Landmark Decision

CBS Television City is, at least for now, on the corner of Fairfax Avenue and Beverly Boulevard here in Los Angeles. James Corden occasionally does these things called "Crosswalk Musicals" where he and a cast of actors run out onto Beverly and do scenes from musical comedies while the light is red for east and westbound traffic at that intersection. I live close enough to where they do this that the traffic jams they create sometimes impede me getting somewhere.

There's kind of an unwritten rule in this town — or maybe it's even written somewhere — that if you're making a TV show or movie, you're allowed to inconvenience anyone you need to inconvenience. Where you have to get to…what you have to do…could not possibly be as important as filming an exterior shot for a TV program.

On 11/6/22 on this blog, I wrote about Mr. Corden's little street theater and I made up a little map to show you which intersection it was. I took an image from Google Maps and added his head to the map, thereby creating this graphic…

I don't know if me doing that was the cause…no, let me rephrase that: I'm pretty sure that me doing that was not the cause — but Google Maps has now added an identification of that intersection to their map…

It has been announced that Corden will leave The Late Late Show in Spring of 2023. I have heard absolutely nothing about who might replace him…or even if CBS might try a different form of programming in that time slot. All I know is that his successor will probably not be darting out to Beverly Boulevard to perform a scene from Cats while I'm trying to get someplace.

That's if his or her show is even done at TV Television City or whatever is there in the future. It's being turned into some sort of huge entertainment and retail complex. I've lost track of exactly how big it will be and what will happen there but it sounds like a monster in size…and traffic. In a way, it's a shame that Mr. Corden is leaving…

…because the way things are likely to go, he and his merry band of thespians could probably go out onto Beverly then and do the entirety of Les Misérables with full sets and costumes. Because none of the cars will be able to move anyway.

Oh — and thanks to Google Maps, I also know that in the last couple of weeks, no one has given an online review of the SureStay Hotel By Best Western Beverly Hills…which is not in Beverly Hills.  But that's okay because they're across the street from "Television City in Hollywood" which has never been in Hollywood and, as noted, may not be anywhere for much longer.

And though I've never been any closer to the SureStay than buying gas at the 76 station across the street, I know one thing about it. I'm reasonably sure that it's usually full of outta-towners hoping to get on The Price is Right and win something.

Thursday Morning

I was up half the night reading Donald Trump's tax returns. A $600,000 deduction each year for bronzer as a business expense? Good luck with that.

My posting schedule, like my sleeping schedule, will be all askew for the next week or three due to sudden construction work needed on my house. If there's suddenly a dearth of new posts here for a while, you needn't write and inquire if I'm okay. It's just construction work. It can have that effect on anyone's life.

There are actual copies in the United States of Volume 8 of Pogo: The Complete Syndicated Comic Strips. Amazon says they'll be shipping them December 13 and they'll also be shipping the box set of Volumes 7 and 8. We sent this thing to press a long, long time ago and it took forever to get them printed and twice as long to get the books bound and shipped to this country. I believe they had a dolphin swimming them over to us, one copy at a time. Order with as much confidence as you can muster.

The first issue of the new 4-issue Groo mini-series — Gods Against Groo — will be in stores in three weeks…and when the construction workers allow it, I'm working on the first issue of the next 4-issue Groo mini-series today. I hope to not be able to draw any inspiration for our usual jokes about incompetence and destruction from those workers.

Jeremiah, don't write and ask me where on the Internet I found Donald Trump's tax returns. It was a joke. For now.

Today's Video Link

The world premiere of the movie Grand Hotel was at Grauman's Chinese Theater in Hollywood on May 2, 1932. Here from that evening is newsreel-type film that has recently been restored and colorized. Amazing…

You May Be Right

So far today, I've come across this three times on different social media sites. I don't know where it's from but it feels like it's true. I hope it's true…

Singer Billy Joel was disappointed that the best seats at his concerts were always full of unimpressed rich people.

"The guy's there with the girlfriend…'Okay, Piano Man, entertain me,' and they don't do anything. It was a drag and you'd hear all the kids yelling in the back and you know they didn't get a shot at those tickets," Joel explains.

That is why he decided to create a new policy for those front seats. He now holds the tickets and sends his road crew to the back of the room to bring people from the worst seats to the front rows.

"This way you've got people in the front row that are really happy to be there, real fans," he added.

Assuming it's true, good for Billy Joel. It's especially impressive when you consider what those seats in the front could sell for.

