Waynestrumentals: And now, a different theme from every screen incarnation of Batman, including the crappy or racist versions

(Editor's note: Before we begin, here's what past Batverse comics writer Ed Brubaker tweeted about a certain senseless act in Colorado:

My thoughts exactly. Now on to the post.)

(Additional editor's note: The themes are in reverse chronological order as a nod to Dark Knight trilogy director Christopher Nolan's 2000 breakout film Memento, starting with a new score cue from The Dark Knight Rises as the track that represents the Nolan version of Batman on this post and concluding with music from a delightfully racist '40s Batman serial.)

Brittany Wakefield

(One more editor's note: Here on Blogger, I don't like to publish posts that don't contain a lot of text. That's what Tumblr is for. But I haven't had time to write so much text to accompany a Bat-load of Spotify and YouTube embeds, so Brittany Wakefield, a neighbor of mine who's a part-time beautician, volunteered to step in and provide the accompanying text to get more writing experience as preparation for the essay-writing portion of her GED test, even though she'd rather write about something called The Bad Girls Club, which she tells me is her favorite show. By the way, unlike a certain beautician who went on to become one of the modern-day Batverse comics' best writers, Brittany isn't familiar at all with Batman.)

In 1932, DC Comics began publishing the adventures of the world's first openly Jewish superhero, Ira Batman. By day, he was rich nightclub comedian Bruce Bruce, who played all the black rooms and some white rooms. By night, he suited up as Ira Batman (or The Batman, which is much less Jewish, or in later years, simply Batman). He chased after criminals to avenge the double murder of his Uncle Ben and Aunt Bernice. Ira's popularity in the funny books led to lots of screen versions of the Caped Crucifier, including the Christian Bale movies, which have come to an end with The Dark Knight Rises.

I'm sure I'll be texting during The Dark Knight Rises when I see it, but if there are at least two or three action scenes that aren't boring, then I'll totes take a break from my texts to look up at the screen and peep what's going on. In the Bale movies, Ira is referred to by other peeps as the Dark Knight because he could barely move around in his armor and had trouble removing it when he had to pee, just like a knight:

I don't know what Justice League: Doom is. Jim, do you know what that is?

(Editor's note: No, I've never watched it. I'm behind on the DC animated movies because I quit Netflix about a year ago. Netflix, wha happen?):


Batman: Year One flashed back to Ira's first year as a crimefighter. OMG, Ryan from The O.C. voiced Ira! I lurve him!:


Okay, I've seen Young Justice a few times, but only because Superboy's cute. Ira shows up sometimes in this cartoon, just to deliver buttloads of exposition to Robin and his peeps:


In Batman: Under the Red Hood, Ira fights someone named the Red Hood. If it's anything like that time Christina kicked Julie's booty on TBGC, then I'm on board:


In 2010, Ira appeared in Justice League: Crisis on Two Earths. Again, I don't know what that is. Jim?

(Editor's note: No clue either, Brittany.):

Ira teamed up with Superman in the cartoon movie Superman/Batman: Public Enemies and its sequel Superman/Batman: Apocalypse. In the clips I FF'd through, Superman sounded a lot like Pete, that cute but really old doc on Private Practice:

A few months after The Dark Knight ruled the summer, Cartoon Network premiered Batman: The Bold and the Beautiful, in which Batman was the CEO of a high-powered fashion house:

A week before the release of The Dark Knight, Warner Bros. Animation dropped Batman: Gotham Knight as a straight-to-DVD cartoon tie-in. Instead of a dark knight, in this movie, he was a Gotham knight, which meant he could barely move around while wearing a buttload of mascara like Criss Angel:

The cartoon movie Justice League: The New Frontier imagined Ira in the '50s, just like how J-Biebs dressed like a '50s dude at the NRJ Awards. OMG, J-Biebs was so cute when he slicked back his hair that night!:

A little Knight music: The second Batman: The Animated Series soundtrack from La-La Land is even better than the first

As Christopher Nolan wraps up his immensely popular live-action version of Batman with next week's release of The Dark Knight Rises, La-La Land Records is revisiting the "dark swashbuckler" sound of the Nolan movies' small-screen predecessor, Batman: The Animated Series, with the label's second collection of the landmark show's score cues by the late Shirley Walker and her staff of skilled composers.

In 2008, when La-La Land released the first B:TAS soundtrack (highlights from this two-CD set can be heard during A Fistful of Soundtracks' "AFOS Prime" block), I wrote, "Though this release is loaded with over two hours of music, it's missing Walker's memorable Catwoman theme from 'The Cat and the Claw, Part I,' the first B:TAS ep that ever aired, Carl Johnson's lively score from the excellent 'Beware the Gray Ghost' ep with special guest voice Adam West, and [Michael] McCuistion's Lawrence of Arabia-style epic score from the 'Demon's Quest' two-parter, which gives me hope about a Volume 2 from La-La Land."

