Share the Joye

I see many articles online about how wonderful it was that Joye Murchison Kelly and her husband came out to Comic-Con in 2018 to be honored with the Bill Finger Award and lots and lots of loving applause. I agree with that but I feel like I'm getting too much credit for making that happen.

That we knew at all of Ms. Kelly is due to the detective work of Jill Lepore, author of the book, The Secret History of Wonder Woman. Several different folks suggested Joye for the Bill Finger Award, then the Blue Ribbon committee that decides on the award — Jim Amash, Scott Shaw!, Kurt Busiek, Charles Kochman, Marv Wolfman and Yours Truly voted that she should have it and comic historian Richard Arndt got me in touch with her.

Jackie Estrada, who supervises the Eisner Awards for Comic-Con, expedited all this. The major sponsor for the 2018 awards was DC Comics, our supporting sponsors were Heritage Auctions and Maggie Thompson, and I persuaded Dan DiDio (who was then running DC Comics) to raise their contribution so Joye and her husband Jack could be flown first-class. Once Joye was here, many folks helped take care of her and Jack, and made their trip wonderful but I have to mention Trina Robbins, Anina Bennett and (again) Maggie Thompson. And of course, the Bill Finger Award has a lot to do with the late Jerry Robinson (who invented it) and the lovely Athena Finger, granddaughter of Bill…

…I'm probably leaving someone out. If you met Joye at that convention and made her feel honored and welcome, I'm leaving you out. The point is that the credit for that presentation should be divided up — as the credit for creating Batman wasn't for far too long.

Joye to the World

New York Times obit for Joye Murchison Kelly. I'm so happy we got this woman to Comic-Con to receive the Bill Finger Award.

Joye Murchison Kelly, R.I.P.

Photo by Bruce Guthrie

We lost another winner of the Bill Finger Award yesterday. In addition to 2009 recipient Frank Jacobs, we also lost 2018 honoree, Joye Murchison Kelly.  To quote the announcement of her choice to receive that trophy for Excellence in Comic Book Writing…

Joye Hummel Murchison Kelly was 20 years old in 1944 when she began working for Dr. William Moulton Marston on Wonder Woman. She had recently graduated from the Katherine Gibbs School in New York, where she had taken a psychology class from Dr. Marston. He had written almost all the scripts for his Amazon Princess and found himself in need of an assistant writer he could school in the precise way he wanted the heroine depicted, and Joye Hummel, as she was then named, learned quickly. Soon she was writing scripts on her own, mainly in Marston's New York office, where she also worked alongside Wonder Woman's artistic creator, Harry Peter. Like Marston's own stories, her work appeared in three publications — Wonder Woman, Sensation Comics, and Comic Cavalcade — under the house byline "By Charles Moulton," and none of it was credited to her. Her work appeared until 1947, and much of it has recently been reprinted to the delight of current readers. Ms. Kelly and her husband Jack will be traveling to Comic-Con so that she may accept her award in person and also appear on Saturday afternoon for a special spotlight interview: her first-ever visit to a comic book convention.

And what a delight it was to bring that woman out to California…to talk with her and her hubby Jack both in front of a packed audience and in private. I wrote about her panel at Comic-Con and linked to an audio of it here and a photo album of their visit was compiled by Anina Bennett and it can be viewed here.

One of my favorite Comic-Con memories — and I have a lot of Comic-Con memories, people — is how happy so many people were to meet them and how happy they were spending what Joye told me was "The best weekend of my life." Imagine having the Best Weekend of Your Life when you're 95 years old. She was 97 on Easter Sunday.

I would like to thank Richard Arndt for helping to connect with Joye and Jack so we could honor her. And I would like to thank Trina Robbins, Anina Bennett, Maggie Thompson, Jackie Estrada and all the other folks who made her visit such a delight…and I'd bet they'd all tell you the delight was theirs.

