We seem to be dwelling on the subject of Death here at POVonline.  A recent entry in this category is Joe Cobb, who's being identified in newspaper obits as "the fat kid" in the silent "Our Gang" comedies.  That's a bit confusing because, first of all, Cobb did appear in the first few "Our Gang" talkies before Management decided he'd grown too old and replaced him with "Chubby" Chaney. Secondly, most folks will miss the distinction of the deceased having appeared in silents and will confuse him with "Spanky" MacFarland, whose career was wholly in sound films.

In any case — and boy, I'm getting morbid here and I don't mean to — Cobb was 85 when he passed away last week.  We need to face the reality that we are very close to the day when every single human being who worked in silent films, on either side of the camera, will be gone.  The last time Leonard Maltin and I were together, we got onto the topic and between us, we could only name about a dozen, all well into their eighties or nineties, all former child stars who remember very little of those days.

Lately, as a couple of veteran creators have passed in the fields of animation and comic books, I find myself among younger folks who are muttering, "Boy, they're all dying on us."  To some extent, that's true.  The men who worked in the so-called Golden Ages of theatrical animation and comic books are all in their eighties and nineties though, happily, there are a lot more of them around than we might think.  This is not the case with silent films, a field which had its Golden (and only) Age twenty-some years earlier.  Joe Cobb was twelve when the first talkies were made and an era ended.

There will probably be no notice when the last silent film performer leaves us and, in truth, not that much will change.  Still, I can't help but get a little whiplash at the passage of time and the missed opportunities.  When I was around twenty, I went out to the Motion Picture Country Home a few times to see Larry Fine of the Three Stooges.  Larry was not a silent film star but he was surrounded by them there.  He introduced me to Babe London, whose obits later identified her as "the fat girl" in Buster Keaton and Laurel & Hardy comedies.  She, in turn, introduced me to at least a dozen silent film veterans — this was around 1972 — and I now wish I'd spent more time with those folks and taken some notes.  I don't even recall the names of some of them.  Later, I went up to the home of the great producer, Hal Roach, and spent an afternoon chatting with him about "Our Gang," Laurel, Hardy and (especially) Charley Chase.  Mr. Roach enjoyed the chat and invited me to come back anytime but I guess I figured he'd always be there.  I never got around to going back.

There's no real point to all this, other than that we have to keep reminding ourselves not to take people for granted.  There are plenty of great animators and comic book creators around who can tell us about working for Disney in the thirties, DC Comics in the forties, EC in the fifties, etc.  We need to respect them, honor them, interview them.  We need to remember that future generations will not have that opportunity and — eventually — we won't, either.  Let's make use of these people (in a nice way) before they're extinct.  And next time I post here, it'll be about someone who's alive.  Promise.

Here is the press release that came out today on the death of Dave Berg…

MAD'S "LIGHTER SIDE OF…" ARTIST DAVE BERG (1920-2002)

David Berg, one of MAD Magazine's best-loved and well-known cartoonists, passed away on May 16 at the age 81 at his home in Marina del Rey, California.

Born in Brooklyn and the son of a bookbinder, Berg is best known for his strip "The Lighter Side of…" which first appeared in Mad Magazine in October 1961 and went on to appear in 365 subsequent issues of MAD.  Berg's first article for MAD was "Modern Furniture," which ran in issue #34 in August 1957.  Berg is the author of 17 books — fifteen for MAD Magazine and two theological books.

"To overstate Dave's importance in MAD would be virtually impossible," said MAD co-editor John Ficarra.  "For many readers, Dave's 'The Lighter Side of…' served as an introduction to the magazine.  His unique comic observations on Americana really hit their mark."

"To this day "The Lighter Side of…" remains one of the most popular features in the magazine," added co-editor Nick Meglin, "a true cultural touchstone.  Dave will be sorely missed."

At the age of 10, Berg's artistic talent was noticed by his teacher, who suggested that Berg attend art school. At 12 years old, Berg received a scholarship from the Pratt Institute to attend a Saturday morning art class.  After high school, Berg attended the Cooper Union and at 20, Berg went to work at the studio of Will Eisner.

Berg began his career in comics by filling in the backgrounds of Eisner's "The Spirit."  He then moved onto writing and drawing the "Death Patrol" and "Uncle Sam."  It was at Eisner's studio that Berg met fellow cartoonists Al Jaffee and Jules Feiffer.  Jaffee introduced Berg to a circle of peers that included Harvey Kurtzman and Will Elder.  He would later share a studio with Kurtzman, who would suggest that Berg work for MAD.

