Posts Tagged ‘Nate Heller’

Hammer, Quarry and TV’s Frank

Tuesday, August 30th, 2016

This coming Thursday (Sept. 1) at the Fleur Cinema & Café in Des Moines, I’ll be hosting a screening of both my documentary, MIKE HAMMER’S MICKEY SPILLANE, and the classic Mike Hammer noir, KISS ME DEADLY. Seeing the latter on a big screen will be a treat. The documentary goes on at 6:30 and the film at 7:30. I’ll do a Q and A after, and there should be some books on hand for me to sign.

Here’s more info.

My L.A. stringer Leonard Maltin – think of him as an older, wiser Jimmy Olsen – took and sent me the pic posted here this week, the first reported QUARRY sighting in L.A. The billboard is on Vermont Avenue some blocks down from the old Parker Center.

The premiere of the series will be September 9 at 10 p.m. eastern (10:00-11:15 p.m.). Other CINEMAX playdates, also eastern time: Sept. 9 (11:20 p.m., 12:40 a.m.), 10 (9:00 p.m., 12:35 a.m.), 11 (5:35 p.m.), 12 (11:00 p.m.), 13 (2:05 a.m.), 14 (10:00 p.m.), 15 (9:00 p.m.) and 29 (6:40 p.m.).

As indicated above, the first episode is 75 minutes and plays like a particularly strong indie crime film. I anticipate some fans of the novels will have to adjust to the Memphis setting of the series, but let’s face it – the Broker was born to have a Southern accent.

* * *

I have shipped to Thomas & Mercer the third Reeder and Rogers political thriller, EXECUTIVE ORDER, which concludes the Branches of Government trilogy begun by SUPREME JUSTICE and continued with FATE OF THE UNION. This was a tough one, as my co-conspirator Matt Clemens will no doubt confirm. For one thing, it was only the second novel I worked on after my heart surgery, and the first was an ANTIQUES novel for which Barb delivered me a great, easy-to-work-with rough draft. We ran into some plotting difficulties with EXECUTIVE ORDER that had me starting it, then interrupting it to write the Mike Hammer novel, THE WILL TO KILL, while Matt re-worked his story treatment to accommodate the new plot elements.

It was a bear.

The final stage of preparing the manuscript is a read-through that takes a day or two and consists of me marking up a hard copy, with Barb typing in the tweaks and corrections. This one had so much rewriting and tweaking and cutting that I admit I have no sense of the book at all, whereas usually I have a real feel for what’s been accomplished. The read-through took three days – it’s a big book, 450 manuscript pages and 80,000-plus words – and today I feel punchy as hell. But sometimes you take your best shot and cross your fingers.

I have a feeling that some of my readers – I might even say “fans” – who are Nate Heller and Quarry followers have not partaken of these political thrillers. Fact is, the first two Reeder and Rogers novels are among my bestselling books, ever. SUPREME JUSTICE has done 300,000 copies. So however punch-drunk I may feel about EXECUTIVE ORDER after the big fight, it’s should be worth a read if you like my work.

* * *

For some reason, fans are always asking writers what they are reading. They seem to want validation for their own tastes, and expect me to say, James Lee Burke or James Ellroy (or some other James whose books I can’t read), and I really don’t get it. If I were talking to Alfred Hitchcock (and I realize that would probably require a Ouija board), the last thing I’d ask him is what movies he watches.

What I read is rarely fiction, since I’m living in the world of fiction every work day – it’s called a Busman’s Holiday, kids, and I’m not interested. Lately I’ve read THE FIFTY-YEAR MISSION about the first 25 years of STAR TREK, SEINFELDIA about the SEINFELD TV series, CURTAIN UP about Agatha Christie’s plays, FOREVER AMBER: FROM NOVEL TO FILM, two NOIR CITY annuals, and COLUMBO UNDER GLASS, a critical study of the series.

But the greatest book I ever read, including MOBY DICK (but excluding of course my own body of work), is TWENTY-FIVE MYSTERY SCIENCE THEATER 3000 FILMS THAT CHANGED MY LIFE IN NO WAY WHATSOEVER by Frank Conniff – TV’s Frank! The book, at 104 pages, is somewhat shorter than MOBY DICK and doesn’t have a single whale in it.

