We’re only a few hours away from America’s 250th birthday! And what would an American birthday party be without some American celebrities of the present and the past?
Joan Crawford by Ruth Harriet Louise
Bobby Darin and Sandra Dee by Leo Fuchs
Marlon Brando by Leo Fuchs
Mary Badham and Gregory Peck by Leo Fuchs
Natalie Wood by Alan Grant
Marilyn Monroe and Jack Benny by Phil Stern
James Dean by Phil Stern
John Wayne by Phil Stern
Bruce Conner, Toni Basil, and Teri Garr by Dennis Hopper
In The Wrangler, using Robert Alda’s original version of “Luck Be a Lady” from Guys and Dolls hits differently than the more famous Sinatra take. Alda’s rendition, coming from the Broadway stage, is less smooth and more desperate—it’s a man bargaining with luck, not charming her. That’s a crucial difference in Fallout’s world. When Alda’s voice drifts through the smoky ruin of The Wrangler, it feels like an echo from a long-dead civilization—one where people still believed that fortune was something you could negotiate with. It grounds the scene in Fallout’s favorite tension: the clash between old optimism and new despair.
Thematically, the original version suits Fallout’s tone better. Sinatra’s version oozes control and self-assurance, while Alda sings with the anxious rhythm of someone clinging to hope. In the episode, that anxiety fits the stakes perfectly—characters gambling with their lives, exchanging trust for survival, and hoping the “lady” of luck doesn’t turn her back at the wrong moment. The Broadway earnestness becomes a tragic counterpoint to the brutality around it, emphasizing how fragile that old-world faith in luck or charm truly is.
By choosing Alda over Sinatra, the show subtly reframes what “luck” means in this universe. It’s not style or swagger—it’s survival by the skin of one’s teeth. The song’s theatrical flair feels almost haunting in a world where the audience is gone and the casino’s collapsed. Yet that’s what gives the moment its punch: Fallout has always used nostalgia as both soundtrack and satire, and with Alda’s pleading vocals hanging in the air, The Wrangler reminds us that sometimes, luck isn’t a lady at all—it’s just what’s left when everything else runs out.
Luck Be a Lady
They call you Lady Luck But there is room for doubt At times, you’ve had a very unlady-like way of running out You’re on this date with me The pickin’s have been lush And yet before this evening is over You might give me the brush
You might forget your manners You might refuse to stay And so the best that I can do is pray
Luck be a lady tonight Luck be a lady tonight Luck if you’ve ever been a lady to begin with, luck be a lady tonight
Luck let a gentleman see How nice a dame you can be I know the way you’ve treated other guys you’ve been with Luck, be a lady with me
A lady doesn’t leave her escort It isn’t fair, it isn’t nice A lady doesn’t wander all over the room And blow on some other guy’s dice Let’s keep this party polite Never get out of my sight Stick me with me baby, I’m the fella you came in with Luck, be a lady tonight
Luck, let a gentleman see Just how nice, how nice a dame you can be I know the way you’ve treated other guys you’ve been with Luck be a lady with me
A lady doesn’t leave her escort It isn’t fair, and it’s not nice A lady doesn’t wander all over the room And blow on some other guy’s dice So let’s keep the party polite Never get out of my sight Stick with me baby, I’m the guy that you came in with Luck be a lady Luck be a lady Luck be a lady, tonight
We have a new pope and he’s from Chicago! Which brings us to today’s song of the day….
Now, this could only happen to a guy like me And only happen in a town like this So may I say to each of you most gratefully As I throw each one of you a kiss, this is
My kind of town, Chicago is My kind of town, Chicago is My kind of people, too People who smile at you
And each time I roam, Chicago is Calling me home, Chicago is Why I just grin like a clown It’s my kind of town
My kind of town, Chicago is My kind of town, Chicago is My kind of razzmatazz And it has all that jazz
And each time I leave, Chicago is Tuggin’ my sleeve, Chicago is The Wrigley Building, Chicago is The Union Stockyard, Chicago is One town that won’t let you down It’s my kind of town
A young man named Henry Brooks has written a musical about the life of Charles Bronson. I’m sharing this post to make sure you are aware of it. It’s a memorable take on certain key moments and movies in Bronson’s life and career. The album is produced by Stephen Glickman (Big Time Rush), with Steven Weber (Wings) and Lisa Loeb (Stay: I Missed You) contributing their immense talent to this interesting project as Charles Bronson and Jill Ireland. As a lifelong fan of Bronson’s, I love seeing a younger generation embrace his unique talent. I think my personal favorite song on the album is called “Toshiro and I,” which is Henry’s amusing take on Bronson’s film with iconic Japanese actor Toshiro Mifune, RED SUN. There are many other good songs as well, with “You Oughta be an Actor,” “There’s Never Been So Few,” “Death Wish,” and “Couldn’t Beat the Cancer” all sticking out to me. There are a total of 16 songs on the album, and the songs take Bronson from a boy working in the coal mines all the way to a man mourning the loss of his beloved wife.
I’ve linked to YouTube versions of the songs below! Take a moment to subscribe if you get the chance. You can also find the album on Spotify and Apple Music. In the next couple of months, it should be available to purchase for your collection. I for one will be buying the album on vinyl as soon as I can!
I’m including a link to the episode of the “This Week in Charles Bronson” podcast where we discuss the project with Henry Brooks. We’re so happy to help spread the word on this exciting project!
Through the Shattered Lens 