After two stints under Stan Lee at Timely Comics and a stint at Archie Comics, Berg successfully submitted a script to Editor Al Feldstein for MAD Magazine, which was illustrated by Bob Clarke.  Berg submitted a second script, "Modern Furniture," and, upon submission, Feldstein suggested that Berg draw it and include himself in the art.  Berg did, portraying himself under the name "Roger Kaputnik," which his mother called him during his childhood.  Kaputnik, along with the faces of Berg's friends and family, have consistently appeared in virtually all of Berg's "The Lighter Side of…" strips.

Berg served in the Pacific in World War Two as a soldier in the Air Corps.  He was awarded the "Chair for the Great Cartoonist" from the University of California at Los Angeles.  He is survived by his wife, Vivian, and his son and a daughter.

Okay, those of you who are with me in this: Let's see how many news sources — those that specialize in the comic industry and those that don't — do any more than paraphrase this press release and perhaps toss in a little of what I posted here a week ago.  I'm sure The Comics Journal will actually go out and interview a few folks, speak to those who know Dave's history, get a few quotes about him from co-workers, etc.  Let's see if anyone else does.

Unless you tell it not to, a TiVo digital video recorder will record TV shows that it thinks you may want to watch.  It does this on its own but the picks are ostensibly based on your tastes.  You can mark certain shows "thumbs up" or "thumbs down," depending on whether you like or dislike them.  TiVo continually builds a database of these votes, factors in your past recording picks and then figures out a list of shows you might like and records them when there's empty space.  Or, at least, that's the way they say it's supposed to work.

I'm starting to think one of the TiVo programmers has a thing for Raymond Burr.  I can't recall requesting or thumbing-up a single cop show, Raymond Burr appearance or even anything about a guy in a wheelchair but TiVo won't let an episode of Ironside go unrecorded.  It also really loves Lucy, grabbing every possible installment of I Love Lucy, which can mean six a day with all the cable channels I receive, and just as many episodes of M*A*S*H…though never the ones with McLean Stevenson.  It also thinks I'm dying to watch any show featuring actual footage of high-speed police chases.  (I don't.  I can just look out my window…)

But it gets some things right.  It's been recording a lot of biography-type shows for me, including pert near anything on The Biography Channel.  The other day, it picked up an episode of Box Office Bio, detailing the life of Peter Falk.  Watching it, I just heard this line of narration…

Peter became the highest-paid television actor in the business, earning as much as $500,000 an episode — a huge sum in the 1970's.

Ah, remember those ancient, pre-inflationary days when a measly half a million dollars was considered "a huge sum?"  These days, everyone makes that kind of money.

Today marks one week since MAD's Dave Berg passed away.  I have yet to see news of this in one single mainstream news source.  And the few places it's been reported on the Internet all seem to be derived from (or linked to) this site.

The above is not intended as bragging about a "scoop."  I could scarcely care less about that.  But I do care mightily about the fact that the so-called news sources that cover things like the weekend grosses of the Spider-Man movie and which pass on any press release a comic book company issues have such a lackadaisical attitude about stories like the death of an important cartoonist.

In 1968, Marvel experimented briefly with publishing Spider-Man in magazine format.  The above panel — drawn by John Romita, Sr. and Jim Mooney — appeared in The Spectacular Spider-Man #2 with a cover date of November, 1968.  At the time, I was 16 years old and the president of the Los Angeles Comic Book Club.  I was also flexing my limited artistic muscles…which are pretty limited but which include a grand ability to forge.  I'm not good at originating drawings but I can sometimes replicate them — or could, back when I was in practice.  I once forged a Jack Kirby sketch so precisely that it took Jack a minute or two to decide for sure that he hadn't done it.

Anyway, being a sixteen-year-old boy, I did a lot of silly, horny things, one of which was to re-create panels from comic books but relieving the female characters of their wardrobe.  (Once upon a time, I would have been embarrassed to admit this.  I have since learned that about half the guys my age who could draw at all — including most who later became professional comic artists — did this.)  I did a few of these of Wonder Woman, Supergirl and others, and the guys at our comic book club were more excited than if I'd suddenly demonstrated the skills of Rembrandt.  They began picking out cover and panels, asking me to reproduce them, disrobing the women in the process.  A few even offered money.  My greatest subject was the above panel, expertly duplicated but with Gwen and Mary Jane naked.  Because of the poses — which hide the ladies' crotch areas — and the dialogue, several of our club members were certain that Smilin' Stan and Jazzy Johnny had similar thoughts in mind.  Many of my friends demanded copies and I think I must have whipped up at least a dozen of this one.