A Comic (or two) a Day…

I've lately been using my otherwise-dormant Instagram account to just post images of the covers of comic books I remember owning 'n' loving as a kid. I'm not sure what the cut-off date is for when I stopped being a kid…or even if I've reached it yet. But I won't be posting anything published after the vast majority of 32-page comics went from costing twelve cents to fifteen. It's as good a dividing line as any.

Some companies had flirted with fifteen earlier, then looked at the sales figures and scurried back to twelve. The industry-wide move to fifteen started around March of 1969 at DC and was followed a few months later by Marvel and other publishers. The only exception was Gilberton with their Classics Illustrated line which had always kind of been published in a different reality with different means of distribution. As it happens, the first comic I've posted today in the gallery on Instagram is a Classics Illustrated.

Also, I've started to receive requests from folks that I post certain issues they remember. No. This is not about the comics you remember. It's about the comics I remember. There's nothing stopping you from using your Instagram account — or even opening one — and posting the ones you remember.

I am though trying to make some point about how there was a time when comics were not as much about heroic adventure and had more talking animals. That point could be made clearer if I also posted some romance comics or hot rod comics (Charlton had a number of hot rod comics) but I wasn't a follower of them back then and I didn't buy many war titles or westerns. Just imagine more of these in the mix.

I post two a day and the images above are the ones from yesterday. It's not always the case but I do remember where I acquired many comics from my childhood and there's a bit of a story about each of these two.

I've written before here about the Don't Give Up the Ship comic book. The other comic book came into my possession in a swap with a friend of mine named Rick. This would have been around when I was eight. Somehow, I had gotten two copies of an issue of Action Comics that Rick didn't have and he had two copies of this issue of Jimmy Olsen that I didn't have.

Would that all trade agreements were that simple. A year or so later, Rick decided he was too old to be reading comic books — My God, he was almost eleven — and I bought his entire collection — about two hundred comics — for a nickel each. Rupert Murdoch has probably never felt as proud of an acquisition as I did. And on a percentage basis, mine may have been more profitable.

Yeah, I know: Not much of a story. Sorry. I may have some better ones about some of the other comics I post on Instagram. You can view the gallery at this link. Do check in often.

Mark's 93/KHJ 1972 MixTape #42

The beginning of this series can be read here.

This is another song for which I had to rewrite/launder lyrics when it was performed in a talent show at my school. It's "Young Girl" by Gary Puckett and the Union Gap, a group that for no visible reason often wore outfits that were a cross between "flower power" hippies and Union soldiers in the Civil War. I don't understand it and I don't think I need to.

Wikipedia says this about this very, very successful song…

The song is sung from the point of view of a man who has become distressed upon finding out that the girl he is with, contrary to the first impression she had made upon him, is actually younger than the legal age of consent. He is asking her to leave before things go any further: "Get out of here / before I have the time / to change my mind / 'cause I'm afraid we'll go too far."

So that's why I had to rewrite lyrics for it to be performed onstage at University High, even though at lunch hour every day, you could hear the original version blasting out from transistor radios all over campus.

What makes this record work, I think, is that Mr. Puckett had — and reportedly, still has as he's still performing in his seventies — one of the best voices singing this kind of music then. And lest you watch the video below and think he's lousy at lip-sync, I believe this is one of those cases where someone took the film of a live performance and laid the record over it. That's why they don't match very well…

Told Ya So!

Back in this message, we discussed the announcement that The Phantom of the Opera — the longest-running musical on Broadway now and probably forever — would close February 18, 2023. And in that post, I said…

It would not surprise me if this announcement sparks a surge of folks who want to see it again or even for the first time. And it would not surprise me if that surge caused the closing date to be delayed.

And today we have this in The New York Times

The Phantom of the Opera is going to continue haunting Broadway a while longer. The musical — the longest-running show in Broadway history — announced in September that it would close in February, ending a storied run shortly after celebrating its 35th anniversary. But immediately after the closing was announced, ticket sales spiked. And last week, when Broadway was bolstered by Thanksgiving travelers, Phantom enjoyed its highest-grossing week ever: $2.2 million.

Thanks to Rob Rose for alerting me to the news. I am, of course, unsurprised.

The New Frontier

Did you see this?

