Category Archives: Uncategorized

What has Mark found this time? Hmm…how about a Post Alpha-Bits commercial with Bugs Bunny and Elmer Fudd? This one was done for inclusion in the prime-time series, The Bugs Bunny Show, which ran on ABC from 1960 to 1962 before being relocated to Saturday morn. I think Friz Freleng directed this ad or at least supervised its direction. Mel Blanc, of course, is voicing Bugs Bunny. The Fudd voice is by Hal Smith, who most people will remember best as Otis the Town Drunk on The Andy Griffith Show. Hal did an amazing amount of animation voicing in his long career without ever becoming associated with a famous character.

This commercial does not make me want to buy Post Alpha-Bits. In fact, it suggests that if you do, you're likely to drive off a cliff. But it's interesting that in it, they're touting a new formula for the product. For fifty-some-odd years now, whenever I've seen a commercial for Alpha-Bits, it always seems to be announcing a new formula. This may be the only cereal to change the outside of the box less often than they change what's inside it.

This is an outsider's perception but it's always seemed to me that Post lucked into a great name for a cereal and a great gimmick — the letter shapes — but they've never found an actual cereal that can be sold in those shapes and under that name that people like. I remember trying it a couple of times when I was a kid, usually when a little box of it came in one of those "Post Ten Trays" with individual servings. It tasted a lot like eating plain table sugar. Even when I was ten, it was too sweet for me. For a time there, it was even called Frosted Alpha-Bits.

About two years ago, the Post people reconfigured its recipe for the umpteenth time, removing all the sugar and adding in whole-grain oat bran. It's now supposedly just like Cheerios except that you get the 25 other letters in the box, as well and the ads now tout its fiber content…an amazing transformation. And now, here are Bugs and Elmer…

A bunch of "loose ends" to tie up tonight…

• Jackie Estrada, who's one of the folks who brings us the Comic-Con International each year, says it's definitely Russ Manning in that photo. How does she know? Well, she took the photo. That's a pretty good reason to listen to her.
• Two different folks who attended tapings of Thank God You're Here confirmed my suspicion that the spontaneous sketches were somewhat edited for broadcast. The scenes felt edited so even if they weren't, that's not a good thing. The ratings were not wonderful for a heavily-promoted debut so the question now is whether NBC will try to fix it or bail. If they try to fix it, I'd suggest three words — do it live — but they'll never do it. One of the things that I think will eventually doom most reality shows is how little "reality" is in them. At least, I haven't seen a moment yet which the producers couldn't have anticipated, prepared for or even configured.
• I haven't written anything about Don Imus because…well, I don't watch Don Imus. The few times I've caught a few minutes of his show, he seemed like a guy who didn't like anything: Didn't like his guests, didn't like the topics, didn't like his employers. I remember the guy when he was starting out and he was occasionally funny and insightful back then. At some point though, the sour curmudgeon act seems to have consumed him and now he just sits there and says nasty things about everyone and everything. The only surprising thing about his recent racist/sexist remarks is that he got called on them. Instead of suspending him for two weeks, they oughta punish the guy by forcing him to say only positive things for two weeks. His face would probably shatter.
• I erred. I said the other day that my appearance on the Time Travel radio show this Friday would be at 4 PM West Coast Time. It's actually 4 PM East Coast Time so you can figure out when it happens where you are. Sorry. I've corrected the earlier posting.
• Lastly, one of the things you learn from having a weblog is that some people don't know how to read and some have no sense of humor. Every time I post anything even vaguely political, I get some insightful, reasoned rebuttals but I also get at least one message from someone debating a position I neither wrote nor hold. I also get an amazing number of e-mails from people who seem to be taking jokes seriously. So just to make sure everyone understands: I did not take my mother to McDonald's for her 85th birthday. My mother is a wonderful lady and she deserves the best. I took her to an Arby's.