At last year's Comic-Con International, when I interviewed Mr. Romita, I showed the panel and told the story.  He had a grand chuckle over it but swore the notion had never occurred to him.

No, I'm not going to post the undraped version.  I'm not sure I even have a copy of it anywhere.  But imagine the ladies naked and re-read the text.  (The Spectacular Spider-Man was a sales flop in magazine format.  If they'd done it my way, they'd have sold a million…)

We highly recommend: ToonHeads: The Wartime Cartoons, a special which reruns this Sunday on Cartoon Network.  It features clips from more than 100 cartoons made during World War II, including four that are shown in their entirety: Blitz Wolf, Scrap Happy Daffy, Herr Meets Hare and Russian Rhapsody.  It's a rare look at the way the animation industry mobilized to wave the flag and ridicule Hitler in its cartoons.  That's this Sunday on Cartoon Network…at 9PM in most time zones.

The final issue of our current Groo mini-series, Groo: Death and Taxes, is now on sale.  I think this is the best Groo series we've ever done ("we" being Sergio Aragonés and myself) and I hope you'll pick it up.  And notice that I don't say that about a lot of things I work on.

Last year at the Comic-Con International in San Diego, I moderated twelve panels in four days.  This year, I'm currently pencilled in for thirteen, all of which look to be so fascinating, I couldn't say no to a one of 'em.  I'll be posting a list of them here as soon as things are finalized.  If you're not planning on attending the con this year, plan on attending the con this year.

John Cleese based the character of Basil Fawlty, proprietor of Fawlty Towers, on a real hotelier.  The widow of that hotelier has now launched a campaign to convince people that her late husband was not quite the looney portrayed by Cleese.  Here's a link.

Want a copy of the Bill of Rights printed on metal?  What?  You can't imagine why you might want such a thing?  Well, here's an article by Penn Jillette (of "…and Teller) that tells you what he's done with his.  And here's a link to the website that sells them.

I don't have to tell you that Alan Young is a terrific comic actor.  You've watched Mr. Ed.  You've probably seen him in movies or heard his voice on many a cartoon, including Duck Tales (where he played Uncle $crooge) and even a few shows I wrote.  He is also, you may not know, a wonderful stage actor.  Many years ago in Vegas, I dragged a skeptical friend — it was Marv Wolfman — to see a production of A Funny Thing Happened on the Way to the Forum…a play I will go see anywhere, anytime, anywhere.  Seeing it at the Plaza Hotel in downtown Las Vegas tested my dedication to the work, for the Plaza is the kind of casino where people wipe their feet before they leave so as not to track up the street.  This particular production pretty much defaced the source material, trimming songs and characters for length but adding Vegas-style jokes.

The great burlesque comic Irv Benson was playing Erroneous and, every trip across the stage, he'd pause for a couple of tit and/or Liberace jokes.  I once discussed it with co-author Larry Gelbart, who hadn't seen it but remarked, "I heard they occasionally did a few of our lines."

To which I told him what I'll tell you now: Yes, but Alan Young, playing Pseudolus, was terrific.  He also did the lines from the actual play, at least in the scenes that weren't cut, and I later heard that he was a last minute replacement for someone else and had learned the whole part in just a few days.  You wouldn't have known that from his performance.  I have seen many a Pseudolus and Mr. Young, even though under-rehearsed and playing somewhat against type, brought a note of genuine stardom and first-rate comic timing to the role.  I hated what they did to the show but I'm glad I saw him in it.  Even if it was at the Plaza.  In more recent years, Young has toured, playing Captain Andy in Showboat, which is perfect.  Having seen how good he can be in what was not exactly the right part for him, I'd love to see him in the right one.

All of this is my lead-up to suggesting you visit his website, which is — no, it's not his name.  It's www.mister-ed.tv.  I will further suggest that you order his autobiography, Mister Ed and Me, and that you have him autograph it.  It's a good book and you'll be the envy of all your friends when you casually display his signature in your copy.  (Alan Young is also a very nice man.  As this is not always the case with folks we love on television, I felt I oughta mention that.)