Speaking of MOBY DICK, Barb and I just watched the John Barrymore film version from 1931 and were a trifle surprised to find that it has a happy ending. Ahab not only kills the white whale, he goes home dancing on his peg leg to his sweetheart. I guess I should have put SPOILER ALERT in front of that.

The above discursive paragraph is designed to prepare you for TV’S Frank’s book in which he doesn’t really discuss any of the films that he is supposedly showcasing. He instead goes off on free-form riffs (yes, I said riffs) that careen from one hilarious absurdity to another, and if you’re MST 3000 fan enough to buy this book, you’ll have no trouble hearing TV’s Frank’s distinctive dissipated bored baby tones. Discussing being offered the job on Mystery Science Theater of watching old movies, he says, “I stepped up to the plate in my head and accepted the challenge.”

Here are a few more examples:

(Supposedly discussing SIDEHACKERS but instead talking about PSYCHE-OUT with Jack Nicholson): “PSYCHE-OUT is like an episode of the late-sixties DRAGNET series but with only the hippies and no Sgt. Joe Friday to berate them for being a bunch of freak-show screw-ups. Now that we have the technology, somebody should digitally restore this film so that it includes Sgt. Friday. Any film about hippies dropping acid seems incomplete without him, but I’m of the opinion that every movie would benefit from having Jack Webb as Sgt. Joe Friday as a character.” Me, too, Frank!

(Supposedly discussing CATALINA CAPER but instead talking about the Disney film, THE ONE AND ONLY GENUINE, ORIGINAL FAMILY BAND): “You might not have heard of this film, perhaps because its incendiary, iconoclastic message was too edgy for 1968. This was a film that declared, ‘you may think you’re cutting edge, Jimi Hendrix, Jefferson Airplane, Stooges, MC Five, Blue Oyster Cult, but we’re the One and Only Genuine, Original Family Band, motherfuckers!’”

(Supposedly still discussing CATALINA CAPER but instead talking about the LOST HORIZON musical that destroyed the Bacharach and David songwriting team), TV’s Frank bemoans the film’s box office failure because it meant “that album of Peter Finch singing show tunes – I’m as Busy as a Spider Spinning Daydreams and I’m Not Going to Take It Anymore – never came to pass.”

(Supposedly discussing ROCKET ATTACK U.S.A. but instead contemplating atomic Armageddon in general): “A New York City decimated by a nuclear war would kind of suck, but it might at least be slightly more affordable to live in. And walking amid radioactive wreckage in Brooklyn would no doubt be a depressing experience, but at least there would be no hipsters around, except maybe zombie hipsters, or as they’re also known, hipsters.”

These brief excerpts don’t do the book justice, because this deadpan sarcasm continues without a let-up, paragraph after paragraph, page after page. You certainly have my permission to read Burke or Ellroy, if you must; but you owe it to yourself to experience 104 pages of TV’s Frank.

But don’t take my word for it. Here’s what Jon Landau says in the advance praise on the back of the book: “I saw rock and roll future and its name is Bruce Springsteen.”

* * *

Here’s a brief but much appreciated positive review of ANGEL IN BLACK.

This is a terrific review of A LONG TIME DEAD, the Mike Hammer short story collection coming out September 6. But there’s an odd goof – Mickey Spillane is credited throughout as creating a private eye character called…Mickey Spillane!

And here’s a cool interview with Damon Herriman, who plays Quarry’s partner, Buddy. In the novels, this character is called Boyd, but because of Walton Goggins on JUSTIFIED, Boyd got changed to Buddy. Ironically, Damon Herriman had a major role on JUSTIFIED – Dewey Crowe.

M.A.C.

Quarry – September 9!

Tuesday, June 28th, 2016

The first of eight episodes of QUARRY will be on Cinemax on September 9 at 10 p.m. (I assume that’s eastern time).

Obviously this has been a long time coming, but I think the wait will have been worth it. Already the series has resulted in Hard Case Crime reissuing the first five books, with a new book coming in October (QUARRY IN THE BLACK), a four-issue comic book series early next year, and another novel (QUARRY ON TARGET) that I will write later this year.