I believe we all awoke this morning to e-mails from Jack conveying the sad news. Those couldn't have been easy e-mails to write and send but Jack took great care of Joye and you could tell it was mutual. He has our thanks, our condolences and, I'm sure, a lot of spectacular memories of his own Wonder Woman.

Tales of My Father #2

This ran here back on June 17, 2013…

As I've mentioned here the other day, my father had this horrible, horrible job at the Internal Revenue Service. If another kid at school pulled the old "My dad can beat up your dad" line, I'd fire back with "Oh, yeah? Well, my dad can audit your dad!"

But that was a hollow threat as mine was not an accountant. Matter of fact, he really didn't know how to make out tax forms any better than most people. Friends and family members would ask him to do their 1040s for them and rather than say no — he hated to say no to anyone about anything — he'd take them on and then my mother would sit down with the manual and figure out how to fill in the forms. She sort of enjoyed it because then she got to see how much money everyone made.

My father's position with the I.R.S. was as follows: If you hadn't paid your taxes in, oh, more than five years…or if an auditor had ruled that you owed more taxes and you hadn't coughed up yet…you'd receive a visit from my father. So he went through life with a lot of people hating to see him and then taking their anger (often, self-anger) out on him.

His usual mission was to negotiate some sort of payment plan with you…but he had no power to sign off on one. He'd go over your finances and suggest, "Well, can you pay thirty dollars a week?" That would be a huge hardship for you at that point but you'd grudgingly agree to do without lunch on weekends so you could pay the thirty. Then he'd go to his superior who'd look at the proposed plan and say, "No. Tell them it has to be fifty!" And he'd have to return to you with the bad news.

You can probably name more painful tasks than that…just nothing that would have caused my father more grief. He simply felt too sorry for people who were in financial trouble, especially if it wasn't their fault and if they had kids to feed. Few things made him more upset than a case where children were suffering because their parents were spending all their money on liquor or hookers or anything of the sort.

And one of those other few things began in 1969 when a man named Richard M. Nixon took office. During those years, the policy in his office — dictated from on high — was to sock it to lower-income folks and to let the rich ones, especially Republican donors, off lightly. He'd come home some days and say, "Another poor person has to pay more so that one of Nixon's multi-millionaire friends can pay nothing." One time, I heard him yelling in the living room and rushed out to see what he was yelling about.

The news was showing a party that the then-president had thrown at his "Western White House" in San Clemente. It was Nixon surrounded by many of his friends and my father was pointing at certain of those friends and saying, "I had a case on that one and that one and that one…" Some of this came out in the Watergate Hearings and it made him very happy. A few years ago, I met John Dean, the Nixon lawyer who'd spilled most of the beans, and I thanked him for doing that. On behalf of my late father.

My male parent was supposed to keep his cases confidential, even from his family, but I occasionally heard about one. He had a case — a very long, ugly case — against a man who was prominent in the animation business. It dragged on for a few years with my father playing Inspector Javert to the animator's Jean Valjean but it was finally settled and I think the fellow lost his house in the process. Two decades later at a cartoon festival, June Foray introduced me to the animator and he stared at me for a long second.

"Evanier…" he muttered, trying to remember. "I knew someone once with that name…"

"Oh, it's a very common name," I quickly told him. "I run into ten or twenty Evaniers a day." (I think there are less than twenty in the entire country…) He never did place it.

There were other cases on famous people, including a prominent TV right-winger who scolded liberals for not loving their country enough. My father seriously pondered ways to "leak" to the press how though this fellow may have loved America, he was doing everything possible to never pay it a dime. Ultimately though, Bernard Evanier was incapable of doing anything illegal or unethical…and to be honest, a little afraid of losing the only job he thought he could do or get.

My favorite case of his that I knew about involved a rather shoddy (but beloved by many) amusement facility out in Santa Monica called Pacific Ocean Park. It was in operation out there from 1958 to 1967. What happened in 1967? My father closed it down.