We've been averaging a little over 1200 hits a day here at POVonline.  Ergo, some time in the next day or so, the little counter at the bottom of this page will lap 150,000.  It's about 10,000 behind reality due to a lapse when I changed counter services.  Anyway, thank you all for spreading the word about this silly site and I wish I didn't have all these paying jobs preventing me from spending more time on this.

The last part of the preceding sentence is a lie.  But not completely.

If you're heading for New Orleans or the big tourist cities in Nevada or Florida, you might be interested in a piece of free software called Travelaxe, which you can download from www.travelaxe.com.  You tell Travelaxe where and when you want to go to one of these places and it searches the websites from a number of travel services.  Then it displays all the prices it finds for hotel rooms in that city on that date so you can pick one to your liking.  I just ran a test on hotel prices in Las Vegas and was amazed at the wide variation in prices.  For example, on the test dates I picked arbitrarily (two off-peak nights in June), a service called TripReservations wants $495 for the Luxor, whereas Las Vegas Travel Bureau quotes $150.  Conversely, for the same two dates at the Monte Carlo, L.V.T.B. wants $172 while TripReservations wants $154.

Even if you're not heading for Vegas, this presents a good object lesson in how prices can vary wildly from site to site.  Each of the 16 travel sites surveyed in this quickie test was the cheapest for some hotel and the most expensive for some other hotel.  (To further point up how unpredictable the rates are, remember that the Luxor and the Monte Carlo are sister hotels.)

The Internet is loaded with bargains if you know where to look.  The other day, I was about to order a little over $200 worth of office supplies from the Staples website when it suddenly occurred to me to look for discount coupons.  I did a quick Google search for "staples discount" and, in ten seconds, found a coupon code for $40 off my order.  Forty bucks for ten seconds of work is pretty good, even if you're Bill Gates.

This isn't exactly an obit since he passed away in 1984 but I'm going to write a few words about a terrific comic artist named Don Newton.  I miss Don Newton.  I miss the man and I miss his splendid drawing, which adorned a lot of comics published by DC and Charlton and a few Marvels from around '74 until his sudden, shocking demise.  (He was 49 and had always looked like he was in the peak of health.)  Before that, and even while getting professional work, he turned up in countless fanzines because Don loved to draw comics.  He worked as an art teacher by day and drew for nothing at night, hoping someone would discover him. When someone did, he happily embarked on his career of choice and did splendid work, most notably on The Phantom for Charlton and Batman for DC.

We collaborated on one short Blackhawk tale for DC and talked of doing more stories together, for he was my kind of artist — the kind who's steadfastly dedicated to telling the story and willing to work as long and hard as necessary to tell it properly.  You can see more of that dedication on display at a website that has been set up by a fan of Don's work.  It's www.donnewton.com and it's a nice reminder of a nice man.  He left us way too soon…which, of course, is not so nice.

Well, Dave Berg has been dead for another day without most comic book news sites paying any attention.  In the next day or so, DC Comics will have its press release out and the mainstream media will start issuing obits, so we may see a little more coverage on web pages that purport to cover the field.  And then again, we may not.  Several webmasters wrote to me on the topic, most of whom seem to have studied Missing the Point with Ari Fleischer.  One said there's no problem here because his site can always post a link to the obit I post…something he has, by the way, not done in the last 24 hours with regard to Mr. Berg.  Another merely offered to post my obits on his site.  Both, of course, failed to grasp the concept that — and I'll say this again, this time in boldface and caps — I DO NOT WANT TO BE THE ONLY PERSON COVERING THIS KIND OF THING.  I think it's too important to be up to any one person, especially if I'm that one person.  I especially don't like the fact that reporting on the death of an industry veteran is of so little importance to some that they figure they can just hope someone else does something.

Rick Veitch, who runs www.comicon.com, was one of the few web guys to write to me and express the feeling that more should be done.  Significantly, Rick has one of the few sites that does some actual reporting and digging…though he is of course limited by finances and the fact that he has a busy career as a comic artist.  It seems to me that there are a lot of folks out there who care about the history of comics enough to want to write about them for little or no money.  If nothing else, they could at least make a little noise about this problem.  Quite a few people wrote to me to say, "Thank you for reporting the death of Dave Berg."  I'd have preferred they take that time to write to one of the news sites and ask, "How come you're covering new X-Men costume designs instead of the death of Dave Berg?"

