Westerns. Admission is $6.

John Wayne plays an ex-confederate soldier who spends five years searching for his niece who was captured by the Comanches who massacred his family. What does he find besides hunger, thirst and loneliness? Perhaps his humanity. These Westerns are some of the most beloved of American film history. Come see them all in the Historic Beltonian Theater, established 1900, but featuring a state-of-the-art digital audio and video system and a 32? screen. (Thursday, Friday and Saturday, at 7:00 p.m.)

Check out http://beltoniantheater.com/?p=405 for more details.

The Beltonian Theater

219 East Central Avenue, Belton, TX 76513

(254) 939-1230

Seasons Greetings from the JWAYNE.COM!

The staff at JWayne.com would like to wish you and yours a Very Merry Christmas and a Happy New Year!!

Have a Great and Blessed Holiday Season!

John Wayne Westerns on TCM

If you look at the very early John Wayne films you’ll discover a very different person. First there was the name: it was originally Marion Michael Morrison. Morrison went to USC and played football. He might have gotten his first taste of stardom from silent star and “It girl” Clara Bow. There were rumors that party-girl Bow was “friendly” with the entire USC football team and afterwards showered them with gold cufflinks and bootleg booze.

At over 6 feet tall, the strapping “Duke” Morrison picked up occasional work in the studios hauling sets and scenery during summer breaks from school. In 1926 he landed a better job as personal trainer for Tom Mix, the cowboy matinee idol. As a trainer, Morrison got to go on location and observe how films were made. He even made his screen debut as an extra in a Tom Mix episode called The Great K & A Train Robbery (1926). He’s just a face in the crowd, helplessly looking on in a scene as the lock box is broken and the bad guys ride off, but Morrison decided he liked the life of an actor better than hauling props.

His early roles weren’t featured parts. In fact, Morrison barely got his face on screen playing extras. He played football players in silent films like The Drop Kick (1927) and That Forward Pass (1929). By 1930 he had a new name and was a regular in B-westerns, which he churned out for poverty row studios. Between 1930 and 1933 he made 36 films including: Ride Him, Cowboy (1932), Two Fisted Law (1932), Haunted Gold (1932) and Baby Face (1933), a Pre-Code melodrama with Barbara Stanwyck in which he has a brief scene as an office clerk.

When director John Ford heard there was a former USC football player on the studio lot, he went to meet the young man. “Get down and give me the 3-point position!” Ford demanded. As Duke did, Ford kicked his hands out from under him sending him face down into the dirt. He got up and tackled the director. They both hit the ground laughing and friends for life.

Wayne’s early work for Ford was in “safe” roles. He played a spectator at a racetrack in Hangman’s Horse (1928). He played a midshipman in Salute (1929) and a radioman in the submarine drama Men Without Women (1930). Though short on screen time, these roles allowed Wayne to observe the action and hone his technique. It was Ford’s advice that Duke watch Harry Carey, another cowboy star, and use the example as his own.

The Duke was still struggling for parts when Ford introduced him to director Raoul Walsh. The latter was preparing to shoot Hollywood’s first outdoor talkie, an epic 70-mm film of the great move west called The Big Trail (1930). Walsh cast Duke as the lead, changed his name to John Wayne, upped his salary to $50 a week and moved him off to Yuma, Arizona where the film was being shot.

Shooting The Big Trail was something of a disaster. Walsh lost an eye on the set and by the time the film was released, the Great Depression was in full force. Only two theaters in the country had the projectors to show the 70-mm print. It was back to poverty row B-westerns for another decade for Duke Wayne.

However, in 1939 John Ford had an idea for a western. Ford planned to transpose Chaucer’s twelfth century “Canterbury Tales” to the western frontier. It would be called Stagecoach. Ford signed Claire Trevor to play the female lead (at $15,000). Thomas Mitchell would play a drunk passenger (for $12,000) and Donald Meek a tea-totaling whiskey salesman for ($5,416). For the part of the hero, Ford called his friend John Wayne and asked him if he wanted the role for $3,000. He’d be the lowest paid cast member and the last principal character to be cast but it was a job with a paycheck and a measure above the B-movie work he had been doing.