Frontier Airlines will no longer let customers call a phone number in order to speak with a live agent. And while the budget airline is known for its cost-cutting measures, most major airlines still operate customer service lines. Customers will instead have to rely on other ways to contact the airline: a chatbot on its website, a live chat available 24/7, its social media channels and even WhatsApp, according to Frontier spokesperson, Jennifer De La Cruz, who confirmed the news to NPR on Saturday.

There are several possible reactions to this news. One is that anyone who flies Frontier oughta know that getting the absolute lowest price gets you the absolute lowest level of service. Another is that this development isn't that surprising. Almost every company I've dealt with for years seems to be figuring out ways that the Internet, cell phones and other technological marvels can enable them to hire (and therefore, pay) fewer human beings.

Back in February of 2008, my dear friend Carolyn and I spent an agonizing day at LAX because we missed a flight and The System — this was United Airlines — didn't work for rolling us over to another flight. There was a Customer Service Desk at the airport. There was a Customer Service phone number I could call.  But overall, the experience probably wasn't that much different from what I'll experience if I fly Frontier Airlines without Customer Service. Which I probably won't do.

The problem is that no matter how well the programmers consider every contigency and build it into their system, something will happen that their planning doesn't anticipate…and it will probably happen to me. When I call some companies to complain about something that's gone awry with an order, there's usually an online, don't-talk-to-anyone way of reporting one bad employee but not a problem with the company itself. I don't like this trend. And I'd complain about it but the way they're set up, the system won't allow you to complain about the system. I assume that's deliberate.

Mysteries of Online Ordering

So I clicked on the details to tell me how to get 4 bottles for $5.00 and there were no details there. There was no explanation of any kind. So I don't know how to get 4 bottles for $5.00 and I'll have to pay $1.25 each for them.  Damn the luck.

More About Gallagher

I still see a lot of online discussion, especially in forums favored by comedians, about Leo Gallagher, the member of their profession who died November 11. Everyone seems to agree he was thorny and sometimes abrasive, and that he had an awful lot of negative things to say about most other comedians. Where there seems to be a fair amount of disagreement is over how good a comedian he was and whether his act was, at times, racist and sexist and a few other "ist"s.

I didn't see him in the last few decades so I don't feel qualified to have an opinion on some of this. As I wrote here though, I was real impressed with a performance of his I saw a long, long time ago.

I am amused though that some are saying that, for good or ill, there was no one else like him. There actually was someone almost exactly like Leo Gallagher. There was, for a time, a second Gallagher. His brother Ron cloned the look, feel and some of the material and toured as "Gallagher Too." At first, it was authorized, then it wasn't, then it was the subject of a long, bitter court battle and the two brothers not speaking for years.

Marc Maron has put online the podcast he did with the first and genuine Gallagher in 2011 — the interview that got so heated, Gallagher walked off it. I listened again to some of it and I thought Maron was being a bit too harsh with his guest but the guest was pretty harsh before it got to a two-way harshness. Maron may not keep this available for free listening forever so if you wanna hear it, hear it here and now.

But you want to know what Gallagher was really like? Really, really like? Well, my buddy Bill Kirchenbauer knew him as well as any non-relative could. A few days after his pal died, Bill spent a half-hour talking about the guy. This is about as accurate a picture as you could ever get of the late Leo…

ASK me: Mad World Cast Members

I have a couple of folks who send me e-mails and sign them "Smiler Grogan," which was the name of Jimmy Durante's character in my fave film, It's a Mad, Mad, Mad, Mad World.  There are at least two, maybe three, and one of them wrote to ask me…

I've heard you in interviews say that when you got into the TV business, you tried to work with or at least meet everyone you could who was in It's a Mad, Mad, Mad, Mad World.  Could you furnish us with a list of who you met? And how many of them told you that they were very proud to have been in the movie?

In the immortal words of Curly Howard, "Soitenly!"  Here's a list of everyone in the film who wasn't a stunt person or extra.  I have boldfaced the names of those who I worked with and/or got to spend a decent amount of time with and I have italicized the names of those I met in what I would consider brief encounters…