The Banana Splits Adventure Hour was a 60 minute series that Hanna-Barbera produced for two seasons, starting in 1968.  A lot of folks think it was produced by my old bosses, Sid and Marty Krofft but this is not so.  The Krofft company built the costumes for H-B and, when the series was a modest success, it prompted one Krofft brother to say to the other, "Hey, we should have produced a show instead of helping someone else have a hit."  The following season, the first Krofft series — H.R. Pufnstuf — made its debut.  I was never a huge fan of The Banana Splits — either the group or their series.  The characters themselves seemed shallow, even for late-60's Hanna-Barbera and their show was a bit of a hodge-podge, featuring short segments of serials that H-B had been unable to sell as standalone shows.

Barbera told me he considered the series a failure because of its short run but also since the idea was to spin the various components off into separate programs and none graduated.  Still, I have to admit that the costumed characters had — and perhaps, still have — great appeal.  In 1970, I was snookered into helping put on a charity event for the Marine Corps "Toys for Tots" program, and H-B loaned us the services of the Banana Splits.  This meant that a man from the studio brought the costumes over to our event for a few hours and I had to find four people of specified heights to wear them.  I drafted four teen-age friends into service and they had a great time, dancing about and shaking mitts with kids…and generally being worshipped by children of all ages.  The costumes were, they said, stifling hot and uncomfy, and the friend playing Drooper wound up with a big gash on his chin from the way its head rested on his.  Nevertheless, it was fun for the guys, in part because the Splits were an enormous hit — moreso than any other celebrities in attendance.  (We also had the Three Stooges there — Moe, Larry and Curly Joe — and no one paid any attention to them when the Banana Splits were frolicking about.)

Another bit of evidence of the characters' appeal is that someone has put together an exhaustive website devoted to the show.  You can find it over at www.thebananasplits.com.  If you visit there, take a look at some of the line art of the characters.  The work with the rougher, brush line is that of the late Jack Manning, a wonderful cartoonist (no relation to Russ) who did loads of work for Gold Key Comics, as well as for H-B and other animation studios.  Jack did a lot of promotional and publicity art for Hanna-Barbera in the seventies and early eighties and someday, I hope to get around to an article of some sort about him.  Someday.

Dave Berg was a major figure in the history of comic books and cartooning but you'd never know it from the comic book news sites on the Internet.  I posted an obit here more than 55 hours ago.  I just did a quick search to see who else had picked up on the story and done any independent reporting and couldn't find a bloody thing.  It's all over the newsgroups because I posted the info on several and other folks carried it over to other forums, including a website message board or two.

Since it's a world wide web we live in, I may well have missed some site that mobilized to give the late Mr. Berg his due but it would be a teensy exception.  I couldn't locate one little news item anywhere that didn't merely quote and/or link to my announcement.  Not all sites can be expected to cover something like this, of course.  Some do not strive to present the latest news or update themselves on a daily basis.  But many do and I found several that reported on this weekend's grosses for the Spider-Man movie but had nary a mention of Dave.  Of course, you can put that together in five minutes by quoting the AP or Variety news items.  Finding someone who can write up a little bio of Dave Berg might take fifteen minutes.

If I sound snide about this, the tone is somewhat intentional.  Last August, when Chuck Cuidera passed away, I got into a debate in one of the newsgroups with a fellow named Pat O'Neill, who writes for a couple of different comic news publications.  Pat had half a hundred excuses for why it's too difficult to report obits on the veterans of the comic book industry in a timely manner.  Not one of them made a lick o' sense to me, one of the few people in the field who actually bothers to do it.  (Nine months later, I have yet to see a single obit online about Cuidera that was not extracted from what I wrote about him.  At least, a couple of print ones finally turned up and featured a little of their own research.)

Dave Berg's death will not go unreported.  MAD has issued a press release which everyone should be quoting in the next few days.  I'm pretty sure we can expect the mainstream press to cover his passing and for all that material to find its way onto the online sites, probably buried well below the preview of the costume from the forthcoming Daredevil movie.  But for those writers and artists who were a little less famous than Mr. Berg, very little is said.  Robert Kanigher and Tom Sutton recently left us and some sites that purport to cover the comic field could scarcely have given them less attention…and what was there was only there because some fan posted it on a message board.

