Jonathan Cohn argues that Howard Dean's idea of eliminating all the Bush tax cuts, including those for the middle class, will do more for the middle class than keeping the tax cuts.

Every year, the Tony Awards fare poorly in the ratings. Nevertheless, to its credit, CBS sticks with the event. They'll run this year's on June 6 and they've extended their commitment through the year 2010.

By June, Nathan Lane and Matthew Broderick will have exited The Producers. Rumor has it that Martin Short will follow Broderick in the Leo role and that the producers of The Producers are talking with Kelsey Grammer about a tour of duty as Max. I would think any two of these four people would make dandy hosts for this year's telecast.

The historic comic book seen above left introduced the new version of The X-Men, as revamped and refurbished by Len Wein and Dave Cockrum. Dave, who designed many of them (and many of the rival Legion of Super-Heroes) is a terrific artist I've known since we were both contributing to the same fanzines in the sixties. His work in them was so good that absolutely no one was surprised when he went on to become a top artist for DC and Marvel. A nice guy, too. We labored together on a few projects and it was always a joy to see what Dave did with my silly scripts. So it was quite a wrench to hear that Dave's been ill lately, hospitalized for a severe case of double pneumonia, plus a bacterial infection in his lungs and blood. He is on the mend (they just took him off the respirator) but he has a ways to go before he'll be off the disabled list and able to draw again. So send good thoughts but it may help even more if you send some money.

A veritable Legion of Dave's Friends is contributing to The Uncanny Dave Cockrum Tribute, an art portfolio celebrating the talents of Guess Who. So far, the roster includes Murphy Anderson, Dick Ayers, Mark Bagley, Chris Claremont, Gene Colan, Peter David, Harlan Ellison, Neil Gaiman, Ron Garney, Tony Isabella, Stan Lee, Mike Pascale, Johnny Romita, Marie Severin, Dave Sim, Walt Simonson, Mark Texeira, Roy Thomas, Lee Weeks, Len Wein, Marv Wolfman and Yours Truly. The book is being edited and coordinated by Clifford Meth, and he's also holding an auction of original art. All proceeds, natch, go to help out Dave and his lovely spouse, Paty. You can get yours here…and do take a moment and place your order. If you've been reading comics in the last thirty years, Dave's probably given you more than a few hours of enjoyment. You'll want a copy of the tribute book just to have one, but it's also a nice way of saying thanks.

This article by Dana Milbank and David S. Broder says it all in its title: "Hopes for Civility in Washington Are Dashed." And then the rest of it is each side blaming the nastiness on the other.

You wouldn't expect economist James K. Galbraith to be a big fan of the current administration but I was surprised by how vehement he is in this attack in Salon. Here's a key paragraph…

What does Bush want? He wants a growth rate high enough to get him through the election. That's obvious. After that, he doesn't care. His clientele — the military contractors, oil companies, pharmaceutical firms and big media that control this government — make their money on patents, contracts and the exercise of monopoly power. (Case in point: Bush is pressuring impoverished Central Americans, in trade negotiations, to add 10 years to the length of drug patents.) These people have no interest in full employment. They like unemployment, weak labor, low wages and a government that bullies on their behalf. And after the election, if Bush wins, that is what they will get for four more years.

The whole article is full of pretty strong stuff like that. I don't know that it's true…but I do know we're going to hear this kind of thing a lot between now and Election Day. Get used to it.

Mary Lou Wallace comes through with most of the answers to the Sandpipers matter…

I spoke with my friend Walt Mitchell, who collects old records, and he agrees that the Sandpipers were not the same people who recorded the "adult" records but he says that the Golden Records Sandpipers were consistently the same four singers — Mike Stewart, Ralph Nyland, Dick Byron and Bob Miller (as far as we know, no relation to Mitch). According to Walt, it seems highly doubtful that Mike Stewart was the same fellow who wrote the books for Broadway musicals. The Sportsmen Quartet recorded some tracks with Mel Blanc for Golden Records — these were Happy Birthday tracks recorded for each month.

Aside from Mike Stewart and Anne Lloyd, other semi-regular singers included Sally Sweetland, Mary Jane Sutherland and Peter Hanley. Aside from Mel Blanc, the Sportsmen and the baseball quartet I mentioned in my previous email, other "guest stars" who made Golden Records were Jimmy Durante, Bert Parks, Jack Mercer (as Popeye) and Mae Questel (as Olive Oyl and a one-shot as Little Audrey). We can't help you with the Man on the Moon soundtrack but I hope that we did provide some interesting info for you!