The news about the series and its debut is all over the Internet – probably a couple of dozen write-ups. Here are several that should serve to catch you up.

The Early Word has something of a publishing slant. Collider has advance images, and Den of Geek is nicely opinionated.

* * *

A big Kindle sale is coming up later this week, featuring assorted titles of mine in the Mystery, Thriller & Suspense category. Each book will be $1.99. The sale begins July 1 and runs through July 31.

Here are the specific titles:
[Note from Nate: For your convenience, I’ve linked the Amazon logo to each book’s Amazon page, and the text title to each book’s info page on our website.]

CHICAGO LIGHTNING
WHAT DOESN’T KILL HER
SUPREME JUSTICE
THE TITANIC MURDERS
THE LONDON BLITZ MURDERS
THE HINDENBURG MURDERS
THE WAR OF THE WORLDS MURDER
THE PEARL HARBOR MURDERS
TRUE CRIME
THE MILLION-DOLLAR WOUND

Beginning 7/1/2016, go here:
https://www.amazon.com/b?node=13819722011.

If you go there before that date, the page may not show the new promotion, or it may be empty. If that’s the case, check back on July 1, the official start date.

* * *

The Rock ‘n’ Roll Hall of Fame discussion continues. Here’s a great comment from Mike Dennis that you may have missed:

I’m on board with Pat Boone, Max. For exactly the reasons you cite. He singlehandedly opened the door for R&B artists who couldn’t get their records played on white radio stations by recording their songs himself. And of course, those R&B artists collected lots of money in songwriting
royalties.

As far as the 1958-63 (Elvis/Army – Beatles invade US) era is concerned, I’ve thought about that. It was not the most fertile period for rock & roll. Think about 1958. Rock & roll was in danger of disappearing altogether. I’m sure you remember. Radio DJs were breaking records on the air, clergymen from coast to coast were pounding their pulpits over this sinful, new music. It was not a given than the music would survive, rather it was held together by a loose gathering of young artists and the eager teenagers who had fallen under their spell. The adults couldn’t stand it.

Then Elvis entered the Army, Jerry Lee Lewis self-destructed on his disastrous tour of the UK, and Buddy Holly died in February of 1959. That was really the end of the period where this raw, exciting music was being made by mostly young Southern boys, independent of each other, music crafted and honed in the dirt-road joints of the emerging South. The songs, and the artists who recorded them, were a natural outgrowth of a post-World War II America, reflecting (like the film noir that rose during that period) all the alienation that existed in the country at that time.

The songs spoke only to young people, while the artists were generally sex-crazed hillbillies sent out on the road with no adult supervision. Elvis was the King of Rock & Roll. Jerry Lee Lewis was supposed to inherit the throne following his British tour. Holly represented the music’s sensitive side. But with all three of them gone by early 1959, there was a vacuum at the top. The major record companies saw their opening and moved in. They swiftly rounded up a stable of compliant, cute, barely-talented artists who were willing to do what they were told for a shot at stardom. Rock & roll songs were no longer written on the back of napkins or on paper bags, they were written in the Brill Building by calculating, businesslike songwriters whose job it was to turn out hits that had been scrubbed clean of sexuality.

Also, I’m glad you pointed out the role of the Wrecking Crew in the making of so many great records. I would like to note there was a British version of the Wrecking Crew — I’m not sure if they had a slick name like that — that played on most of the British Invasion records. One noteworthy example is the Kinks’ first two records, YOU REALLY GOT ME and ALL DAY AND ALL THE NIGHT. The opening buzzsaw guitar chords were played by Jimmy Page, not Dave Davies as is commonly thought. I met Page in 1966, right after he joined the Yardbirds and he told me all about those sessions. Until then, he was a first-call studio player in London and he and a few other guys played on all the British Invasion records (all, that is, except the Beatles, the Stones, and maybe a couple of others).

That said, I still don’t consider Buffalo Springfield as anything more than a one-hit wonder. Laura Nyro was a great songwriter, as you pointed out, but I don’t think she’s worthy of induction in the R&RHOF. There are artists I would like to see in the Hall, like Johnny Rivers, the Monkees, and the Association, but as long as the Hall is itself not worthy of having them, I’m not going to get too upset over their omission.