Or rather, he helped close it down. The owners owed the government millions. The place was falling apart and a lot of the rides were still operating even though the departments that monitor such things said they were on the verge of being declared unsafe. Making the necessary repairs would have cost more than P.O.P. could be expected to gross over the next few years. My father attempted to negotiate a deal where the owners would be able to remodel the park and bring its attractions up to code, make a profit and then pay their back taxes…but the math simply wouldn't work. When it all fell apart, the word came from above: Shut 'er down! And one morning, a veritable S.W.A.T. team of taxmen did just that.

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My father had to get up at 5:30 AM to be there at seven when they moved in. Every entrance had to be padlocked and posted with a notice that the owners would face felony charges if they touched the locks or attempted to gain entrance. That was the easy part. The tough one was that everything in the park had to be inventoried and all the perishable goods (ice cream, hot dogs, etc.) had to be removed from the premises. He came home that night around 10 PM, dead tired but proclaiming proudly, "We did it."

Before he collapsed into bed, he watched the 11:00 local news where the shutdown was the lead story. In it, he heard people denouncing the "Gestapo tactics" of the I.R.S. agents who'd taken away their beloved playground…and there he was on the screen, being likened to Nazis for doing his job, trying to collect what was owed. It was not one of my father's happier evenings.

He hated being thought of a villain by anyone. He knew it came with the job and he understood why people despised the Internal Revenue Service. He said, "I hate paying my bills too but I do it." A few days later, he sat me down for a father-to-offspring chat in which he repeated something he'd said to me on several previous occasions: "Do whatever you want with your life, son. Just make sure you can make a living at it and you love it."

I'd already told him that I intended to be a professional writer…a goal I set around age six and never really considered changing. I sometimes changed my mind about what I'd be a professional writer of and there was a point in there when I wanted to be a writer-cartoonist — though never a cartoonist without the writer part. But I couldn't conceive of a future in which I wasn't a writer. I still can't.

A few years after that particular talk with him, I graduated high school and got serious about pursuing my long-planned profession. I got lucky right away. My first week trying in earnest, I made about three times as much money as my father was then making per week. But it took a while before I convinced him that I could really do it on a regular basis.

Bad Guys In Our Lives

Near the end of the first Die Hard movie  SPOILER ALERT! , the evil Hans Gruber — played in a reptilian manner by Alan Rickman — is dropped backwards off a high-up story of the Nakatomi Plaza to certain death. It's one of the more satisfying ways of disposing of the Bad Guy in any movie I've ever seen. The audience in the theater when I saw it couldn't have been happier. After hours of hating that loathsome, murdering asshole, he was finally being killed in a spectacular manner. In slow-motion, no less.

I suspect some of them ran out and bought the DVD just so they could replay that moment over and over and over. It's one of the reasons we go to that kind of movie. We all have Bad Guys in our lives and while they're often punished or even somehow eradicated, it usually isn't in such a total and gratifying moment.

In my lifetime (72 years plus change), I have often — not always — seen my Bad Guys eliminated or punished or even in at least one instance, killed…but it's never as immediate or simple or even as satisfying as seeing Alan Rickman realizing his plan has been foiled and he's plunging to his death. If you're expecting a Bad Guy of yours to meet a similar fate in the real world, you'll probably be disappointed. Some of my Bad Guys took a long time to plunge and probably never realized what they'd done and how they were paying for it. But they did go away. I have had to learn to be content with that.

In case you're wondering about my Bad Guy who got killed: He was a roofer who worked on my house a few decades back, charged me a lot of money and ultimately did more damage than repairs. He refused to correct his destruction, leaving me no recourse but to sue him…but it turned out that wasn't an option either. My lawyer reported back that I'd have to wait at the end of a very long line of other clients who were suing this Very Bad Guy.

And even the folks in that line never got a nickel out of him. One night, that roofer got drunk, tried to kill his wife and the police shot and killed him. I was not there to see it. I hope that if I had been, I would not have enjoyed the moment because I wouldn't want to be the kind of person who would have enjoyed that moment.