Although it was eclipsed at the Oscars® by Gone with the Wind, Stagecoach became a box office success and Wayne accomplished his first memorable role as “the Ringo Kid.” Production was brutal for Duke. Ford humiliated the novice actor calling him a big oaf, a dumb bastard, grabbing him by the shirt collar and shaking him. “Can’t you walk instead of skipping you god damned fairy?” Ford ranted. Wayne weathered the abuse and emerged an actor.

Nine years later when Ford set out to make what would become his “cavalry trilogy” he called upon the Duke. In Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950), Duke turned in one brilliant performance after another. With his strong presence against the eroded mesas of Monument Valley, Ford and Wayne together created the archetypal western landscape and hero.

While between films for John Ford, director Howard Hawks, a star maker in his own right, cast Wayne as Tom Dunsten in Red River (1948). This story was essentially “Mutiny on the Bounty” in the old west, with Wayne as the dictator Captain Bligh. When Ford saw the picture, his eyes swelled up and he reportedly said, “Why, that big oaf really can act!”

Meanwhile Ford was at work concocting his own Wayne anti-hero and decided to cast the actor as a driven, threatening personality. As Ethan Edwards in The Searchers (1956), Wayne is a revenge-obsessed man. When Indians kidnap his niece, Ethan Edwards sets off to find her. But does he want to save her or kill her? Wayne as Ethan Edwards is terrifying and merciless. The film is one of his best.

In his movies, John Wayne fought in almost every war the United States has waged. He did a tour of on-screen duty in the south pacific during World War II in They Were Expendable (1945), and Sands of Iwo Jima (1949). He was on the ground in Back to Bataan (1945) and in the air in Flying Leathernecks (1951). Ever the red-blooded American, he returned to protect us from the Viet-Cong in The Green Berets (1968), the only pro-Viet Nam movie Hollywood ever made. But this was John Wayne, the most American of us all.

The irony is, with all this fighting Wayne never actually served a day in his life. When James Stewart, Clark Gable, John Ford and Frank Capra enlisted in World War II, the Duke stayed behind to support his family and continue his career. An argument can be made that he perhaps did more of a service for his country on-screen than he could have in the heat of battle.

By the end of World War II, everything in American society was in transistion. Progress was creating new jobs and opportunities but also transforming the landscape, particularly in the Old West. In response to this, both John Ford and Howard Hawks made films that dealt with the vanishing of the old ways. Ford tore down the myth of the hero in The Man Who Shot Liberty Valance (1962).

Five years later Howard Hawks took on the question of age. The director was no longer a young maverick adventurer and after almost 30 years as a star, Wayne himself was no longer the young hero. In El Dorado (1967), we find Hawks and Wayne exploring the limitations of age. Rich with comedy and camaraderie, the film is one of Hawks’ best.

By the 1960s, Wayne was unquestionably the screen’s biggest hero. As the great actors of Hollywood like Gary Cooper began disappearing, the Duke just went on and got bigger. He directed the epic cinarama production of The Alamo (1960), casting himself as Davy Crockett. On one hand, The Alamo was the greatest story of the old west, but on the other, it was Wayne’s metaphor for the dark days of McCarthyism. An avid anti-Communist, Wayne saw himself as taking a stand against the evil empire of the Soviet Union. In The Longest Day (1962), the epic setting was Normandy Beach. Wayne returned to the frontier for How the West Was Won (1963).