Spencer Tracy, Milton Berle, Sid Caesar, Buddy Hackett, Ethel Merman, Mickey Rooney, Dick Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters, Edie Adams, Dorothy Provine, Eddie "Rochester" Anderson, Jim Backus, Ben Blue, Joe E. Brown, Alan Carney, Chick Chandler, Barrie Chase, Lloyd Corrigan, William Demarest, Andy Devine, Selma Diamond, Peter Falk, Norman Fell, Paul Ford, Stan Freberg, Louise Glenn, Leo Gorcey, Sterling Holloway, Marvin Kaplan, Edward Everett Horton, Buster Keaton, Don Knotts, Charles Lane, Mike Mazurki, Charles McGraw, Zasu Pitts, Carl Reiner, Madlyn Rhue, Roy Roberts, Arnold Stang, Nick Stewart, Sammee Tong, Jesse White, Jimmy Durante, Jack Benny, Stanley Clements, Joe DeRita, Larry Fine, Moe Howard, Nicholas Georgiade, Stacy Harris, Tom Kennedy, Ben Lessy, Bobo Lewis, Jerry Lewis, Eddie Rosson, Eddie Ryder, Jean Sewell, Doodles Weaver and Lennie Weinrib.

Of those I met, the only two who ever expressed negative feelings about the film were Mickey Rooney and Carl Reiner, both of whom seemed to feel that the film was loud and crowded and not as funny as it could or should have been. Mr. Rooney made some great films in his career but he was not, shall we say, the most stable human being, always announcing wacky business ventures and show business productions that never materialized. His appearances at Mad World revival screenings were punctuated with all sorts of strange anecdotes that never happened including the ridiculous assertion that he and his co-stars had ad-libbed the entire script. A copy of the entire script — yes, of course, I have one — shows that this was not so.

I never found much logic in anything Rooney said about the movie and the one time I got to speak with him about it, he was somewhat incoherent and he wound up screaming and running out of the room about another matter. Mr. Reiner, I think, was imagining what he, as a writer-director, might have done with the cast and budget that Stanley Kramer had. It would have been a very different film and I'm not saying it would have been a bad one.

Both of those gentlemen somewhat recanted late in their lives, saying only good things about the picture. I suspect this was because they kept being invited to screenings full of fans who pledged undying allegiance to the movie. This is just a theory on my part but I think they came to realize they'd been a part — in Rooney's case, a rather large part — of something that meant so much to so many and they decided to stop being negative about the experience.

They may also have noticed that some of their co-stars — folks they truly respected like Jonathan Winters and Don Knotts, to name but two — were bursting with delight to have been part of the film. So to demean the film was to demean Jonathan's or Don's gratification and pride. Everyone's entitled to their own opinion but they're also entitled to change their minds.

ASK me

Well, Blow Me Down!

As a kid, I used to watch Popeye cartoons almost every day on Channel 5. They were presented by an ultra-genial gent named Tom Hatten who dressed as a sailor and hosted from a cheapo set that was supposed to look like a ship's cabin. Tom could draw and he often gave lessons on how to draw Popeye, Olive Oyl, Wimpy and others from the Popeye property…and I suppose one of the reasons I could draw at all when I was a kid was because Tom Hatten taught me.

For a long time, the cartoons he ran were the ones made by the Fleischer Studio from 1933 to 1942 and by the Paramount/Famous Studio from 1942 to 1957. Channel 5 did not seem to have all of those cartoons in their library — or if they did, they'd elected to not show certain ones. Between the two studios, there were 231 cartoons made and I'm going to guess Hatten ran and reran about half that number. Even at that age, I knew that some were way better than others. The ones that looked cleaner and shinier were the ones made by Paramount/Famous. They weren't as good as the Fleischer ones…but they weren't bad, at least when I was seven.

Bluto in the Fleischer Studios cartoons

One day in 1960, Tom announced on his show that if we were tired of seeing the same old Popeye cartoons over and over — which we were —, we should not despair. We would soon have some brand-new Popeye cartoons. That was an exciting announcement. That is, until we saw them. Even at the age of eight, I was disappointed.

King Features Syndicate had bankrolled what eventually turned out to be 220 new short cartoons, all 5-7 minutes, all meant for TV only, all seemingly done for about as much money as I spent each week on Snickers bars. Even at that age, I could recognize (mostly) poor animation.

Every so often, there was one with okay visuals. A little more every-so-often, the stories were clever. One good aspect of them was that Popeye, Olive Oyl, Wimpy and the big nasty guy with the beard sounded right. That was always important to me about my cartoon characters; that they sound like they were supposed to. Jack Mercer, Mae Questel and Jackson Beck did all the voices.

Brutus in the TV cartoons

The big nasty guy with the beard was named Brutus. He was very much like the character Bluto in the earlier Popeye cartoons but not exactly. In this piece, I explained the conundrum that troubled me so back then.