But like you, there are people around — mostly in public life but a few in private — who I'd just like to see disappear. I don't long to see them shot or injured or even dropped backwards off the Nakatomi Plaza because that's barbaric and anyway, that's probably not going to happen. But I think there's a good chance of them going away and no longer doing whatever damage I think they do to the world and the people in it or maybe just me. I'll be satisfied with that.

A Very Worthy Cause

I'm sparing with my promotion of GoFundMe campaigns and other crowd-funding endeavors but I'm going to make a rare exception for this one. My friend Ron Friedman is one of the funniest, nicest gentleman it has ever been my pleasure to know and he very likely wrote one or more of your favorite TV shows. His credits include The Danny Kaye Show, The Jonathan Winters Show, Get Smart, The Odd Couple, All in the Family, G.I. Joe, The Transformers, Starsky & Hutch, I Dream of Jeannie, Bewitched, Barney Miller, The Partridge Family and so many more. And if you're into animation, he was a very important writer of The Transformers and G.I. Joe.

Ron and his lovely wife Val are both suffering from ailments, some of them caused by a car accident. Their medical bills vastly exceed what their insurance will cover. They need help. If you ever enjoyed any of the shows I just named — or one of the many others you'll find on his IMDB listing — please donate to help two very deserving people. Here's the link.

Critics' Choice

This is a partial rerun of a post that ran here on February 21, 2002 but down below, there will be a little line and everything below the little line will be new content. It's about a Broadway show that I have never seen called Subways Are For Sleeping

Click above to enlarge.

A friend sent me this picture of a famous (in Broadway lore) full-page ad that ran only once and only in one edition of The New York Herald-Tribune.  Wanna hear the story behind it?  Good.  In 1961, the notorious Broadway producer David Merrick had a musical called Subways Are For Sleeping that was limping along at the box office, losing business and about to warrant closure.  One reason was that the seven major Broadway critics had been indifferent — some, outright negative — about it.  So, if only to cause trouble, Mr. Merrick had his staff dig up seven men with the same names as the seven critics. He brought the men in to see the show, wined and dined them, and secured permission to use their names and photos along with quotes about how much they enjoyed what they'd seen.

An ad was prepared and submitted to all seven newspapers…and it would have gotten into all seven, some say, had not a copy editor at one of the papers spotted the hoax just moments before press time.  (The tip-off?  The photo of Richard Watts.  The theatre critic with that name was not black.)  The alert copy editor phoned all the newspapers in town and they all pulled it…except that the early edition of the Herald-Tribune was already on the streets.  No matter.  Merrick secured what he wanted, which was an enormous amount of publicity.  The grosses on Subways took an enormous leap upwards and, while the show was never a huge hit, it managed to last out the season and turn a modest profit.

It was a brilliant publicity stunt…and one that Merrick had wanted to do since the idea occurred to him years earlier.  What stopped him was that, back then, the critic for The New York Times was Brooks Atkinson…and Merrick couldn't find anyone else with that name.  When Atkinson retired, he was replaced by Howard Taubman…and there was an insurance agent named Howard Taubman.

Some called Merrick "The Abominable Showman" and there are those who worked with him who still get migraines at the mention of his name.  I don't doubt that all or most of their tales are true…but I do think this ad was a stroke of genius.  They don't make them like David Merrick any longer…which is both good and bad.


Okay, that was the little line and this is Mark now writing on 3/3/24. Like I said, most people have never seen the show Subways Are For Sleeping. It opened on Broadway on December 27, 1961 at the St. James Theater in New York and, as I explained back in 2002, received pretty not-good reviews. It closed there on June 23 the following year after 205 performances — not an out-and-out flop but a pretty disappointing number for a show with book and lyrics by Betty Comden and Adolph Green and a score by Jule Styne.

The show the three of them had done just before it was Do-Re-Mi, which was a hit and before that, they'd done Bells Are Ringing, which was an even bigger hit and later Comden and Green did On the Twentieth Century with Cy Coleman. Those were three successful shows that I really liked.  The director of Subways, Michael Kidd, had plenty of hits to his credit and there were some stars in the cast — Sydney Chaplin, Carol Lawrence, Orson Bean and Phyllis Newman. Ms. Newman's wardrobe for the entire show consisted of a bath towel and you'd think that alone would have sold some tickets.

