A Great Hollywood Writer is Dead - A long, long post to bring us trekkies up to speed . .

Subtitle =
"There were T.V. scriptwriters around before Gene Roddenberry; there were Big Studios before Paramount Pictures.")

Screen & Script T.V. Writer Died on Saturday

'"I Love Lucy' writer Bob Carroll dies"

By JOHN ROGERS
Associated Press Writer

NOTA BENE: Blogaulaire - Bob Carroll worked with some of Hollywood's greats. He was there at the beginning of television, as vaudeville morphed into the electronic media.

LOS ANGELES (AP) -- Bob Carroll Jr., a pioneering television writer who worked on all of Lucille Ball's TV shows, including "I Love Lucy," has died. He was 87.

Carroll, who had been in failing health for the past month, died Saturday, family friend and fellow TV writer Thomas Watson told The Associated Press on Monday.

. . . This B ackground Piece provided by browsing around . . .

When the show moved to television in 1953, Ball took her writers with her, changing the name to "I Love Lucy" and adding real-life husband Desi Arnaz to the cast.

Carroll and Pugh went on to work on every episode of the long-running show, Watson said, as well as many episodes of "The Lucy-Desi Comedy Hour," "The Lucy Show," "Here's Lucy" and "Life With Lucy." The latter show went off the air in 1986, three years before Ball's death.

Many of the shows had essentially the same premise: Lucy gets involved in some routine function and, often through well-intentioned deviousness coupled with incredible clumsiness, manages to turn it into a pratfall-filled disaster.

Carroll and (Madelyn Pugh) Davis also collaborated on several other projects, including the 1968 film "Yours, Mine and Ours" and the Arnaz-produced sitcom "The Mothers-In-Law."

© 2007 The Associated Press. All rights reserved.

----------------------BELOW SEE: The Museum of Broadcast Communications

Desi Arnaz with Lucille Ball


DESI (Desiderio Alberto, III) ARNAZ. Born in Santiago, Cuba, 2 March 1917. Attended Colegio Delores, Jesuit Preparatory School, Santiago, Cuba. United States Medical Corps., 1943-45. Married (1) Lucille Ball, 30 November 1940 (divorced, 1960), children: Lucie Desiree, Desiderio Alberto, IV (Desi, Jr.). Began entertainment career as singer, with Xavier Cugat Band, 1935-36; formed own band at The Conga Club, Miami, Florida, 1938, height of the "conga craze"; Broadway musical debut, Too Many Girls, 1939; RKO film version of the musical, 1940; music director for the Bob Hope radio show, 1946-47; performed with Ball in radio show, My Favorite Husband, 1947-50; produced pilot for I Love Lucy with own funds, 1951; performed as Ricky Ricardo, I Love Lucy, 1951-57; president and co-founder, Desilu Productions, 1951-62. Recipient: Best Performance of the Month, Photoplay Magazine, 1943, for Bataan.

Died in Del Mar, California 2 December 1986.

TELEVISION

1951-57 I Love Lucy (actor, producer)
1958-60 Westinghouse Playhouse (producer)
1962-65, 67 The Lucy-Desi Comedy Hour (actor, producer)

FILMS

Too Many Girls (1940); Father Takes a Wife (1941); The Navy Comes Through (1942); Four Jacks and a Jill (1942); Bataan (1943); Holiday in Havana (1949); Cuban Pete (1950); The Long, Long Trailer (1954); Forever Darling (1956); The Escape Artist (1982).

PUBLICATIONS

A Book by Arnaz Desi. New York: William Morrow, 1976.

BOOKS: FURTHER READING

Anderson, Christopher. Hollywood/TV. Austin, Texas: The University of Texas Press, 1994.

Andrews, Bart. The "I Love Lucy" Book. New York: Doubleday, 1985.
(for sale on this CPE site)

Andrews, Bart, and Thomas J. Watson. Loving Lucy. New York: St. Martin's, 1980.

Brady, Kathleen. Lucille: The Life of Lucille Ball. New York: Hyperion, 1994.

Firmat, Gustavo Perez. Life On the Hyphen: The Cuban-American Way. Austin, Texas: University of Texas Press, 1994.

Harris, Warren G. Lucy & Desi: The Legendary Love Story of Television's Most Famous Couple. New York: Simon & Schuster, 1991.