These cartoons have generally been shunned and derided by animation historians but Fred Grandinetti — who may know more about Popeye than anyone has ever known — has authored a book about them, complete with a list and detailed plot summaries of all 220 cartoons. The films were made by five different studios and Fred goes into depth about each studio and notes their better efforts.

If you have any interest in these cartoons, Fred has all the information you need. I am mightily impressed by his devotion and research. You can get yourself a copy here.

Games People Play

Two friends of mine — J. Keith van Straaten and Jim Newman — always seem to be producing something of a game show nature. Their current endeavor is the audio (only) podcast, Go Fact Yourself — a quiz program hosted by J. Keith (pictured above) and the very funny comedy person, Helen Hong. You can hear it almost anywhere good podcasts are available but especially on the Go Fact Yourself website.

Here's how the game is played: They bring on two celebrities who profess to have expertise in some area. The celebs have included folks like Drew Carey, Richard Kind, Mo Rocca, Nancy Cartwright, Lewis Black and almost anyone who's won a lot of money on Jeopardy! lately. There is much fun conversation but at some point, the two celebs are quizzed on their chosen topic and the one who does the best wins. They win just about nothing but the important thing is that one of them wins.

The last rounds of questioning are accented by the surprise appearance of one or more experts of the topics of the day.  Those experts verify answers and add to the conversation…and J. Keith and Helen are very good at making all these interesting people more interesting than usual.  That's how it all works and no one goes home with a case of Turtle Wax or lovely parting gifts.

Photo by Chris Valada

Every episode is fun but I would call your attention to Episode 115, which was recorded November 4 of this month and which featured as its contestants, the fine comic actor Rob Corddry and the fine cartoonist-author Mimi Pond. Rob's claimed area of knowledge was the TV series, Marvel's Agents of S.H.I.E.L.D. and the two surprise experts on that topic was that show's show runners, Jed Whedon and Jeffrey Bell. Mimi's area was MAD magazine and the two surprise experts on MAD were myself and (via Zoom) Sergio Aragonés.

(In the photo above, the back row is — left to right —Mr. Whedon, Mr. van Straaten, Ms. Hong and Mr. Bell.  The front row is me, Mr. Corddry and Ms. Pond.  Sergio was at home in a row by himself.)

Like I said, you can hear Go Fact Yourself at the above-linked website or just about anywhere on the web where quality podcasts are available.  You will enjoy any of them but you will especially enjoy the recent Episode #115.  Because Sergio and I are on it.

A Louis Nye Story

The fine comic actor Louis Nye died on October 9, 2005 and I posted this obit here. Then the next day, I posted the story you're about to read (I hope) about him and my father. Mr. Nye, by the way, was buried the following day…at Hillside Memorial Park, the cemetery where my father was buried.

Part of this piece is about Yarmy's Army, a social club to which I still belong and I should mention this: Since this article was first posted, every single member of the group who is named in this piece has passed away. And almost everyone on the current roster turned out last week for the funeral of our member Budd Friedman…at Hillside.

Louis Nye was that rare kind of comedian — a guy who was always funny even when the material wasn't. Lots of comedians can be funny with sharp lines and clever dialogue. But on various old Steve Allen Shows, they used to stick Mr. Nye in sketches and situations with none of that and he still managed to amuse. One time, in fact, they deliberately put him in a bad sketch with zero to do. Allen tipped the audience beforehand that, as a prank and an experiment, they'd rehearsed one version of the skit that afternoon, then done last minute cuts and rewrites (which were not rehearsed) to remove everything Nye had that was even vaguely amusing. Incredibly, Louis Nye managed to wring a fair amount of laughs out of his part anyway…and then at the end, when Steverino revealed to him what was up, he threw a mock hissy-fit that was hilarious.

There's a quote sometimes attributed to Ed Wynn that differentiates between a comic and a comedian: "A comic says funny things. A comedian says things funny. A comic will open a funny door. A comedian will open a door funny." I'm not sure that Mr. Wynn had the right nouns there — comic and comedian seem pretty interchangeable in my experience — but he had a point. There are some performers who are just funny brushing their teeth or carving a turkey. Whatever that kind of funnyman is, that's what Louis Nye was.