Yesterday in this post, I gave you a photo taken at the Inkpot Awards Ceremony at the 1975 San Diego Comic-Con. Back then, the awards ceremony consisted only of the Inkpot Awards, which were bestowed by the convention committee. Later on, they added in the Eisner Awards and eventually, the Eisners squeezed the Inkpots out of their own ceremony. The Inkpots are now presented at daytime panels and other events. Also, in case anyone's puzzled about this: The Comic-Con International used to be called the San Diego Comic-Con, among other names.

Yesterday's photo was interesting because one rarely sees so many important, creative people in one snapshot and I was able to identify all but two of them. One, we've subsequently fingered as Jim Starlin…but there's another person in the photo whose face is blocked from the photographer's angle by Richard Butner, the convention chairperson. That's Richard you see with the beard in the above detail from the photo. A lot of my correspondents are now trying to guess who that person is behind Richard.

Many of them tried to guess by looking at the list of that year's Inkpot recipients. That year, the convention presented them to a couple of the convention committee members…but I can recognize all those people and I'm pretty sure it's not them. There were also Inkpots presented posthumously…to Vaughn Bode, Edgar Rice Burroughs, Rod Serling and Larry "Seymour" Vincent. It's none of them, obviously. (Larry Vincent was a great horror movie host, by the way. Here's an article I wrote about him.)

The professional recipients in '75 were Brad Anderson, Robert Bloch, Daws Butler, Will Eisner, me, Gil Kane, Dick Moores, George Pal, Joe Shuster, Jerry Siegel, Barry Windsor-Smith, Jim Starlin, Jim Steranko and Theodore Sturgeon…and no, I don't know what I was doing in a list like that, either. I think someone had been watching them play "One of these things is not like the others" on Sesame Street. We've already identified Anderson, Butler, Eisner, Kane, Moores, Siegel, Starlin and Steranko in the photo so it's none of them. I don't think George Pal or Barry Windsor-Smith were at the convention. Windsor-Smith might have been but anyway, it doesn't look like him. It also doesn't look like Shuster or Sturgeon.

It's not me. I'm taller than that and never had hair or a jacket like that and anyway, I didn't go to the award ceremony that year because I found out in advance that I was getting one. (They were badly-kept secrets back then. I think Alberto Gonzales's staff was in charge of security.) Anyway, I'll tell you some time why I didn't attend but for now, you just need to know it isn't me.

I thought it could be Robert Bloch, the author of Psycho, among other works…and I'm not 100% certain it isn't. But then Bob Foster sent me an e-mail and he's sure it's Russ Manning. I'm not positive but that's a much better guess. True, Manning didn't win an Inkpot that year but then neither did Jack Kirby, Stan Lee, Bob Clampett and June Foray, all of whom are in the photo. All of them, like Russ, received Inkpots in 1974, which was the first year of those awards. I think in '75, the convention got all the past winners who were present up there to pose with the new recipients and I'm pretty sure Russ was present. In fact, I believe he accepted the Inkpot for Edgar Rice Burroughs. Russ was then drawing the Tarzan newspaper strip.

So in the absence of more or better evidence, I'll say it's Russ Manning. Anyone got a better deduction? If it's Russ and if you could see that, it would make the photo even more impressive.

I remember one of the many times I attended the taping of what turned out to be an unsold pilot. The Big Network Guys sat through the whole thing and then (I heard later) went to the producer and said, "There's a good show here but you haven't found it yet."

I felt that way about the first two episodes of Thank God You're Here, which aired last night on NBC. If you didn't see it, here's the premise: An actor is dressed in a costume and then shoved into a sketch with no preparation. It's not exactly improv because the other actors in the scene have rehearsed and been provided with what I assume is a loose script, configured to force the unprepped actor to furiously ad-lib. Dave Foley, formerly of Kids in the Hall, sits as a kind of judge and at the end, he awards a trophy to whichever of the four actors in that hour has done the best job of making up his or her part on the spot. David Alan Grier is the host.