Volume 2 is finally here--the first few copies are being sold at La-La Land's booth at this weekend's San Diego Comic-Con before the four-CD set becomes available on Thursday--and cues from "The Cat and the Claw," "Beware the Gray Ghost" and "The Demon's Quest" are indeed on the album. After taking a look at the abbreviated Volume 2 track listing that the World's Finest fansite posted on its blog, the batch of B:TAS eps that are represented on Volume 2 is more impressive to me than the first volume's, even though one of those eps is the abysmally animated and extremely kid-friendly "I've Got Batman in My Basement," widely regarded as the series' worst ep and derided by lead B:TAS showrunner Bruce Timm, who told Cinefantastique magazine in 1994 that "I can't even watch ['I've Got Batman.'] It's the epitome of what we don't want to do with Batman."

"The Cat and the Claw," "Beware the Gray Ghost" and "The Demon's Quest" are joined on Volume 2 by series high points like the Emmy-winning Mr. Freeze revamp "Heart of Ice," "Feat of Clay," "Almost Got 'Im" and "Harley and Ivy," an ep that's even more popular than "Heart of Ice." Penned by "Heart of Ice" writer Paul Dini, the sharply written first-time pairing of Harley Quinn and Poison Ivy, who are referred to in Dini and Chip Kidd's 1998 coffee table book Batman: Animated as "the Thelma & Louise of the supervillain set," was so popular it spawned a 2004 DC miniseries from the trio of Dini, Timm and their fellow New Batman Adventures and Superman: The Animated Series staffer Shane Glines and tons of steamy Harley and Ivy fan art by Glines and many others.

Glines recently posted his character designs from a Harley and Ivy animated series that failed to get off the ground in the early '00s. You'd have to be either really, really stupid or brain-dead to say no to a Harley and Ivy animated series.

Maybe the person who said no to the Harley and Ivy spinoff is the same network executive who rejected "Harley and Ivy" as the first ep to air during B:TAS' brief run on Fox's nighttime lineup in the middle of its first season.

"We wanted ['Harley and Ivy'] as our first prime time show, and Fox was going to run it. Then a Fox executive saw it and said, 'What the hell is this? Batman's not in this episode. He's only in it at the end? The whole episode is two girls running around in their underwear. There's no boy appeal here,'" recalled Dini to Cinefantastique in 1994. "I said, 'Well maybe not any boys you know.'"

Poison Ivy and Harley Quinn in a scene from B:TAS' "Harley and Ivy" episode that's too unappealing for boys (Photo source: World's Finest Online)

The largely comical and nicely crafted score for "Harley and Ivy" was provided by Walker, McCuistion, future Justice League main title theme composer Lolita Ritmanis and Peter Davison, a different Peter Davison from the British actor who starred as The Fifth Doctor on Doctor Who. The late Boyd Kirkland, who directed "Harley and Ivy" and came up with the fan-favorite scene where the duo responds to a car full of douchey catcallers in classic Gotham Girl fashion, was proud of the layout work on "Poison Oakey" and her new sidekick (and possibly lover) that was done by the Japanese studio TMS, one of many foreign studios that Timm's creative staff farmed out the animation work to.

(Photo source: World's Finest Online)

But sometimes, there were episodes that didn't meet the B:TAS staff's expectations like "Harley and Ivy" did. When "The Laughing Fish," which is also part of the second album, came back to Timm's crew with animation by the Korean studio Dong Yang that Timm found to be underwhelming, he turned to Walker and asked her to do with her score what Dong Yang failed to accomplish with the kind of animation Timm wanted for his more-menacing-than-usual vision of the Joker in "The Laughing Fish."

(Photo source: World's Finest Online)

"I asked her to make ['The Laughing Fish'] sound like a horror film. Not a forties Boris Karloff film, but like Aliens or The Exorcist, with really dissonant, nonmelodic music," said Timm in the Batman: Animated book. "At the time I had just read a piece about Psycho and it never dawned on me before, but there are no woodwinds or brass in that film. The entire score is done with strings. And I started thinking that might be kind of a neat thing to do with this show, just play everything stripped down and haunting.

"There's a full symphonic orchestra in there, but a lot of the earlier cues are just moaning violas," continued Timm. "From the first moment the Joker shows up, even though he's acting funny and wacky, Shirley has the strings doing something really strange. They're not playing his silliness, they're playing the underlying threat of what he's doing. It kicks the scene up a notch in terms of tension. It's one of our most unusual scores and it works really well."