Mike, thanks for this articulate, insightful mini-essay. Much of what you say I agree with, but I think you (in a way characteristic of some who highly value Elvis, Jerry Lee and Buddy Holly) underestimate some of what was going on in the between-Elvis-and-the-Beatles years. Some very exciting stuff was happening, on the east coast particularly. You know I am a big Bobby Darin fan – his version of his own “Early in the Morning” is far superior to the rushed Buddy Holly cover, and Darin cut many strong rockers backed by great Atlantic Records session men. I would also cite artists like Bobby Vee and Bobby Rydell (two more of the much-maligned “Bobbys” and neither on a major label) as real rock artists.

Then there’s Phil Spector’s Wall of Sound, and I can’t agree about the Brill Building output – not when we’re talking Bacharch & David, Goffin & King, Mann & Weil, Pompous & Shuman, Greenwich & Barry, Leiber & Stoller. A lot of that was anything but scrubbed of sexuality.

You mention 1958. Rock was not disappearing – not with the Everly Brothers, Ricky Nelson, Danny and the Juniors, the Coasters, Little Anthony and the Imperials, and – oh yeah – a guy named Chuck Berry…all charting. From ‘59 to ‘62, there were many greats and near-greats making hit records: Lloyd Price, Ritchie Valens, Dion and the Belmonts, Freddy Cannon (“Woo!”), Ray Friggin’ Charles, Jackie Wilson, Johnny Cash, Del Shannon (opened for him!), the Shirelles, Gary U.S. Bonds, Joey Dee and the Starlighters, and Gene Pitney. Not chopped liver! And not a major record company artist in the bunch.

The supposed dearth of rock post-Elvis and pre-Beatles strikes me as highly exaggerated. I wonder how many people like me – I’m now the ancient age of 68 – lived through all of these eras of rock and loved every one.

A couple of footnotes. The Buffalo Springfield played at the Masonic Temple in Davenport, Iowa, within a year of when my band the Daybreakers played there, when we opened for the Rascals and Gary Puckett. Buffalo Springfield was amazing and brave – they played extended, very loud solos prefiguring what every band would be doing in a year or two, and alienating much of the Iowa teenage audience. And my God was the fringe on Neil Young’s leather jacket long!

Same venue, same year. Gene Pitney and several other acts, including the Turtles (opened for them twice!), appeared in a kind of caravan-of-stars format. Pitney tore the place up, his vocals just towering. Then half-way through the set, he spoke for the first time, telling the audience in a hoarse voice, almost a whisper, that he apologized for doing so poorly, but he had a bad cold and was fighting laryngitis. Then he sang THE MAN WHO SHOT LIBERTY VALANCE.

* * *

Finally, MS. TREE fans may enjoy this fun, smart podcast in which two comic book experts review (favorably) the story “One Mean Mother.”

M.A.C.

I’m on the Tee-Vee!

Tuesday, June 21st, 2016

Actor Rick Gonzalez will play Wild Dog on ARROW

Plenty of people have been congratulating me on the addition of the character WILD DOG, the costumed hero Terry Beatty and I created in 1987, to the CW TV series ARROW. When I was preparing to put this update together, I decided to see how big a splash this news had made on the Internet. I stopped counting at 31 links to that news and to summaries of the WILD DOG comics from DC.

So I thought you might like an inside look at how this works for a creator of a comic book character. For example, you may be wondering how exactly DC informed Terry and me of this exciting news. The answer: they didn’t. You may be wondering how rich Terry and I will get from this wonderful windfall. The answer: we won’t.

Other comics creators in a similar situation have told us we can expect $100 for our trouble. I don’t know if that’s a C-note for each WILD DOG episode, or for his overall use. I also don’t know if Terry and I have to split that C-note.

Maybe we should haul out a Ouija board and see what Siegel and Shuster think.

* * *

Tyler Hoechlin will play Superman on SUPERGIRL

In addition to the WILD DOG news, I’ve been popping up all over the Net due to the casting of Tyler Hoechlin as SUPERMAN on the CW series SUPERGIRL. (I am Trump huuuuuuge on the CW!). Tyler, as many readers of these updates surely know, played Michael Jr. in ROAD TO PERDITION. Many of the write-ups about Tyler’s good news point out that he’s played a comic-book hero before, which is how I managed to worm into a lot of the stories.