The "game" here is not new. It's played often in improv classes, though usually the scene isn't as structured and no one (not just one actor) has had any rehearsal or prep. I also, oddly enough, recall this was a recurring feature on the 1963 Jerry Lewis talk show where Jerry showed uncommon courage in being the unprepared actor in a weekly sketch that was broadcast live. The sketches on Thank God You're Here are not live, of course, and I had the sense that they were taped long and edited. I hope I'm wrong.

So how'd I like the show? I liked some of each episode. I thought Edie McClurg and Wayne Knight were the best improvisers in the two hours though neither got the trophy from Dave Foley. (I'm not sure what qualifies Foley to judge. Then again, what qualifies Simon Cowell?) But my main problem was that the games were overexplained and overhyped and then underperformed. Most of the scenes just didn't live up to the created expectation. To tell the truth, I was most impressed with the skills of the "ensemble cast" — the other actors in the scenes: Nyima Funk, Maribeth Monroe, Brian Palermo and Chris Tallman.

I have the TiVo set and I'll watch, at least for a while because I love good improv and this has the potential to turn into it. But it's going to have to be more than just a show about clueless actors struggling to get to the end of a sketch. We've had enough of that on Saturday Night Live.

By the way: The show makes a big deal about the fact that there's no script…and indeed, no writers are credited, nor did I see any job descriptions there like "program consultants" or "creative consultants" that are traditionally used to disguise a writing staff. But the end credits did list a Script Supervisor, two Script Coordinators and two Script Assistants. So, uh, why do you need those five people if there's no script?

We have here a terrific concert performance of "A Little Priest," the Act One closer of the musical, Sweeney Todd: The Demon Barber of Fleet Street. I guess most of you know that this is the play with a book by Hugh Wheeler and songs by Stephen Sondheim. The next paragraph is just for those of you unfamiliar with the plot…

Sweeney Todd is a man who has returned to his home town after fifteen years in a penal colony on bogus charges. Having lost everything, he now lives only for revenge on humanity in general and more specifically on those he blames for his ordeal. In this scene, he's making a pact with a lady named Mrs. Lovett who operates a store that bakes and sells meat pies. Their partnership will be based on him killing people and her using their remains to make pies. A lovely arrangement.

Mrs. Lovett is played here by Patti LuPone, one of the great stars of the musical stage. Mr. Todd is played by George Hearn, one of my favorite musical performers. I had the pleasure of working with Mr. Hearn years ago and told that story here. This clip may give you a little idea of why I was so enthused about writing something that he'd be performing…

My friend Marv Wolfman has been watching his TiVo. What's so remarkable about that?, you may wonder. Well, the TiVo is in Marv's home in Southern California and Marv is in Australia. That's kind of remarkable. If you don't know about the Slingbox — the only piece of video, audio or computer equipment on this planet that I do not own yet — read this weblog posting to find out how it works for Marv.

Here's another chance to hear Yours Truly talk about Yours Truly. I'll be the guest this coming Friday on Time Travel, a fine radio program hosted by Dan Hollis and Jeff O'Boyle, and heard on WRNJ, which is an oldies station. The program airs at 4 PM East Coast Time and you can find out more about it over on this website. [Warning: Music that plays automatically.]

Listen online at the WRNJ site or you can wait until they archive the show and make it available for downloading on their Archive Page [Same Warning!]. While you're waiting for it to show up there, you might like to enjoy some of the past programs, which have included interviews with Lee Mendelson, Marty Krofft and other people who've been foolish enough to hire me.

Fred Kaplan on what can actually be done to solve The Iraq Problem and why George W. Bush won't do it.

A lot of people on the web today are posting their favorite B.C. and Wizard of Id gags in honor of Johnny Hart. Here's mine and it wasn't in a strip. It was the ever-changing title of one of his many paperback collections. In 1975, Fawcett Books brought out Life is a Seventy-Five Cent Paperback.