Years went by and still Wayne remained active as Hollywood’s studio system crumbled and new faces emerged. In 1969 Wayne was finally awarded the Oscar® which had eluded him for his performance in True Grit (1969). More films followed: Chisum (1970), Brannigan (1975), Rooster Cogburn (1975) reprised his award winning character from True Grit, and his final film, The Shootist (1976). In these last films, Wayne reveals a rare humor that almost verges on self-parody. He had finally come to accept his iconic status as the last western hero, a hard drinking, cigarette smoking, two-gunned, smart mouthed survivor. But that’s how most moviegoers remember him and why he remains one of Hollywood’s most enduring stars.

by Jeremy Geltzer, TCM

December 22 2010 -

6:00am     [Western]     Rio Lobo (1970)
A Civil War veteran searches for the traitor behind a friend’s death.
Cast: John Wayne, Jorge Rivero, Jennifer O’Neill, Jack Elam Dir: Howard Hawks C-114 mins, TV-PG

8:00am     [Western]     Fort Apache (1948)
An experienced cavalry officer tries to keep his new, by-the-books commander from triggering an Indian war.
Cast: John Wayne, Henry Fonda, Shirley Temple, Pedro Armendariz Dir: John Ford BW-128 mins, TV-PG

10:15am     [Western]     She Wore A Yellow Ribbon (1949)
An aging Cavalry officer tries to prevent an Indian war in the last days before his retirement.
Cast: John Wayne, Joanne Dru, John Agar, Ben Johnson Dir: John Ford C-104 mins, TV-PG

12:00pm     [Western]     Rio Grande (1950)
A cavalry unit located on the Mexican border must control Indian uprisings.
Cast: John Wayne, Maureen O’Hara, Ben Johnson, Claude Jarman Jr. Dir: John Ford BW-105 mins, TV-PG

1:45pm     [Western]     Searchers, The (1956)
An Indian-hating Civil War veteran tracks down the tribe that slaughtered his family and kidnapped his niece.
Cast: John Wayne, Jeffrey Hunter, Vera Miles, Ward Bond Dir: John Ford C-119 mins, TV-PG

3:45pm     [Western]     3 Godfathers (1948)
Three outlaws on the run risk their freedom and their lives to return a newborn to civilization.
Cast: John Wayne, Pedro Armendariz, Harry Carey Jr., Ward Bond Dir: John Ford C-106 mins, TV-G

5:45pm     [Western]     Sons of Katie Elder, The (1965)
A ranch-owner’s four sons vow to avenge their father’s death.
Cast: John Wayne, Dean Martin, Martha Hyer, Michael Anderson Jr. Dir: Henry Hathaway C-122 mins, TV-14

8:00pm     [Western]     True Grit (1969)
A young girl recruits an aging U.S. marshal to help avenge her father’s death.
Cast: John Wayne, Glen Campbell, Kim Darby, Jeremy Slate Dir: Henry Hathaway C-128 mins, TV-14

10:15pm     [Western]     Rio Bravo (1959)
A sheriff enlists a drunk, a kid and an old man to help him fight off a ruthless cattle baron.
Cast: John Wayne, Dean Martin, Ricky Nelson, Angie Dickinson Dir: Howard Hawks C-141 mins, TV-14

12:45am     [Western]     McLintock! (1963)
A cattle baron fights to tame the West and his estranged wife.
Cast: John Wayne, Maureen O’Hara, Patrick Wayne, Yvonne De Carlo Dir: Andrew V. McLaglen C-127 mins, TV-PG

3:00am     [Western]     Big Jake (1971)
A rancher leads the posse out to recover his kidnapped grandson.
Cast: John Wayne, Richard Boone, Patrick Wayne, Christopher Mitchum Dir: George Sherman C-110 mins, TV-14

5:00am     [Western]     Man From Monterey, The (1933)
A U.S. Cavalry officer tries to protect Spanish landowners in California.
Cast: John Wayne, Duke, Ruth Hall, Luis Alberni Dir: Mack V. Wright BW-57 mins, TV-G

John Wayne – Greatest Movie Cowboys Named In Western Magazine Poll

Caption: Patrick Wayne (Picture) The Grossman Burn Foundation's 'Art Of Humanity' Gala held at the SLS hotel Los Angeles, California ....

JOHN WAYNE’s RINGO KID and ALAN LADD’s SHANE have landed top spots in a new poll of the greatest movie cowboys.

The two movie icons’ western heroes in the films Stagecoach and Shane, respectively, feature in Cowboys & Indians magazine’s list of the 15 most beloved film characters.