You did, you did. And Ed Golick writes that he has the original 78 recording of the Mighty Mouse theme and that the label says it's by "The Terrytooners, Mitch Miller and Orchestra." It was reissued many times in many formats and I suspect that there are some that credit it to the Sandpipers. In any case, I'm sure it's some or all of the same male voices on the Golden Records by the Sandpipers. (I'm a bit skeptical the Sandpipers were always the exact same four guys but odder things have happened, I suppose.)

One thing we can agree on is that the sixties musical group called The Sandpipers was another group altogether. Ed Coyote writes to tell me that that group was comprised of Michael Piano, Jim Brady, and Richard Shoff, so at least that's settled, though not everyone knows it. I checked for info in the ASCAP online database, and it has credits for both Sandpipers groups intermingled.

I have the Mel Blanc "Happy Birthday" records, though not where I can get to them right this minute. I could've sworn they said "The Sandpipers" on them but maybe not. In any case, there were a lot of New York actors and cartoon voice people on Golden Records. There was also some false advertising. The Bugs Bunny record at left says on it features "Mitch Miller and Orchestra," "The Sandpipers" and "Original Cartoon Voices." The last of these would presumably mean Mr. Blanc…but the guy doing Bugs and most of Mel's characters on this record is definitely not Mel. He didn't even fool me when I was seven years old.

I recall getting a couple records like this during my literal childhood and feeling enormously cheated…but I also felt sorry for the poor actor who was brought in to do twenty impressions. There were Golden Records of Hanna-Barbera's early shows that feature an actor named Gil Mack trying to almost single-handedly do all of Daws Butler's and Don Messick's roles. He's not bad at a couple of them but no one is that good…nor could anyone walk into a recording studio and in what was probably just one or two sessions, do all of Mel's key roles.

Now then: If we can only get to the bottom of this thing about the soundtrack for Man on the Moon, I'll be satisfied. Thanks to all who are helping solve this little baffler for me.

112 years ago today in Harlem, Georgia, a baby was born who was destined to grow up to be one of the world's greatest comic actors. Norvell Hardy got into movies when he was 21 and quickly became one of those actors who worked constantly. He was versatile (he played comic roles and villains with equal facility) and he was nice and professional. Most of all, he was naturally funny. There were comics who needed gag writers and funny props and situations to get a laugh, and then there were those who could be funny opening a door or crossing their legs. Babe Hardy could be funny standing still, which is why his career took off.

For a time, he turned a nickname into a professional name and was billed as Babe Hardy. Later, when his father Oliver passed away, Norvell/Babe adopted his name. In 1926, he teamed up with a slim British comic and soon the whole world knew the names of Stan Laurel and Oliver Norvell Hardy. Nobody better.

Twenty different people (thank you, twenty different people) have sent me one or both of two links that fill in a few pieces of the Sandpipers riddle I posted last night.

At this site, we learn about the Sandpipers group that recorded "Guantanamera" and other non-kiddie records. They do not seem to be the same Sandpipers heard on the Little Golden Records.

This link goes to a page on a Gilbert and Sullivan discography referencing a Golden Record. It would seem to establish that the Mitchell Miller in question was the same bearded gent who fronted Sing Along With Mitch. The Sandpipers, it says, was the name of a chorus that he used on his records and TV show. The reference to "reliable studio union New York Singers" suggests to me what I'd suspected, which was that there was no permanent roster; that Miller (or whoever) hired three or four guys each time, and that while they presumably tried to hire the same crew for each session, if one wasn't available they probably plugged in another vocalist.

Okay, that answers some questions. I'm curious as to whether Miller owned the name of the group and I'm really curious about the version of their song that turns up on the Man on the Moon soundtrack, but maybe some of that will get answered in the next day or two. Several of the twenty said they think they can locate additional info. Check back later.

Klugman and Randall were perfect for their roles on The Odd Couple but the real stroke of casting genius was the font. Yes, that's Cooper Bold spelling out the title of the series…good old reliable Cooper Bold, one of the all-time great typefaces. It was good to see it there and then, and now it's good to see that its bittersweet tale, full of ascenders and descenders, is finally being told. Click here to view an episode of the popular TV series, Behind the Typeface. (Requires Shockwave and a few minutes of viewing time.)