Timm's simpatico working relationship with Walker and her composing team was a reason why the music on B:TAS was so effective, even when it wasn't present in several scenes.

"In animation, it's real typical to want the music to be there to sort of cover up the holes and make you feel like there's no air and no space," said Walker to Cinefantastique in 1994. "I think part of the visceral success of the Batman show is the fact that we put you on edge by making you uncomfortable with silence occasionally. It sets the show apart from a lot of the cartoon music that's being done."

Shirley Walker

Even though through my copies of Warner Bros.' B:TAS DVDs, I can easily check out the B:TAS scoring team's work on "Harley and Ivy," "The Laughing Fish" and the other Fox-era eps that are represented on the La-La Land compilations, it's much nicer to be able to hear the cues in their purest form, sans sound effects. Volume 2 also comes with eight different versions of the opening and closing title themes for B:TAS, which was the first of WB Animation's various Batman series (the next series will be the CG-animated Beware the Batman, which I, a Pinoy viewer, am especially looking forward to because the Dark Knight is being voiced by Pinoy actor Anthony Ruivivar from Third Watch). As a fan of Timm's "Dark Deco" take on Batman, I can't wait to get my slightly dark but not-quite-Deco mitts on Volume 2, another musical memento of a classic show that raised the bar for both small-screen American animation and small-screen animation scoring.

AFOS: "Yule Log" playlist

Happy holidays.

This week, I'm streaming the 2005 Fistful of Soundtracks: The Series episode "Yule Log" (WEB71), which consists of music from holiday-related movies and Christmas TV specials.

This is a reedited version of "Yule Log." I removed from the episode a Crash score cue by Mark Isham and a Family Stone score cue by Michael Giacchino and replaced them with Shirley Walker's cues from Batman: The Animated Series' "Christmas with the Joker" episode. The "Christmas with the Joker" tracks are part of La-La Land Records' new two-CD B:TAS set, the perfect Christmas present for anyone who's a B:TAS fan.

Ep WEB71 airs Monday and Wednesday at midnight, Tuesday and Christmas Day Thursday at 4am, 10am, 3pm, 7pm and 11pm, and Saturday and Sunday at 7am, 9am, 11am, 1pm, 3pm and 5pm.

1. Danny Elfman, "What's This?," The Nightmare Before Christmas, Walt Disney
2. Vince Guaraldi Trio, "Christmas Time Is Here (vocal)," A Charlie Brown Christmas, Fantasy
3. Cowboy Timmy, "Mr. Hankey the Christmas Poo," Mr. Hankey's Christmas Classics, American/Columbia
4. Joel, Crow and Tom Servo, "(Let's Have) A Patrick Swayze Christmas," Clowns In The Sky Vol. 1, Best Brains, Inc.
5. Paul Reubens, Catherine O'Hara and Danny Elfman, "Kidnap the Sandy Claws," The Nightmare Before Christmas, Walt Disney
6. Michael Cohen, "The Hebrew Hammer Theme" (from The Hebrew Hammer), thehebrewhammer.com
7. Danny Elfman, "Introduction (Titles)," Edward Scissorhands, MCA
8. Badly Drawn Boy, "I Love NYE," About a Boy, ARTISTdirect/Twisted Nerve/XL/BMG
9. John Ottman, "The Fair/Main Titles," Kiss Kiss Bang Bang, La-La Land
10. Michael Kamen, "Gruber's Arrival" (from Die Hard), Varèse Sarabande: A 25th Anniversary Celebration, Varèse Sarabande
11. Thurl Ravenscroft, "You're a Mean One, Mr. Grinch" (from How the Grinch Stole Christmas), How the Grinch Stole Christmas & Horton Hears a Who!, Turner Classic Movies Music/Rhino Movie Music
12. Dick Shawn, "Snow Miser" (from The Year Without a Santa Claus), A Classic Cartoon Christmas, Too, Nick at Nite/Sony 550 Music/Sony Wonder
13. George S. Irving, "Heat Miser" (from The Year Without a Santa Claus), A Classic Cartoon Christmas, Too, Nick at Nite/Sony 550 Music/Sony Wonder
14. Shirley Walker/Lolita Ritmanis/Michael McCuistion, "Nutcracker Suite Medley" (from "Christmas with the Joker"), Batman: The Animated Series, La-La Land
15. Shirley Walker/Lolita Ritmanis/Michael McCuistion, "Pie in Batman's Face/Dangling Hostages Saved/Deck the Halls" (from "Christmas with the Joker"), Batman: The Animated Series, La-La Land
16. Badly Drawn Boy, "Donna and Blitzen," About a Boy, ARTISTdirect/Twisted Nerve/XL/BMG
17. Mick Jagger and Joss Stone, "Lonely Without You (This Christmas)," Alfie, Virgin
18. Leon Redbone & Zooey Deschanel, "Baby It's Cold Outside," Elf: Music from the Major Motion Picture, New Line