Also making the grade: Gary Cooper’s Will Kane from High Noon; Steve MCQueen’s Tom Horn; Marlon Brando’s Rio from One Eyed Jacks, and Val Kilmer’s Doc Holliday from Tombstone.

Legendary movie cowboy Wayne makes the list twice – he’s also honoured for his role of Tom Doniphon in 1962 film The Man Who Shot Liberty Valance.

- ContactMusic

Contender: ‘True Grit’

A few exceptions like “Ben-Hur” and “The Departed” aside, Oscar hasn’t smiled on too many remakes. But that’s no reason to count out Joel and Ethan Coen’s “True Grit,” which has been described not as a redo of the 1969 Henry Hathaway film but as a more faithful adaptation of Charles Portis’ novel.

Jeff Bridges, who won an Oscar for 2009′s “Crazy Heart,” could find himself back in lead contention as crusty-but-trusty U.S. marshal Rooster Cogburn, the role that won John Wayne his sole Academy Award. Matt Damon, a supporting actor nominee for last year’s “Invictus,” could pop up in that category again for his turn as Cogburn’s foil La Boeuf. The wild-card thesp here is 14-year-old Hailee Steinfeld, who may have a hard time cracking the competitive actress category but could benefit from newcomer attention, especially since this “True Grit,” like the novel, favors the perspective of her character, Mattie Ross.

The Coen brothers’ Oscar-night triumph three years ago may still be fresh in voters’ minds, but as “No Country for Old Men” demonstrated, the writing-directing siblings are a force to be reckoned with in gritty Western-thriller territory, which, even sight-unseen, bodes well for the film’s chances in the picture, directing and adapted screenplay races.

- Variety

John Wayne classic film to honor Rodeo

The California Rodeo Salinas plans to present the John Wayne classic, “Tall in the Saddle,” Thursday at the Forest Theater in Carmel.

Those who attend the film should dress warmly and bring a picnic to enjoy, including beverages of choice (alcohol is allowed but not for sale), blankets and stadium seats if desired.

# What: “Tall in the Saddle,” John Wayne film

# When: Gates open at 6:30 p.m. Thursday and the film will begin at dusk (about 8:45 p.m.)

# Where: Forest Theater, Monte Verde Street and Eighth Avenue, Carmel.

# Tickets: $6 per person. Children under the age of 5 admitted free.

# Information: www.foresttheaterguild.org.

John Wayne’s Kids — Duking It Out Over Estate

A standoff is underway between several members of John Wayne’s family — with his son and daughter battling each other over millions.

It’s all over The Duke’s estate — worth somewhere between $10 and $15 million … depending on which kid you ask.

In legal papers, filed Thursday in L.A. County Superior Court, John’s daughter Aissa Wayne claims she wants to sell her share of the estate — and another one of the The Duke’s kids, Ethan Wayne, is obligated to come up with a “fair-market” price to buy her out.

Aissa — along with several of Wayne’s grandkids — claim they believe the fortune is worth $15,400,000 … but Ethan only thinks it’s worth $10,704,000.

Now, Aissa — and the grand kids — want a judge to rule on the value of the estate … so they can get their money and move on with their lives.

- TMZ

Iowa Town Dedicates John Wayne Statue

Winterset, Iowa has honored its favorite son by dedicating a life-size statue of John Wayne.

Wayne was born Marion Morrison in Winterset on May 26, 1907. He died June 11, 1979.

The town’s celebration marking the centennial of the actor’s birth
in 2007 has blossomed into an annual two-day event in May. At Friday’s kickoff, organizers unveiled an estimated 800-pound bronze statue of the Oscar-winning star that was sculpted in 1981.

Wayne’s daughter, Aissa Wayne, flew in from Los Angeles to attend the dedication. Organizers planned to screen John Wayne movies during the weekend event, including “The Alamo,” in which Aissa also appeared.