A few years later when it was reprinted, the series had gone up to 95 cents per book so they changed the title to Life is a Ninety-Five Cent Paperback and in tiny text at the bottom of the cover, it said "Formerly titled Life is a Seventy-Five Cent Paperback."

A year or three after that, the books were up to a buck and a quarter each so when they reissued this same volume, it was Life is a Dollar Twenty-Five Cent Paperback and the text at the bottom said, "Formerly titled Life is a Seventy-Five Cent Paperback and Life is a Ninety-Five Cent Paperback."

That was the last one but you just know that if the paperbacks had kept going, we'd eventually have seen Life is a Nine Dollar Paperback and at the bottom, it would have said, "Formerly titled Life is a Seventy-Five Cent Paperback and Life is a Ninety-Five Cent Paperback and Life is a Dollar Twenty-Five Cent Paperback and Life is a Two Dollar Paperback and Life is a Two and a Half Dollar Paperback and Life is a Two Dollar and Seventy-Five Cent Paperback and Life is a Three Dollar and a Twenty Cent Paperback and Life is a Four Dollar Paperback and Life is a Four Dollar and Thirty-Five Cent Paperback and Life is a Five Dollar and Fifty Cent Paperback and Life is a Six Dollar Paperback and Life is a Seven Dollar Paperback and Life is an Eight Dollar and No Cent Paperback and Life is an Eight Dollar and Sixty Cent Paperback."

You also know that he planned it that way. Notice how he left plenty of space in that word balloon.

He also did this with the British edition. Somewhere here, I have a copy of Life is a Fifty Pence Paperback. Funny man, that Johnny Hart…especially when he wasn't telling my people that we'd burn in Hell for all eternity. Although come to think of it, that's not a bad gag, either.

Johnny Achiziger and Alan Kupperberg both say that the unidentified person in the photo I just posted is comic book writer-artist Jim Starlin. They must know.

As most of you know, I'm currently assembling a big art book and bio of Jack Kirby which will be out later this year from the Harry N. Abrams Company. (If you don't know about it, here are some details.) I'm spending today going over a file of hundreds of photographs from Jack's personal files and collection, selecting some to be included in the book.

I came across the above pic and decided to share it with you all here. It's from the 1975 San Diego Comic-Con's award ceremony and if the above version of it is too small for you, you can see or download a much, much larger version of it here. Let me see if I can identify all the talented folks in this photograph for you because you may never see an assemblage like this anywhere else. I'm going to go right to left…

At far right, partially cut off, is Russell Myers, creator of the wonderful comic strip, Broom Hilda. To the left of Russell is Dick Moores, famed Disney artist who took over the Gasoline Alley newspaper strip. To the left of Dick is Bob Clampett, the great director of Warner Brothers cartoons and the man behind Beany and Cecil.

The man holding an award to the left of Bob is Jerry Siegel, co-creator of Superman. To the left of Jerry is Will Eisner, creator of The Spirit. The gentleman in the flowery shirt to the left of Jerry is the popular comic innovator, Jim Steranko. Right behind Steranko is the guru of Marvel Comics, Stan Lee. Immediately to the left of Steranko is Jack Kirby and right behind Jack, towering over him in fact, is comic artist Gil Kane.

Helluva photo, right? Wait. We're not through yet…

To the left of Jack is the brilliant cartoon voice actor, Daws Butler. To the right of Daws is the brilliant cartoon voice actress, June Foray. I thought I'd taken the only photo ever with Daws and Bob Clampett in it after their 1954 "parting of the ways" but here's another one, even if they aren't together in it.

Standing right behind June is…uh, I don't know. Anyone have any idea who that is?

To the left of June and holding an award is Richard Butner, who was one of the main operators of the convention in its first decade or so of existence. I can't see who's standing behind Richard but I think the gentleman to the left of him is Brad Anderson, who did the comic strip, Marmaduke.

Nothing much to add to this. The photo kinda speaks for itself and when it does, it says something about how you rarely see so many talented human beings on one stage.