Batman: The Animated Series soundtrack: A Walker to remember

As a fan of Batman: The Animated Series, I've waited 15 years for the score cues from the groundbreaking show to be released on an album. Now the wait is finally over, thanks to La-La Land Records' Batman: The Animated Series score compilation, which the label released as a limited edition two-CD set on Tuesday (a week after Warner Bros. Records double-dipped the Dark Knight soundtrack with additional score cues). I'll be adding some of the music from La-La Land's release to rotation on A Fistful of Soundtracks' "Assorted Fistful" block.

Modeled in tone after Tim Burton's somber-looking, dark-humored Batman films but much more faithful to the comics, Bruce Timm's B:TAS was the first American superhero cartoon show that felt cinematic. B:TAS writer/producer Paul Dini, who scripted the landmark, Emmy-winning Mr. Freeze revamp "Heart of Ice," says in the soundtrack liner notes that the show's crew constructed each episode like a mini-movie.

The B:TAS crew must have heard Peter Bogdanovich's anecdotes about how Samuel Fuller mentored him during the making of the low-budget 1968 thriller Targets ("Never think about limitations! Only think about what you want!") because like Fuller, they clearly didn't let a TV budget stop them from doing what they wanted. They brought a cinematic approach to everything, from the way they paced the dialogue--B:TAS' minimal and terse dialogue was different from other superhero cartoons, especially the '90s Marvel shows, like Saban's X-Men and Marvel Films Animation's Spider-Man, which had nonstop, hurriedly delivered, Speed Racer-ish dialogue--to the original score music. Unlike past superhero cartoons, B:TAS didn't recycle the same four or five score cues or repurpose creaky old library music. Shirley Walker and her team of B:TAS composers, which included Lolita Ritmanis and Michael McCuistion, composed an original score for every ep and used a full orchestra at a time when most other animated action shows relied on chintzy-sounding, cost-saving synthesizer music.

Danny Elfman's B:TAS main title theme, a reworking of his own brooding and dashing-sounding main theme from the Batman movies, set the tone for the show's "dark swashbuckler" sound. Walker, who conducted Elfman's 1989 Batman score and worked for him as an orchestrator, wrote a new eight-note theme for the Batman character that sounds equally thrilling and kickass. It eventually supplanted Elfman's theme in the opening titles when Warner Bros. Animation made B:TAS into a feature film (Batman: Mask of the Phantasm) and then brought the show back to the airwaves under a new title, The Adventures of Batman & Robin.

Walker and her composers crafted a different motif for each villain. Mr. Freeze was accompanied by a mournful waltz (which can be heard during the 14-minute "Gotham City Overture," track 1 on the first disc), Two-Face was represented by an eerie soprano recorder melody ("Harvey's Nightmare/Dent's Soap Box" and "Bruce Wayne's Nightmare/Two-Face Remembers"), and the Penguin received a lumbering brass theme to match his bluster ("Birds of a Feather").

The Joker is such a beloved adversary that Walker gave him not just one but two motifs, a carnival-style melody and a secondary "Fanfare for Rocky"-style crime spree theme that was used only during the "Last Laugh" ep. The liner notes refer to the Joker's "Last Laugh" crime spree theme as "a hip-hop jazz theme," but it doesn't really sound like hip-hop. It's a middle-aged white person's idea of what they think a hip-hop beat sounds like. As an FSM Board poster says, it's more rock/funk than hip-hop. Still, Walker's "Last Laugh" theme is a lot of fun, and like all the other cues, I'm jazzed to finally have it on disc.

After a solid film and TV score career that saw her alternating between the Timmverse and James Wong/Glen Morgan productions (Space: Above and Beyond, Final Destination), Walker died in 2006 and didn't live to see her B:TAS material get the kind of release that La-La Land has devoted to it. Though this release is loaded with over two hours of music, it's missing Walker's memorable Catwoman theme from "The Cat and the Claw, Part I," the first B:TAS ep that ever aired, Carl Johnson's lively score from the excellent "Beware the Gray Ghost" ep with special guest voice Adam West, and McCuistion's Lawrence of Arabia-style epic score from the "Demon's Quest" two-parter, which gives me hope about a Volume 2 from La-La Land.

The final track on the La-La Land album is a fitting tribute to Walker, in which she gets to finally speak, via an archival recording of her explaining her eight-note Batman theme and playing it in different variations on the piano. The subtle differences between each variation--like when Walker alternates between a somberly played second half of the theme and a more uplifting second half--are incredible. They show how much care was put into the music and the show itself.