- The Associated Press

‘Coots’ Matthews, famed oil well firefighter, dies

The Associated Press
Posted: 04/01/2010 05:05:32 PM MDT

HOUSTON—Edward “Coots” Matthews, a famed oil well firefighter and part of a trio who inspired the 1968 movie “Hellfighters” starring John Wayne, has died. He was 86. Matthews and Asger “Boots” Hansen co-founded Houston-based Boots & Coots International Well Control Inc. in 1978, after a 20-year career fighting oil well fires alongside counterpart—and later rival—Red Adair. Boots & Coots said Matthews died Wednesday.

“We owe a tremendous debt to Mr. Matthews for the vision he and Boots Hansen shared when they formed this company and the culture they developed that helped the company endure the hard times as well as the good,” Jerry Winchester, the company’s president and CEO, said in a statement Thursday. “His imprint on this industry will live forever.”

Matthews began his career with Halliburton in 1947 after serving as a U.S. Air Force tail gunner on a B-17 during World War II.
Matthews and Hansen then joined forces with Adair, fighting some of the best known oil well flares, including the “Devil’s Cigarette Lighter” in Algeria in 1961. The geyser was so great, astronaut John Glenn reported seeing it from space as he passed over the Algerian desert.

After Iraq’s 1991 invasion of Kuwait, Matthews was again called to service, flying to the Persian Gulf to help extinguish some 700 fires in Kuwaiti oil fields.

Matthews retired in 1994 and Boots & Coots was sold to employees.

John Wayne, World War II and the Draft

John Wayne has been on people’s minds lately. Dick Cavett recently wrote a nostalgic New York Times piece about his lone meeting with Hollywood’s “Duke.” He also told of the meeting on the Dennis Miller Show.

Meanwhile, liberal author Gary Wills, presumably an expert because of his 1992 book John Wayne’s America; the Politics of Celebrity, was on another radio show loudly exhorting Wayne as a draft dodger during World War II. Oh, the hypocrisy of it all, Wills went on with glee that America’s biggest media patriot had shirked service during one of the nation’s most trying times.

Perhaps Cavett and Wills were both reacting to last years Harris Poll where amazingly Wayne was still ranked third amongst America’s favorite male film stars. Wayne is the only deceased actor on the list and the only one to have appeared in the top ten every year since the poll was started in 1994, despite the fact that he died in 1979.

Wayne once said, “It’s kind of sad when normal love of country makes you a super patriot.” That kind of honest sentiment that came across on film has helped the “Duke” maintain such a revered place in so many American hearts and minds.

The charges of Wayne being a “draft dodger” are not new and with a simple Google search one can find any number of far left types absolutely blowing their “peace and love” credentials over Wayne and his lack of service in World War II. The truth is far more complex and even “hidden in plain sight” than one would think.

Upon graduating from Glendale High School in 1925, Wayne applied to the U.S. Naval Academy at Annapolis, hoping to live out his dream of being a career Naval officer. He came close but was instead chosen the first alternate candidate.

By the start of World War II Wayne had been suffering for years from a badly torn shoulder muscle incurred in a body surfing accident that cost him his football scholarship at USC in 1927. He also had a bad back from performing his own stunts during ten years acting in “B” Westerns. Moreover, he suffered from a chronic ear infection, resulting from hours of underwater filming on Cecil B. De Mille’s Reap the Wild Wind in 1941. Had Wayne actually undergone a pre-induction physical, he might indeed have been classified 4-F.

According to Randy Roberts and James Olson’s top notch John Wayne American, as a married but separated father of four and thirty-four years old in 1942 Wayne was classified by the Selective Service as 3-A (deferred for family dependency). In 1944 as the U.S. Military feared a manpower shortage he was reclassified 1-A (draft eligible). There is no record that he disputed this reclassification but his employer, Republic Studios, did and requested he be given a 2-A classification (deferred in the national interest, i.e., war bond drives, visiting the troops, etc.). Selective Service records for World War II are spotty at best, many having been destroyed, but surviving records indicate these claims were filed “by another,” i.e. Republic Studio’s legal department. In fact, a letter from Republic Studios head Herbert Yates threatened to sue Wayne for breach of contract should he leave the studio for volunteer military service, though it is doubtful he would have carried through with the threat. But Wayne was indeed Republic’s biggest moneymaker during the war and that studio’s only “A” star at the time.

