Talk:Ken Maynard

message: Hello,   I don't know much about how to go about this but I found this bio/article on IMDB which I though you should see.  Thank you   Gary Richmond Vienna Mo   
Ken Maynard's press would have you believe he was a circus performer, WW1 vet, championship rodeo rider and native Texan. In truth, he was definitely none of these things; he was born into a large Indiana family (three sisters and his younger brother Kermit Maynard who would follow, somewhat less successfully, him to Hollywood). Ken would spend his boyhood around Columbus, Indiana and eventually attend, but not graduate, from Indiana University. Exactly how he became an expert horseman is not really known, but he managed to become quite accomplished. His earliest appearance on film was in a non-western with William Fox's studio and scored good notices with a secondary role in Janice Meredith (1924) as Paul Revere. Figuring it was better to be a big fish in a small pond, Ken signed with an independent production outfit called Davis Productions in 1925 and became a star in it's low budget releases, $50,000 Reward (1924) and The Grey Vulture (1926). From there he signed with Fox's First National Pictures and remain with it after it was sold off to Warner Brothers through starring in some twenty silents. Ken, at this point was in his prime and at the top of his game with audiences. With his palomino Tarzan, he was world famous. Unfortunately, he also had an ego and temper to match, and he had a habit of alienating almost everyone he worked with. Unlike his brother Kermit, Maynard was widely considered to be an arrogant jackass--- he drank heavily and spent his large salary like a drunken sailor. He lavished a fortune on women, fancy cars and even had his own airplane. In 1929, he accepted a lucrative offer from Carl Laemmle to jump to Universal. Uncle Carl offered Ken his own company and creative control, which put him into the ranks of Hoot Gibson (then ranking as Universal's premier western star), the aging Tom Mix and his predecessor, the great William S. Hart. He joined Universal during the sound transition period and made made eight respectable pictures there. For the 1931-32 production season, the studio opted to ditch westerns altogether and Ken, who Laemmle quickly grew to dislike, found himself on the wrong side of the studio's gates (Gibson also found himself unemployed and his career would wane considerably). With his name still an asset, Ken returned to Poverty Row, working out of Tiffany for producers William Saal and Phil Goldstone. Despite the considerable loss of production values, the eleven films he ground out there were popular Saturday matinée entries that satisfied the hundreds of independent theaters that then-existed across the U.S. and Canada. Unfortunately for Ken, he hitched his future to a falling star: Tiffany was floundering and sank under the weight of it's sub-par non-western product and went under in 1932. It's former boss, Samuel Bischoff joined forces with Saal and producer Burt Kelly to form K.B.S. Film Co. (with distribution by World Wide Productions) with the express purpose of producing Ken Maynard westerns. These entries were slightly better budgeted than those at Tiffany but still hampered by a notable lack of production values. This company was short-lived, biting the dust within a year. Universal, which abruptly returned to westerns in 1933, decided to give Ken another shot. Between 1933 and 1934, Ken starred in eight generously budgeted oaters and, more importantly, gave him financial control over his unit. This arrangement became a flash point with Laemmle, since Ken would routinely exceed the $100,000 or so alloted for each film (roughly ten times what his Tiffany and K.B.S. releases cost). Cost overruns resulted in angry, profanity-laden meetings with Universal's front office personnel. Laemmle's dislike for Ken hit the breaking point and he was shown the door a second time, replaced by Buck Jones as the studio's reigning sagebrush star. He was likely oblivious to the fact that his career had peaked since he quickly signed with Nat Levine's flinty Mascot Pictures, where he made the feature In Old Santa Fe (1934) and a serial, Mystery Mountain (1934). As Mascot's biggest star, he began to exert himself in areas that were unappreciated by Levine. He cussed casts and crews out and his enormous ego was out of control. A director reportedly showed Levine outtakes of one of his profanity-laden outbursts and fired. Coinciding this event was Tim McCoy's departure from Columbia Pictures. The studio had only recently broken out of the ranks of Poverty Row status and boss Harry Cohn wanted to remain a player in the western genre. Working with veteran producer Larry Darmour, Ken starred in eight Columbia oaters, beginning with Western Frontier (1935) directed by Al Herman and the rest by Spencer Gordon Bennet. From there he signed with Monogram, only recently reformed after it's boss' brief interlude with Republic. Working at Monogram displeased Ken tremendously and he made everyone aware of it's real and perceived shortcomings. With so many bridges figuratively burned during his career, his film career came to an end by the mid-40's. With nowhere else to go, Ken turned to the circus, working for the Cole Brothers-Clyde Beatty Circus, playing off his former film glory. Having blown through a fortune, old age did not treat him kindly. Married multiple times, Ken's last wife, Bertha died in 1968 and he found himself living largely off meager Social Security checks. His final years were tainted by his association with a girlfriend who encouraged him to sell phony memorabilia. He lived in a cheap trailer park, drank heavily and suffered from ill health. Ken died in poverty at the Woodland Hills Motion Picture Home on March 30, 1973.
Anthology of American Folk Music links here as there is a song by Ken Maynard on it, is the same man?  There is no reference in this article to it?  —Preceding unsigned comment added by 91.107.204.8 (talk) 19:23, 9 February 2009 (UTC)
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