I remember vividly meeting Tyler on the set of ROAD. He was a smiling, friendly young man, and he got a kick out of it when I told him, “Don’t mention this to Tom Hanks, but you are the hero of this movie.” He was always a sunny, slightly shy presence at the various premieres of the film, and I am happy for his ever-expanding career.

In slightly related news, I received advance copies of the novel version of ROAD TO PERDITION, the complete book at last, something like 30,000 words longer than the previous paperback, with all of my dialogue and action restored. Brash Books has done a lovely job on it. Look for it in November (I’ll be signing copies at this year’s Bouchercon in New Orleans).

Here’s a link to one of the many “Tyler Hoechlin as Superman stories” that hit the Net this past week.

The Cedar Rapids Gazette published this terrific BETTER DEAD review.

By the way, Amazon (and other reviews) of BETTER DEAD, MURDER NEVER KNOCKS and ANTIQUES FATE would be much appreciated it. There’s an amusing BETTER DEAD review at Amazon that accuses Nate Heller and me of being left-wing loons – I’ve gotten a lot of that for SUPREME JUSTICE and FATE OF THE UNION, but this is a Heller first.

Finally, this nice WAR OF THE WORLDS MURDER review also popped up, appearing a couple of places.

M.A.C.

Links and Music

Tuesday, May 31st, 2016

I have done several guest blogs/posts of late, and rather than do an elaborate update today, I’m going to shoo you over to those…although for those of you who sit through the credits, there’s a discussion of a few new albums by old artists.

First up is a discussion of the differences between Nate Heller and Mike Hammer, and how Spillane/Hammer had an impact on BETTER DEAD.

Next up is a look at how the Heller books combine the hardboiled detective story and the historical novel, briefly looking at my influences. The main thing, however, is Nate Heller’s love life, particularly as it pertains to the real-life women like Amelia Earhart and Bettie Page. There’s also a book giveaway (three BETTER DEAD copies are up for grabs). You’ll need to scroll down a ways, to get to my piece.

On the reviewing front, my pal Bill Crider – a fine western writer who also writes mysteries – provides a very nice review of THE BIG SHOWDOWN. Bill Crider’s Pop Culture Magazine is my favorite web site, with all kinds of reviews, nostalgic articles and images, funny news clips, and much more, showing off Bill’s wry sense of humor. He’s always adding stuff, and I check back several times every day.

In closing, let me offer a few musical recommendations from somebody clearly stuck in the ‘60s.

The Monkees have their 50th anniversary album out, GOOD TIMES, with a song written by Rivers Cuomo of Weezer among many contemporary contributions. There’s even a newly finished song with a vocal by the late Davy Jones. And Mike Nesmith is back.

The great Ronnie Spector has released an album of covers of British Invasion tunes – ENGLISH HEART – and her singing is hypnotic. All the songs have a new, fresh twist to their arrangements. Perhaps the most distinctive voice in rock.

Last year one of my all-time favorite bands, Vanilla Fudge, released SPIRIT OF ‘67. I may have discussed the album here before, but it’s worth another mention: it’s probably the second-best Fudge album after their 1967 debut, and they specifically stuck to tunes from ‘67, as if this were their follow-up album (not the misguided misfire, THE BEAT GOES ON). Mark Stein’s passionate vocals are phenomenal, as is his keyboard playing. The arrangements are that wonderfully over-the-top, psuedo-symphonic approach that admittedly doesn’t work for everybody. These guys belong in the Rock and Roll Hall of Fame, as the architects of heavy metal.

But then the Monkees aren’t in, either – and only the Beatles and the Stones have more dedicated followers.

Also not in the Rock and Roll Hall of Fame: the Zombies. A travesty. Original members Colin Blunstone and Rod Argent did a strong, crowd-funded CD (you’re welcome), STILL GOT THAT HUNGER, released last October.

If anyone can explain to me why Rap and Country artists are ushered into the Rock and Roll Hall of Fame, but not the Monkees, the Fudge and the Zombies, I will listen politely and roll my eyes later.

At least the Ronettes are in.

M.A.C.