So what went wrong such that Subways closed so soon and is almost never revived? It was suggested that its basic storyline — about homeless people who used subway cars as sleeper compartments — turned off a lot of New Yorkers. Well, maybe. I'm among those many who've never seen the show and I can't seem to find a copy of the script anywhere. But I do have the cast album and I also have the record below, which was made by Percy Faith and his Orchestra featuring instrumental-only, jazzed-up recordings of the songs from the show. Mr. Faith and that orchestra of his did a lot of records like this and he always made the material sound really good…

While I was ensconced recently in that Rehab Center for my busted ankle, I listened to a lot of music via Spotify and some of it was show tunes from shows I didn't know. I happened upon Mr. Faith's recording of the tunes from Subways and I thought, "Hey, these are great!" — certainly worthy of the good name of Jule Styne. So then I listened to the actual cast album of the show and I thought, "Hey, these aren't great!" I'm not sure what to think.

I expect to get a message from my pal Jim Brochu who knows everything about Broadway shows but I thought I'd ask here to see if anyone else reading this saw it or even performed in a production somewhere of it and can provide some insight. Or a copy of the script.

If you want to listen to the Percy Faith record, it's here on YouTube with a second Percy Faith album attached. It's also here on Spotify. If you want to listen to the original cast album, it's here on YouTube. And here's a tune from the show performed by Judy Garland. Maybe that's what the Broadway production needed: A Judy Garland…

Tuesday Morning

I really enjoyed Jon Stewart's return to The Daily Show and was unbothered by his main thesis, which was that Joe Biden is too old to hold The Most Important Job In The World for four more years. I don't disagree.

But I just think Biden would be a too-old president doing his best for America whereas Donald Trump would be a too-old, too-psychotic president doing his best for Donald Trump and no one else. Between the two men, it's an easy choice but wouldn't almost all of us rather have two other real options?

It's not impossible, I tell myself, that one or both of those men won't be on our November ballots…but don't ask me who'd tag in for either or how the substitution(s) could come about.

Warning: Contains me

Not long ago, I was the guest of Ike Eisenmann and Jonathan Rosen on their popular podcast, Pop Culture Retro where we talked for well over an hour and a half about stuff I've done. I enjoyed chatting with these gents though I think I'm going to start making a rule: If you want me on your podcast, you have to promise not to describe me as "legendary." These days everyone who's been around for more than about three years is "legendary" and that word is moving from being over-praise to something quite underwhelming because it's being used to describe everyone. I feel uncomfy with it by either measure.

But that's not the fault of Ike and Jonathan. They're good interviewers as you'll hear if you make it through most or even much of this long, long conversation with me…

I also recently talked for a while with Frank Morano on his late night show, The Other Side of Midnight with Frank Morano, which is heard on WABC radio. This is radio and the whole show can be heard here. I come in around 1:13:42. I enjoyed talking with Frank too and I hope at least one of these shows asks me back.

Today's Video Link

Here's the Legal Eagle talking about the House Mouse: His "take" on the expiration of copyright on Steamboat Willy and what that definitely means and what it may not mean. I think some folks who are overjoyed about this are merely celebrating the notion of the Disney Company suffering any kind of loss and they might not be looking at the bigger picture…

ASK me: Different Creators on Different Strips

From Mike Masters comes this…

Enjoyed your discussion of inking. enjoyed even more your comments about Wally Wood. I thought Wally Wood's brief stint on Justice Society in the 70s and his take on Golden Age Superman were magical. One wonders what a longer stint on Superman would've been like.

Is there anyone of that era you would have particularly liked to have seen on a book they didn't do? DC famously offered Jack Kirby the regular Superman book but he turned it down. Are there any other "almost happened" situations that you would have liked to have seen? On the other hand, any "almost happened" that you think would've turned out badly?