Why is the use of cell phones banned on airplanes while in flight? If this article is correct — and I'd be interested in hearing if it isn't — it's not for the reasons you might think.

Here's a nice obit in The Los Angeles Times on Mr. Hart. It quotes him as saying, "The end of the world is approaching, maybe by the year 2010." If he's right, then he's only missing out on about three years.

And here's the Associated Press obituary, which says that both his strips will continue. According to the article, "Family members have been helping produce the strips for years, and they have an extensive computer archive of Hart's drawings to work with." If they said that about some strips, I'd be skeptical. But Hart often reused old drawings and just altered the lettering on them. So B.C. may not change much without him.

Lastly, this obit from the Gannett Service is the longest I've seen and it covers many of Hart's more admirable, unheralded deeds. If you only read one of the three, read this one.

You've occasionally seen me mention the name of Dave Mackey, who among his many skills is an authority on some animation studios of the past. He also, for some reason, knows facts that are not about old cartoons and recently proved it by being a contestant on Who Wants To Be A Millionaire. When you do the show, you're sworn to secrecy about how you fared and even about how other games you witnessed at the taping came out. But Dave's episode ran last week so he is now free to discuss the experience. Here's Part One of his story and here's Part Two.

This is Part Two of our two-part series on the startling displacement of Little Lulu with Little Audrey. In Part One (which you can read here), we learned that Famous Studios was making very popular cartoons featuring Little Lulu, a character created by cartoonist Marjorie Henderson Buell. Lulu went from appearing weekly in The Saturday Evening Post to appearing in ads for Pepsi-Cola and Kleenex, as well as these animated cartoons that ran from 1943 to 1948.

Famous Studios watched Lulu become a very profitable and merchandised property during that period and decided that the character's popularity flowed from their animated cartoons, not the magazine cartoons. When their license to make the films neared its expiration date, Paramount approached Buell about a renewal…but instead of offering more money or even the same amount, they said in effect, "Give us part ownership of the character or we won't make the cartoons any longer." Buell refused and Paramount went about creating their own mischievious little girl character…and that was Little Audrey.

They made her look quite different but otherwise followed the same template, including a not-dissimilar theme song and pretty much the same kind of stories. In fact, the first few Little Audrey cartoons, it is said, were originally written for Little Lulu and switched. The last Little Lulu cartoon, The Dog Show-Off, was released January 30, 1948. Little Audrey appeared briefly in a 1947 Christmas cartoon for Paramount (Santa's Surprise) and then they put her in a Popeye cartoon, Olive Oyl for President, which came out the same day as that last Little Lulu short. The first official Little Audrey cartoon, Butterscotch and Soda, was released in June of 1948.

The one that's our video link today is called Tarts and Flowers and it came out May 26, 1950. The voices are by Mae Questel and Jackson Beck, who seem to have been in well over half of all the cartoon shorts made in New York. What you'll see when you click in a TV print released by a company called U.M. & M., which was a partnership of three companies — United Film Service, MTA TV of New Orleans, and Minot T.V. The combine was formed in the fifties to buy up the rights to old movies (cheaply, they hoped) and to syndicate them to the then-new television stations that were popping up around the country.

In the mid-fifties, someone at Paramount decided to unload much of their library to television in a sale they later regretted. Various films were purchased by different companies but U.M. & M. got a lot of it, including many of the studio's live-action shorts and most of the cartoons released before June 30, 1950 with the exception of the Popeye and Superman films. A condition of the sale was that all references to Paramount had to be removed from the films so the titles were replaced with the bland, generic ones you see here.

Audrey was fairly popular. Paramount made cartoons of her until 1959 and she also starred in a couple of comic books published by the Harvey company. In 1961 when Paramount's cartoon studio fell on hard times, they reached back to their past and made another deal with Marge to do Little Lulu cartoons again. One came out that year and one the following year but no one cared by that time.

Here's Little Audrey in one of her better starring performances…