During my back-and-forth with O'Neill, someone else chimed in to ask me what I expected or wanted.  My reply was along the lines of, "I'd like to not be the only person covering this kind of thing."  Even if other reporters might not hear immediately about someone's death, once it's widely reported on the Internet (which Berg's has been, for more than two days now) any halfway-decent writer could plug the name of the deceased into a couple of search engines, make one or two calls or write one or two e-mails and put together some coverage with very little legwork.  But they don't.

So I emphasize: I would like to not be only person covering this kind of thing.  If you care about it, how about politely — or even impolitely — suggesting something to the various Internet sites that promise to bring you the latest news from the world of comics?  Suggest they rearrange their priorities a bit.  I'm starting to really dislike the realization that if I don't drop everything in my life and whip up some sort of an obit, it either won't get reported or those who claim to cover the field will take their own sweet time about it.  This is high on the long list of things that are too important to be entrusted to the likes of me.

If you have a fast Internet connection (because the file involved is huge) and a yearning (or need) to relive 9/11/01, there's a rather stunning video montage at this website.

Say, whatever happened to Buck Henry?

If I had one of those new-fangled Broadway Time Machines that can whisk you back to another era to see any production, I think I'd use mine to see the original My Fair Lady.  Obviously, there are a lot of dandy choices but there always seemed to be something magical…almost legendary about the Lerner-Loewe adaptation of Mr. Shaw's Pygmalion.  It opened at the Mark Hellinger on March 15, 1956, which was a Thursday.  The following Sunday, as is often the custom, the cast used its day off to record the cast album.  Little did they suspect they were recording what would be the most-played, best-selling cast album in the history of mankind.  And what's interesting is that it didn't sell as many as it might have because Columbia, the company that released it, decided to compete with themselves and put out a second one. The first album was in monaural recording, which was "state-of-the-art" that week.

Two years later, when the London company opened, they did a new album with the same songs, same arrangement and pretty much the same cast — Rex Harrison, Julie Andrews, Stanley Holloway, etc.

The only difference was that this one was in stereo.  Columbia assumed they could then phase out the mono version but buyers would have none of that.  Even though the new one had the same lead performers, there were minor variations, especially in Mr. Harrison's performance, and we liked our My Fair Lady to sound exactly — right down to the very syllable — the way it was supposed to sound.

I say "we" because my parents played that first album.  And played it and played it and played it and played it and played it and how many times must I type that before you grasp the concept that they played it a lot?  It is so ingrained in my psyche that, when I watched Harrison perform the same songs in the movie — or when I saw him live on his farewell tour — I sat there and thought, "He's pausing in the wrong place…that line oughta go faster…why did he emphasize a different word?"  (The farewell tour, which he did at age 78, was sad in a way.  I mean, it was nice that he made what must have been Huge Bucks, and it was wonderful that we all got to say, "I saw Rex Harrison do My Fair Lady."  But he was forgetting lines and fumbling about, and the standing ovation at the close was more for his body of work than for anything he'd done that evening.)

My affection for the first cast album is so intense that I couldn't even listen to the CD of the recent London version with Jonathan Pryce.  Bought it, put it in the CD player, pressed "play"…and the new arrangements sounded so utterly wrong to me, I had to hit "stop."  I mean, I assume this incarnation is fine in its own way but certain tunes are the musical equivalent of Comfort Food.  You don't want someone "improving" your mother's recipe for beef stew and I don't want someone fiddling with my My Fair Lady.  Variations and updates are tolerable and even welcome in some places and not in others.

Fortunately, the original My Fair Lady cast album was released a few years ago on CD.  What's more, a better CD release comes out May 28, the same day as the new Li'l Abner CD.  This version of M.F.L. has been remastered for allegedly better sound and includes a few bonus tracks: An interview with Alan Jay Lerner and Frederick Loewe, as well as a chat between Lerner, the album's producer and lead performers.  You can order this CD from Amazon-dot-com (and give us a few dimes) by clicking right about here.  And in a day or so, when I get some time, I think I'll post some recollections of the first musical I ever saw in a for-real theater.  It was the first national touring company of My Fair Lady with a gent named Michael Evans in the role of Higgins.  I was around eight at the time and I sat there the whole time thinking, "That doesn't sound like the record."

See?  Even then, I was stubborn about my favorites.