When Jack went to DC in 1970, he was sorta/kinda offered Superman but not really. The character was in a state of flux then because sales were down and the property's long-time editor Mort Weisinger had been retired, somewhat against his will. So there was a lot of talk about "What do we do with Superman?" and assigning their new "get," Jack Kirby to it was discussed, if only to flatter Jack when he was being courted.

I don't think that could ever have worked out. DC was never in a trillion years going to let creative control of Superman happen outside their office and Jack would not have been Jack if he'd had to deal with all their rules about how the character had to be treated. They wouldn't even let his drawings of Superman be published without serious retouching to make them look like the character had always looked.

I think Wally Wood would have had much the same problem if he'd gotten the assignment when he was, in my opinion, at his creative peak. Wood was a guy who did his best work when he was left alone and the management of DC Comics during that period was never going to leave anyone alone; not when they were doing the main Superman strip at least. They didn't even leave Jack alone on characters he created.

There is really no one from that period — writer or artist — I would have liked to see assigned to a comic created by someone else. There are people I think could have done a better job on certain established properties than the people who did them but I would have liked to see my fave writers and artists baking from scratch. I'd have liked to see them produce a comic born out of their own interests and ideas rather than have them assigned to an existing book just because it needed a writer and/or artist.

And I know some reading this will say, "Well, this artist did a great Batman" and "This writer did a great Hulk" and I might agree with you. But I would have liked to see what that artist and writer could have come up with without being saddled by decades of what had come before. And had their work compared to those who had come before them.

ASK me

Tuesday Afternoon

I very much enjoyed the CBS special tributing Dick Van Dyke…and like you, I didn't know who some of those performers were, either. The best part of it was how utterly delighted the Birthday Boy was with every moment of it. I've been around the man enough to know that that was in no way feigned; that he really was overwhelmed and surprised by so much of it.

If you missed it, it's rerunning tonight on CBS and it's also available for viewing on the CBS website.


Last Friday night, I went to the newly-refurbished Egyptian Theater in Hollywood for a screening of my favorite movie, It's a Mad, Mad, Mad, Mad World offered by the American Cinematheque. The film — which I have now seen more times than I've seen my next door neighbors — never fails to make me feel good…even when, as was the case here, it was not the best print and there was an unscheduled intermission when the sound went out during the third reel.

I am going to greatly upset certain movie buff friends of mine with the next part of this post…

I understand the loyalty to seeing movies actually projected on film rather than by digital means but it's starting to remind me of my friend who insists on only listening to recorded music on vinyl. It may be a noble battle in some ways but it's also a losing one. Film prints of great movies on film are becoming scarcer and scarcer and as those prints wear out, it is increasingly not cost-effective (and in some cases, not possible) to generate new ones.

DCP — Digital Cinema Package — is the standard and will be until someone comes up, as is inevitable, with something better. I understand there are only two 70mm prints of Mad World in existence, at least in English. The Cinematheque ran one of them and it had a lot of dirt and scratches and uneven sound, whereas the DCP version I saw a few years ago at the Cinerama Dome was flawless. It will always be that flawless.

The notion that a movie that was shot on film should stay on film — or is at least best viewed on film — is arguable. And if we're arguing, I could argue that a good DCP version of a movie yields a viewing experience closer to how the movie looked at its premiere than most film prints around. If that's not the case now, it will be.

Anyway, I still enjoyed seeing my fave film again the way it's best seen: On a big screen with a big, appreciative audience. But it was also a long night. We got in line at 6 PM, the speeches started at 7 PM, and then the film was followed by a Q-and-A session with Karen Sharpe-Kramer (widow of director Stanley Kramer), Kat Kramer (daughter of Stanley and Karen), Sandy Hackett (son of Buddy), Barrie Chase and our host, screenwriter Scott Alexander. We didn't get out of there until Midnight.