Higham, Charles. Lucy: The Life of Lucille Ball. New York: St. Martin's, 1986.

Sanders, Coyne Steven, and Tom Gilbert. Desilu: The Story of Lucille Ball and Desi Arnaz. New York: Morrow 1993.

Schatz, Thomas. "Desilu, I Love Lucy, and the Rise of Network TV." In, Thompson, Robert, and Gary Burns, editors, Making Television: Authorship and the Production Process. New York: Praeger, 1990.

Desi Arnaz

(H)e was one of Hollywood's most perceptive, and powerful, producers in television's early years. His shrewd business skills and his realization of particular combinations of the television's technological and cultural connections enabled him to develop aspects of the medium that remain central to its economic and cultural force.

(In the early 1940s) Lucy and Desi set out on a nation-wide stage tour to designed to gauge public reaction to their working together in a comedy act. CBS was im-pressed with the positive public response to the couple as well as with a sample script for a TV series developed by the writers from My Favorite Husband.

The basics were there, including Desi as Ricky Ricardo, a struggling band leader, and Lucille as Lucy, a housewife with little talent but a giant yearning to break into show business. This homey battle-of-the-sexes premise for the show convinced the network that viewers could relate, and a pilot version of the program impressed the Philip Morris Company, which agreed to sponsor thirty-nine programs for the 1951-52 season on the CBS network Monday nights at 9:00 P.M

The Desilu Empire

Desilu logo as it showed in the ending credits of Star Trek. Desilu was a production company formed in 1951 by Lucille Ball and her husband, Desi Arnaz. The success of the television show "I Love Lucy" enabled Desilu to grow and expand, producing such programs as The Andy Griffith Show. (The downtown Mayberry set was sometimes later used for location shots for Star Trek.)

After the breakup of the Ball-Arnaz marriage Desilu remained successful. In 1961, Ball bought out Arnaz and became the first woman ever to run a major Hollywood studio. Desilu later brought forth shows like Mission: Impossible and Star Trek. Her success continued unabatedly until 1967 when Ball sold Desilu to Gulf+Western which merged it with its other production company (the studio's next-door neighbor), Paramount.

The name "Desilu" comes from Desi Arnaz and Lucille Ball. Desilu had a first-refusal agreement with CBS, which is why Star Trek was first pitched to that network. When CBS passed on the show, NBC was then approached.

The World's Largest Studio

From Memory Alpha, the free Star Trek reference.
(Redirected from Desilu Studios) via Anwers Com (A. C. ripped it from Wikipedia and gave proper credit.)

Carroll discussed the fact that he and his writing partner Pugh do not receive ANY compensation for the I Love Lucy re-runs, as would be standard for writers today. He has, however, kept his sense of humor over the situation telling a reporter: "Do you think I'd be sitting here if I'd had residuals?" Carroll asked. "I'd have flown you down to Cuba for this interview if I had."

CPE's 'Reading Nietzsche' Online while Blogaulaire Reads Aloud from the Paperback Book

I have the paperback edition in my lap, as I read a completely variant translation in English of the same text: Nietzsche's Thus Spoke Zarathustra.

The online version on my monitor is from www.bibliomania.com/ . SEE this LINK.

My trade paperback version is:

Thus Spoke Zarathustra, translation by. R. J. Hollingdale (Baltimore, Md.: Penguin Books, 1961/69).

My memory of other translations, of other works by Nietzsche, is being thoroughly jogged as I recall debates in college over mis-translation of Nietzsche, particularly other works that seemed so important to budding 'thinkers' or whatever. I am thinking of what was published using the title "The Will to Power", translated by Walter Kaufmann and R. J. Hollingdale (New York: Vintage, 1968).

It irritates me that what I see on my screen at Bibliomania, which is the entire Zarathustra (like the book in my hands), offers NO bibliographic citations, not even the name of a translator. If there are links, the only ones I can find are ads for yogic and esoteric sites offering their own esoteric 'spins' about Nietzsche the 'madman' philosopher. Yech!

At the same moment (thanks to googling) I can hop over to Pillwebb.net and find an ample number of bibliographic citations, but none that clarify which (if of any) translation refers to the online text at Bibliomania. (See the very end of the quoted section below - see how Bibliomania vaguely takes credit for an entirely original (their own copyrighted) version of Nietzsche's classical philosophic fable!)
Another odd thing is that the online text has a style that is very Biblic, almost Old Testament. I can guess that the on-line text must be a version that antedates Hollingdale and certainly the 'modern'Kaufmann in the period when the two collaborated.