I speak as a lifetime watcher of Mr. Nye. Even as a small boy, he was required viewing in our household. My father went to school with Louis Nye back in Hartford, Connecticut, and I need to make the point that they were not close friends. They were just in the same classes, occasionally playing baseball or handball at lunchtime. After about age eleven or twelve, they went their separate ways but he was still my father's closest connection then to Show Business so he became an unabashed Louis Nye fan.

No matter what Nye was on, Dad had to watch it…which, since we only had the one TV, eventually meant I had to watch it. This was no hardship as Nye was usually on the hippest, funniest shows on television, including all those Steve Allen programs and, sometimes, Sid Caesar's Your Show of Shows. (A few months back when our pal Howie Morris died, I directed you to a video link for the funniest sketch that ever appeared on Mr. Caesar's weekly extravaganza. Many people think it's the funniest sketch ever done on television. Louis Nye was also in that sketch.)

I'll tell you how much my father enjoyed watching Louis Nye. When Nye became a semi-regular on The Beverly Hillbillies, my father even watched a few of them. That's devotion.

My father passed away in 1991. Shortly after that, I was attending a play and at intermission, I spotted Louis Nye in the lobby, signing autographs for others who'd recognized him. I decided I should introduce myself and tell him some of what I just told you. I hovered around, waiting as he signed and bantered with admirers but there wasn't time. The lights began to blink to signal the start of Act Two and I didn't get to talk to him then, nor could I find him after the play. Three or four years later, almost the exact same thing happened again at a restaurant. He and his party were waiting for a table, me and my party were waiting for a table…and just as I positioned myself to interrupt and introduce myself, his table was ready and I again failed to meet Louis Nye.

Five years ago, I was at a meeting of Yarmy's Army. This is a club comprised of comedians — mostly older comedians — founded in memory of the late Dick Yarmy, a much-loved character actor. Much of the original group has drifted apart, in part due to internal squabbling and in part due to so many of its members passing away. One recently said to me, "We don't need to have monthly meetings. We see each other now at monthly funerals" and that's true. Most charter members were present for the recent Pat McCormick memorial. Most were present one month to the day later in the same theater for the memorial for Don Adams (who was Dick Yarmy's brother, by the way). They'll all see one another at the Louis Nye memorial.

But when it was at its peak, Yarmy's Army was a great place to hang out and you were very honored if you were invited to do so. The last meeting I attended, the "round table" included Shelley Berman, Howie Morris, Tom Poston, Don Knotts, Pat Harrington, Gary Owens, Chuck McCann, Harvey Korman, Jerry Van Dyke and about a dozen others of that breed…and Louis Nye. When there was an opportune moment, I practically ordered Gary Owens to introduce me to Mr. Nye.

I told him that he wouldn't remember my father — like I keep reminding you, they weren't close buddies — but that they'd gone to school together in Hartford and as a result, Louis Nye Watching had been an important part of my childhood. I gushed a bit and told him about one sketch in particular that had me howling for days. It was a parody of the movie, Whatever Happened to Baby Jane? with him and Steve Allen in drag as Bette Davis and Joan Crawford. This was around '62 when the film was current, and they'd done a spoof that had careened wildly off-script with Nye devouring scenery and alternately readjusting his wig and fake breasts while Allen literally rolled on the floor, laughing too hard to get his lines out. For sheer laughter, it was a close runner-up to that Your Show of Shows sketch I just sent you scurrying to watch again.

Mr. Nye said he was very flattered and amazed that I recalled it after so many years…but then he did me one better when he asked my father's name. I said, "I'd bet a year's pay you won't remember him."

He said, "I won't bet you but try me."

I told him my father's name was Bernard Evanier. He thought for about ten seconds and then said, "I went to school with a Beryl Evanier."

I don't gasp often but I gasped then. My father's birth name was Beryl. He changed it to Bernard when he was eighteen.

When I got home, I did the math. My father was born in 1910 but entered school late. Louis Nye was born in 1913. A reasonable guess would be that they were in class together somewhere between 1922 and 1927. The Yarmy's Army meeting of which I write occurred in 2000.

Louis Nye had remembered my father's name for more than seventy years.

I think that says something about him more than just that he had a great memory. It says something about caring about people and the world around him, and he also took the time to ask me about my father — what he'd grown up to be, when he'd died, how he'd died, etc. Before that meeting, I knew what a tremendous performer Mr. Nye was. Standing there, seeing how touched he was that his work had meant so much to someone else…well, I just couldn't help but think what a genuinely nice man he must have been. What a genuinely nice, funny man.