Here's a topic about which I know very little and I'm hoping someone who reads this can fill me in. For many years, the leading producer of records for children was a company called Golden Records that put out musical fairy tales, preachy little tunes about eating all your vegetables, and songs about almost every cartoon character of the day. Most of these records featured a singing chorus called The Sandpipers, sometimes known as The Golden Sandpipers. This raises a number of questions for me…

• Was there really a group called The Sandpipers? I mean, was it always the same guys recording under that name? And was this the same group called The Sandpipers that recorded dozens of records (including the hit, "Guantanamera") for the older audience? They even did a song on the soundtrack of the movie, Beyond the Valley of the Dolls.
• A number of the Golden Records credit Mitchell Miller as orchestra leader and someone named Mike Stewart for unspecified performance. I assume this is not the same Mike Stewart who wrote the book for Hello, Dolly…but was that the Mitch Miller who was a biggie with Columbia Records and later starred in Sing Along With Mitch?
• Lastly: One of the most famous Little Golden Records was the Sandpipers' rendition of the Mighty Mouse theme. Andy Kaufman used the record when he first appeared on Saturday Night Live and that scene was re-created in the movie about Kaufman, Man on the Moon. I just listened to the soundtrack CD for that film and though the Sandpipers are listed as the performers, it sure doesn't sound to me like their original record. I don't remember what it sounded like in the movie but the CD sounds like that song was re-recorded by some singers trying to sound like the Sandpipers. Or maybe they got the old group together and redid it. So what's the deal here?

Okay, so these aren't earth-rending mysteries. But I'll bet someone who reads this website can fill me in.

This'll be a quick report since I made a quick visit: Twice around the main room and I was out, but only 'cause I was pressed for time, not because there weren't scores of people to meet and greet. Among the stars, current and past, who were in attendance today were Kate Jackson (who seemed to have the longest line), Margot Kidder, Mamie Van Doren, Adam West and Frank Gorshin, Dwayne Hickman, Jane Kean, Charlotte Rae, Kim Darby, Carol Lynley, Beverly D'Angelo and Michael J. Pollard. I bought the new book by Lou Ferrigno on his Hulking days and chatted with Bob Hastings and Kathy Garver. Kathy is doing okay, it seems, following a fire shortly before Christmas that destroyed her home and darn near everything in it. Everyone wishes her well because she's a great talent and a lovely lady.

The show continues tomorrow with most of those same folks and others. I don't think Adam and Frank will be there, but loads of celebs will be around with pictures and autobiographies to sell. Here's where you can find details on it. If the parking tomorrow is anything like the parking today, leave your car at home and walk.

Birthday greetings to Popeye the Sailor Man, who showed up in Elzie Segar's newspaper strip, Thimble Theater, 75 years ago today. The spinach-munching, Bluto-punching gob would later take over the whole feature…and Segar's version (who never punched Bluto and only occasionally munched spinach) would be almost forgotten in favor of the Popeye of the Max Fleischer cartoons. What Segar put on paper was one of the five-or-so greatest comic strips ever done but unlike many who feel that way, I also have affection for the cartoons and for the strips and comic books done by Segar's successor, Bud Sagendorf. That's a Sagendorf Popeye I put up there.

When the Fleischer crew got hold of Popeye in 1933, he was a pretty well-rounded character with a personality as well-defined as his forearms and a certain amount of stardom. The cartoons though gave Popeye two things that Segar, working in pen and ink, had been unable to give him: A great theme song and the perfect voice. Whenever a print character is animated, there's always at least a little controversy over what he or she should sound like. I recall the disappointment of some of my friends when the first Peanuts cartoons (the Ford commercials) were voiced by genuine little kids with bland little kid voices, rather than the smarter, better-defined voices my friends were hearing in their heads. And when I worked on the Garfield cartoons, I sometimes encountered someone who insisted that in selecting Lorenzo Music, Jim Davis had woefully miscast his own creation.

But can you imagine Popeye with anything but that perfect sound? It was originated by a performer named William Costello who billed himself as "Red Pepper Sam." After a fistful of cartoons, he made the mistake of mentioning the "r" word ("r" as in "raise") and was quickly booted. After a few failures, the job went to an artist in the studio named Jack Mercer who matched what Costello had done and went him one better, adding nuance, a wider range of emotions and those wonderful muttered asides. Mercer owned the role until his death in 1984.