Yet, according to director John Ford’s grandson, in 1943 John Wayne tried to get a commission in the Marine Corps and get attached to Ford’s O.S.S. (the forerunner of the C.I.A.) Field Photographic Unit. In Pappy; the Life of John Ford, Dan Ford says emphatically “…that the billets were frozen in 1943. John (Ford) couldn’t get Wayne in as an enlisted man, much less an officer.”

For Duke; the Life and Image of John Wayne Ron Davis interviewed over seventy Wayne intimates including Jimmy Stewart, Douglas Fairbanks Jr., Harry Carry Jr., Robert Stack and Gene Autry, who all served during World War II. He never noted criticism of Wayne on the draft issue from any of them.

There is a letter from Wayne to Ford in May of 1942 in the John Ford Papers at Indiana State University quoted by Davis in which Wayne practically begs his mentor to find a way for him to join up: “Have you any suggestions on how I should get in? Can you get me assigned to your outfit, and if you could, would you want me? How about the Marines? You have Army and Navy men under you. Have you any Marines or how about a Seabee or what would you suggest or would you? No I’m not drunk. I just hate to ask for favors, but for Christ sake you can suggest can’t you? No kidding, coach who’ll I see.” No response by Ford has yet surfaced but these don’t sound like the words of a man shirking his duty. Wayne’s sometimes secretary at Republic, Catalina Lawrence, remembered writing letters to various military officials inquiring about possible service during this time period.

There has always been a suspicion that Ford refused to intercede on Wayne‘s behalf because he knew that with so many other male “A” stars in uniform that his friend would have an excellent chance of becoming a major star. Also, as great a director as Ford was he could often display a manipulative and sadistic side a mile wide. He might have refused to help in order to have something that he knew was important to the actor over Wayne’s head for the rest of his life.

Ford’s Field Photo Unit was no rear echelon cakewalk either, composed mainly of cameramen, sound men and editors with Ford as the boss. They were often right in the thick of things as they were on June 4, 1942 at the decisive naval battle at Midway where Ford himself was wounded by shrapnel. Two of Ford’s cameramen were killed during the war, Junius Stout and Arthur Meehan, both sons of well-known Hollywood cinematographers.

By 1943, with officer’s slots all filled, the only way Wayne could have gone into the service was as an army private; he had waited too long. Years later Wayne told Dan Ford that as a private, “I felt it would be a waste of time to spend two years picking up cigarette butts. I thought I could do more for the war effort by staying in Hollywood.” Almost all of the stars who served went in the armed forces knowing they would receive officer’s commissions. Most stars in the service found they were relegated to public relations duties out of harm’s way strictly for morale reasons. Adolph Hitler, a huge Clark Gable fan, reportedly put a bounty out for Gable’s capture Both Gable and Jimmy Stewart managed to cajole their way into combat, Gable in charge of a film crew aboard a B-17 and replacing wounded gunners more than once and Stewart flying twenty combat missions as the pilot of a B-24.

In 1993 Dan Ford, a decorated Vietnam combat officer, told Wayne biographer Davis, “It must have weighed heavily on him which way to go. But here was his chance and he knew it. He was an action leading man, there were a lot of roles for him to play. There was a lot of work in ”A” movies, and this was a guy who had made eighty “B” movies. He had finally moved up to the first rank. He was in the right spot at the right time with the right qualities and willing to work hard. Would I have done any different? The answer is hell no.”

John Wayne’s application to the O.S.S.