Barrie Chase is the answer to the question, "Who's still alive who was in this movie?" She's not only alive but she's gorgeous even at the age of 90 (as is Karen) and Ms. Chase had wonderful stories about dancing with Dick Shawn…

She seemed to not be able to explain why they'd picked her for the role. I think I know. There were hundreds of attractive women around who could have danced and looked good…but put most of them in a scene with Dick Shawn and they'd have largely disappeared. Shawn was so magnetic and fascinating with every word he said and every move he made. Most dance partners would simply have vanished from the screen.

Dancing is not just about moving. It's about acting with your body, exuding personality, saying things with your hips…and being a presence. At the time this movie was made, Barrie Chase was probably best known for being Fred Astaire's dance partner in a series of TV specials (like this one). My guess is that someone said, "If she can hold her own on a stage with Fred Astaire, she can hold her own on a stage with Dick Shawn."

She did. And now she's The Last Cast Member Standing.

I Don't Like Snow

This ran here on December 26, 2014. About time for a rerun…

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That, believe it or not, is me and as you can see, I'm reading a Little Golden Book of Frosty the Snowman. I don't know when the book was issued but I was issued in 1952.

I have a vague recollection of this book and of being mystified by the whole concept of snow. We lived in Los Angeles and I did not see snow in person until I was around eleven. One Winter afternoon, feeling I should experience it, my parents dressed me in my warmest clothing and my father drove us up to the mountains, a few hours from L.A.

I was not particularly impressed with the stuff. What was around had fallen a few days earlier and it was more like crushed ice by then…and for the most part, not all that clean. I remember trying to make a small snowman and realizing within seconds that all those Christmas specials had deceived me as to how simple that was. I'd somehow expected something more like cold, firm mashed potatoes.  My folks assured me it was easier right after the snow had fallen but I still felt misled.  On TV, it always looked like white Play-Doh.

We planned to spend the whole afternoon in this mountain area and a friend had loaned me a sled which we brought along in the trunk. My father hauled it out and placed it atop a small incline so I could lie down on it and sled my way down the incline. I did, found it unremarkable and then turned to my parents and asked, "Can we go home now?"  We ate lunch and then did.

Maybe if I'd had some friends along to lob snowballs at or something, I'd have enjoyed the snow more but I decided I could live without it. Matter of fact, on the drive back, I thanked my parents for moving to Southern California before I was born.

Yes, yes…I understand snow can create beautiful, picture postcard scenery around you. So can a clear, sunny day and no one has to shovel it.

Years later in traveling, I occasionally found myself surrounded by snow for a few days at a time. There was one year in New York when a major, airport-closing blizzard hit the day I was scheduled to leave so I had to stay. Fortunately, I had the right clothes along and was at the Sherry-Netherland Hotel with someone else paying. It was fascinating to watch how New Yorkers and their city employees handled it but that was the only upside of the whole experience.

Over that weekend alone, I had enough of snow to last anyone a lifetime. I also experienced snow once when I was in Detroit, once while I was attending my grandmother's funeral in Hartford, a couple of times in Muncie and even once — for about twenty minutes — in Las Vegas.

Snow in Vegas was interesting because there were tourists in Hawaiian shirts, sandals and shorts who treated it like, "Oh, look what the hotels here arranged for our amusement!" As a phenomenon of nature, it seemed about as credible as the volcano that used to go off hourly outside The Mirage. And what it mainly did was to force people off The Strip and into the nearest buildings, which were almost all casinos. So the brief snowstorm probably boosted profits at the craps tables and I think I saw one hooker in a parka.  (It's getting harder to identify the hookers in Vegas not because they don't look like hookers but because everyone else does.)

I'm not knocking where you live because it snows there…and I'm sure you can come up with reasons aplenty why you'd rather live there than where I do. Fine.  I'll even admit I might have more affection for it if it had been part of my childhood. I just don't like snow…not as much as I don't like cole slaw but I don't like snow. If you want to change my mind, arrange for it to be more like white Play-Doh. That might make it fun.