Credit for creating this American icon goes to Segar, but one should note an "assist" by men like Mercer, Sagendorf and others who made the cartoons. Sadly, they have all departed this planet, and Popeye's current creative health is a bit uncertain. Three or four times in my life, I've been called in for chats about new Popeye projects and all three times, everyone seemed so worried about him punching anyone, and to a lesser extent about him having a pipe in his mouth, that the projects seemed doomed. I am all for not presenting bad role models for the kiddies but you can carry Political Correctness to the point of draining all humor, and all that is special from a character. Popeye used to always say, "I yam what I yam," and I wish the folks who currently control the property would listen to the guy. He knows what he's talking about.

As a stockholder with a big two shares of the company, I am naturally interested in the management of the exalted Disney organization. But I have more of an investment in the firm, as do most of us. The operation Walt founded was and is unique among motion picture studios and entertainment conglomerates due to its tradition and, most of all, its avuncular figure. No one could ever recognize a Warner Brother or tell you what Louis B. Mayer looked like…but most adults know Walt. In a century of filmmaking, he remains the only "star" mogul, not just to the public but to those who still see his surname on their paychecks. On the lot, in the offices, all around the theme parks, he remains a benevolent, haunting presence. Almost everyone who works there has had to make peace with their Inner Walt, deciding to embrace or reject what they know of him. Almost every one of them has had to defend some decision by arguing that it's what Walt would have done. And like a child who needs to break free of a smothering parental figure, they intermittently need to remember that Walt is dead and that we don't know for sure how, for example, he would have organized a DVD marketing campaign.

That's why the current takeover/reform movement by Roy E. Disney is so different from the usual battles for corporate control. Nothing of the sort could happen at Paramount or Sony. It might not even happen at Disney if Roy didn't look so much like his uncle. But the fact that he represents that lineage forces the question: Is the goal here to make a lot of money and uphold the Disney tradition? Or is it to just make as much money as possible? I would sure love to see the shareholders polled on this one. I'm guessing the "money + tradition" votes would win but either way, those on the losing side would probably start selling off their stock and the company's ownership would soon be united under one goal. After spending some time perusing Roy's website, savedisney.com, I know how I'd vote. Then again, I only have the two shares.

I can't find a photo of him but I have to post about Sidney Miller, who passed away January 10 at the age of 87. Sidney was a director, Sidney was a producer, Sidney was an actor, Sidney was a composer, Sidney was a nice man who did everything. He was best known for a time as Donald O'Connor's sidekick, and he wrote many of the tunes that the late Mr. O'Connor performed. His acting career included movies as diverse as Boys Town (with Spencer Tracy and Mickey Rooney) and Memories of Me (with Billy Crystal and Alan King). He directed the original Mickey Mouse Club, dozens of sixties' situation comedies and a couple of odd movies, including Lou Costello's 30 Foot Bride of Candy Rock. In the seventies and eighties, he was often employed as a kind of Comedy Troubleshooter, called in on a TV show to stage and/or covertly direct scenes on programs officially directed by someone else.

It was in this last capacity that I worked with him a few times on variety shows. The director was great at music but couldn't handle the sketches, so they'd hire Sidney, give him some non-directoral title and have him stage the skits. I liked his efficiency and (of course) the fact that you couldn't mention any movie or TV star of the previous forty years without Sidney summoning up an anecdote about working with them.

Sidney also did cartoon voices. One of many was the key role of The Dungeon Master on the 1983 Dungeons & Dragons animated series. When he saw my name on the pilot script, he erroneously assumed I'd been responsible for casting him and like a novice getting his first break, called to thank me. I thought that was charming. As I told him, it wasn't my idea but as it turned out, it was a good one. Sidney was very good in the role. Sidney was very good in everything he did. Maybe that's why he worked for so long and at so many things. There's a little less "show" in Show Business without him around. Here's a link to a newspaper obit.

I watched the season debut of Real Time with Bill Maher on HBO this evening. If you'd like to see actor Ron Silver and the Reverend Al Sharpton mud-wrestling, you might want to catch one of the many replays during the week. It's probably more enjoyable if you think of it as theater rather than as an actual exchange of political ideas.

Silver served up one argument (against a point by Maher) that's making the rounds and which strikes me as a real Red Herring cheapshot. Maher was complaining that the Iraq War was predicated on a lie and Silver asked, "Would you be happier if Saddam Hussein were still in power?" To me, that's the new variation on "Have you stopped beating your wife?" Obviously, it's possible to believe that the regime change was good for humanitarian reasons but that there were many things wrong with how it was done. I'm not even going to argue here what some of them might have been. I just think it's disingenuous to try and misrepresent your opponent's position into something like that. Liberals have been known to do much the same thing with the race card, branding an opposing position as racist. It's a crummy trick, no matter who does it.