Then in 2003 the above document surfaced in a National Archives traveling exhibit that at the time stirred no great interest — John Wayne’s application to the O.S.S. On page twenty-three in a Los Angeles Times Magazine article dated September 21, 2003 Coming Soon: Living History On Exhibit are photos of two pages of at least twelve of Wayne’s August 2, 1943 application SA-1, page eleven marked in red pencil at the top “22087.” There is no doubt it is Wayne, he uses his birth name of Marion Robert Morrison, his middle name being changed to Mitchell after the birth of his younger brother Robert and his next of kin is listed as his then estranged wife Josephine Morrison with Mrs. John Wayne in parenthesis. Here for the first time is the first hard evidence that Wayne volunteered for potentially dangerous service with the equivalent of today’s C.I.A., and the papers are not out of someone’s attic, but official government documents. The only way Wayne’s application would have wound up in the National Archives is if it had actually been submitted to the O.S.S. The National Archives was created in 1934 to house and manage all federal records, including documents, photos and film, and now includes well over 4 billion items.

According to Roberts and Olson Wayne’s Republic Studios secretary remembered typing a letter in the spring of 1943 inquiring about openings in John Ford’s O.S.S. Photo Unit.   A navy official responded in May that the navy and marine allotments for Ford’s unit were filled, but there was room for Wayne in the unit under the army’s allotment.  Wayne secured the application and we now know he turned it in.  Dan Ford recalled that Wayne told him he had been approved by O.S.S. commander William Donovan to join the Field Photographic Unit, but that the letter went to his estranged wife Josephine’s home and she never told him about it.   The National Archives documents list her address as the same address as Wayne’s, the family home at 312 North Highland Avenue, Los Angeles.  By the summer of 1943 Wayne had moved out and was staying at the famous Chateau Marmont Hotel on Sunset Boulevard, though he still visited his children at the Highland Avenue home.  The dates and sequence of time seem to line up to support Wayne’s story, though additional information is needed to document the last part of the puzzle conclusively.

Wayne did do a USO tour in early 1944 in the Pacific and was asked by John Ford to keep his eyes out for O.S.S. commander William Donovan. The Pacific Theater commander General Douglas MacArthur was highly suspicious of the freewheeling O.S.S. and Donovan, who Ford was serving under, wanting to keep them from operating in his area of responsibility. Wayne is quoted in Dan Ford’s book that “I got to go places the average entertainer wouldn’t get to go… but I never did catch up with MacArthur. When I got back to the States I made my report, and they gave me a plaque saying I had served in the O.S.S. But it was a copperhead, something Jack (Ford) had set up. It didn’t mean anything.” When the certificate was sent to Ford’s home to give to Wayne, he didn’t even bother to pick it up and it remained amongst the director’s personal effects until his death.

That Wayne acknowledged that the recognition was meaningless, says a great deal, given the bloated egos of many actors, especially today, who are more than willing to exaggerate their own perceived accomplishments far beyond the credible. This also seems to raise doubt that there was any connection between Wayne’s O.S.S. application and the organization’s recognition of his “report” to William Donovan. If Wayne didn’t value the recognition in the first place, why bother to go through a formality to receive it.

On that same USO tour Wayne made it to dangerous combat zones where Japanese bombing runs and enemy infiltration occurred routinely. Not really a performer in the singing, dancing or comedy sense, mainly he just talked with regular grunt troops staying up drinking locally brewed “jungle juice” and swapping stories. He brought back vivid stories about these ordinary servicemen, “They’re where 130 degrees is a cool day, where they scrape flies off, where matches melt in their pockets and Jap daisy-cutter bombs take limbs off at the knee. What the guys down there need are letters and snap shots, cigars and lighters, phonograph needles and radios. They need the support and love of Americans back home.”

John Wayne was a patriot but not a hero, and he would have been the first to tell anyone that, though his courageous battle with cancer displayed the kind of understated heroics many could relate to. But if you watch some of Wayne’s best films his representation of a hero was certainly of great value and still has great value. He once explained the appeal of his image quite succinctly, “I define manhood simply; men should be tough, fair, and courageous, never petty, never looking for a fight, but never backing down from one.” So here’s one for the “Duke,” he may not have been a military hero, but we now have proof that he did actually volunteer for service in World War II.

- Big Hollywood