In my softcover "Hollingdale Translation" in the Penguin edition (1961/69), I read, as an example of one way his translation differs from what we'll call "the Bibliomania Translation", in HT I read the terms 'Ultimate Man' while in BT I read 'the Last Man'.

But search me, scanning all the online material displayed at Bibliomania leaves the reader completely up in the air; the links do not tempt one to consult ANYTHING, especially not the original German text. Every translator's introduction of Nietzsche under the sun and between bound covers raises such issues. But that's not the style for on-line text versions. Here it's 'Hail the accessibility of e-books'. 'Hail reading in total ignorance.' Ignorance of all issues of interpretation, translation or inter-textual disagreements between editors.

The following 'fair use' citation can be followed in HT on p 45 to p 47. You can surf over to Bibliomania's BT version at Phill Webb (dot) net

5

Alas! there cometh the time when man will no longer launch the arrow of his longing beyond man — and the string of his bow will have unlearned to whizz!

I tell you: one must still have chaos in one, to give birth to a dancing star. I tell you: ye have still chaos in you.

Alas! There cometh the time when man will no longer give birth to any star. Alas! There cometh the time of the most despicable man, who can no longer despise himself.
Lo! I show you the last man.

‘What is love? What is creation? What is longing? What is a star?’ So asketh the last man and blinketh.

The earth hath then become small, and on it there hoppeth the last man who maketh everything small. His species is ineradicable like that of the ground-flea; the last man liveth longest.

‘We have discovered happiness,’ say the last men, and blink thereby.

They have left the regions where it is hard to live; for they need warmth. One still loveth one’s neighbour and rubbeth against him; for one needeth warmth.

Turning ill and being distrustful they consider sinful: they walk warily. He is a fool who still stumbleth over stones or men!

A little poison now and then: that maketh pleasant dreams. And much poison at last for a pleasant death.

One still worketh, for work is a pastime. But one is careful lest the pastime should hurt one.

One no longer becometh poor or rich; both are too burdensome. Who still wanteth to rule? Who still wanteth to obey? Both are too burdensome.

No shepherd, and one herd! Every one wanteth the same; every one is equal: he who hath other sentiments goeth voluntarily into the madhouse.

‘Formerly all the world was insane,’ say the subtlest of them, and blink thereby.
They are clever and know all that hath happened: so there is no end to their raillery. People still fall out, but are soon reconciled — otherwise it spoileth their stomachs.

They have their little pleasures for the day, and their little pleasures for the night: but they have a regard for health.

‘We have discovered happiness,’ say the last men, and blink thereby.

And here ended the first discourse of Zarathustra, which is also called ‘The Prologue’: for at this point the shouting and mirth of the multitude interrupted him. Give us this last man, O Zarathustra, they called out. Make us into these last men! Then will we make thee a present of the Superman! And all the people exulted and smacked their lips. Zarathustra, however, turned sad, and said to his heart:
They understand me not: I am not the mouth for these ears.

Too long, perhaps, have I lived in the mountains; too much have I hearkened unto the brooks and trees: now do I speak unto them as unto the goat-herds.

Calm is my soul, and clear, like the mountains in the morning. But they think me cold, and a mocker with terrible jests.

And now do they look at me and laugh: and while they laugh they hate me too. There is ice in their laughter.

---------
The the closest Bibliomania comes to offering a credit/citation is:

How do I cite a Bibliomania work?
We do not have full bibliographic data for the texts on Bibliomania, and they were typed from scratch, repaginated and reformatted hence these works are an original edition and should be cited as copyright Bibliomania.com Ltd 2000.

What one finds for 'Zarathustra' as bibliographic references at Phillwebb.net:

Also Sprach Zarathustra: Ein Buch für Alle und Keinen. 1883-1885.
Thus Spoke Zarathrustra: a Book for All and None.
Trans. Graham Parkes. Oxford: OUP, 2005.
Trans. R. J. Hollingdale and Walter Kauffmann. Harmondsworth: Penguin, 1978.
Trans. Walter Kaufmann. New York: Viking, 1954.

Note - from Blogaulaire:
Do not blindly follow the links on Phillweb - you will end up with a videogame entitled 'Beyond Good and Evil' (Ubisoft).