So the new charge is that one year, that great genius of business Donald Trump lost nearly a billion dollars and therefore was able to avoid paying federal income taxes for perhaps twenty years. Did he do this? They don't seem to be denying it too loudly and if he does, he may have to release all his tax forms to prove it. (The New York Times, meanwhile, is not saying that they don't have more of his to release.)

How is a rich person able to avoid taxes through losses? If you want to understand it, read this and this.

I kinda like the Trump camp's argument that if he did do this, we should elect him because he knows how to change the rules so other wealthy people can't get away without paying taxes. Hey, maybe we can stop all murders by electing Phil Spector.

Once upon a time, if you weren't in front of a TV set when a certain show aired, you didn't see it…often, ever. To cite one example of many, I remember watching The Tonight Show one night when Albert Brooks did a spot that may have been the funniest thing I ever saw on television. (I wrote about it here.) After I recovered from laughing, I got to thinking that (a) if I hadn't been watching at that moment I'd never see it because (b) it was probably gone for good.

Joey Bishop was guest-hosting that night and they never reran episodes with guest hosts. And since they never reran those episodes, I wasn't sure they even preserved them. The time John Lennon and Paul McCartney appeared on The Tonight Show in 1968 was already lost since Joe Garagiola was the host that night. All that seems to exist of it today are a few poor audio tapes recorded off the air at the time by fans.

Technology has changed all that. I guess it started when home video recorders came in. If the network or studio didn't preserve the program, maybe some viewer did. It also became cheaper for the networks or studios to save old shows…and when the marketplace yielded an increased opportunity to "monetize" them via home video sales or new channels, more proprietors made the effort to keep them.

There are TV shows from the sixties and seventies that simply no longer exist because no one can locate even a bad 16mm print of even one episode. I doubt that will be the fate of very many programs done since someone began selling old shows on Beta or VHS. (All this is also true of movies, of course. It used to be expensive to preserve film negatives. Now with digital technology, it's easy and cheap to have back-up copies…and people all over the world have them.)

Once I had my first VCR, I no longer had to be home at the proper time to see a TV show I wanted to see. My first video recorder was a Panasonic U-Matic machine that took 3/4" tape cassettes. It was huge and heavy and the tapes were expensive so it cost serious money to build any kind of library. Most of the cassettes only held an hour. One or two companies made 90-minute cassettes but the tape in those was thinner and tended to snag…and once it did, you pretty much had to toss the tape away so those longer tapes were to be avoided.

But I remember that on evenings when I might not be home in time to catch Johnny Carson, I would set up my machine and its timer to record from 11:30 (his start time then) until the tape ran out. I could come home at 2 AM and still see two-thirds of Johnny's (then) 90-minute program. I could even watch him the next day or play a great moment from the show for some friends the following week.

I cannot tell you how liberating and empowering that felt at the time.

I felt like I owned TV instead of the other way around. I no longer had to arrange my life to please television…and it only got more liberating when I acquired my first Betamax. It had cheaper tapes which recorded longer, plus it had a simpler timer. Then came VHS with even longer tapes and — one great day — TiVo. Three clicks and I'd never miss any of my favorite shows.

I had one of the first TiVos made, purchased at a time when that invention wasn't even publicized much since the TiVo company couldn't yet make them fast enough to fill even the orders from folks who knew about their wonderful machine. For a few months there, I'd gleefully demonstrate mine for friends who came by — how you could set it to record your favorite shows whether you were home or not; how you could watch them and rewatch them whenever you wished; how you could pause in the middle of a live broadcast, then resume watching later; how you could slow-mo and replay the action.

The movie Fast Times at Ridgemont High had been on HBO or Showtime and I showed a friend of mine how I'd recorded it. He had me playback, slow down and freeze frame the scene with Phoebe Cates (men, you know the one) about thirty times. After the second time, he had his wallet out and was asking, "Where can I get one of these right this minute?" He was heartbroken to find out there was a waiting list and it would take almost a month.

As it turns out, you don't even need a Tivo or DVR these days. Even without one, you rarely miss anything on TV that you want to see. Shows that were broadcast last night can often be watched online the next day on the network's website or elsewhere. An awful lot of the best clips are on YouTube almost immediately.

There are several shows I never record but I see their best moments. Saturday Night Live and the talk shows of Jimmy Fallon, Jimmy Kimmel, Seth Meyers, Conan O'Brien, James Corden and a few others are rarely captured by my TiVo. But when the Internet buzz tells me there was something wonderful on one of them, I just go to YouTube and find that segment. If one of my favorite guests — say, Lewis Black or Jim Jefferies — is on one of those shows, I might set the TiVo but increasingly, I just think, "Why bother? I can watch their spots online and I don't even have to fast-forward through the rest of the show."

I didn't bother setting the TiVo for the Presidential Debate last week. Twelve different channels were replaying it in whole or part after and since they stopped, there are still eighty places I can watch it or download it. I'm not going to bother recording the Vice-Presidential Debate tomorrow night. As boring as it promises to be, there will still be sources for it.

Actually, it may not be that boring if Tim Kaine or the moderators bring up some of Mike Pence's past statements about gay people. Those alone peg him as about as loathsome a human being as has ever held public office. But that gratuitous political comment aside, the point is that I don't have to watch to see the highlights, if any. YouTube and various news sites will do that for me. Or I have the option to watch the whole thing if and when I want. The C-Span site will have it even if no one else does.

Obviously, I am telling you nothing you don't already know here. You've all learned the same ways to locate content you wish to view and you probably all have a TiVo or some variation on its working principle. I just felt like celebrating how my life has changed because of this particular thread of science. I celebrate it more when I recall one incident from my childhood…

Back when I was eight, my favorite mustn't-miss show was The Flintstones, which was on ABC on Friday nights at 8:30 PM. That's how we knew it was an "adult cartoon," which was how they initially billed it. It wasn't on at 7:30, which was when prime-time began back in 1960.

No matter what else was happening in my life, I was in front of the TV each Friday evening in time to see the cold opening and every subsequent moment of that week's episode. Here — I'll embed an image from the show's opening its first year. I removed the color since the show, though produced in color, aired them in black-and-white…

I loved it but then one week came trauma: Someone gave my father tickets to a Lakers game one Friday night. Let me tell you how long ago this was. The Lakers had just moved from Minneapolis to Los Angeles, the players were all white and everyone was talking about this guy named Jerry West who was supposed to be amazing. Still, then as now, my interest in watching a basketball game was about the same as my interest in watching mold spores form in a dish of tapioca pudding.

My interest in watching The Flintstones could not, however, have been greater. I pleaded with my parents to leave me home alone with the TV but they insisted no, I was too young to be left by myself. Love me though they did, they were not about to miss this opportunity and I had to go along with them. I begged, pleaded, wheedled…everything. If I'd thought of it at the time, I would have said, "You know, someday I'm going to have a lucrative career writing Flintstones comic books and working for Hanna-Barbera so you may be harming my future earning potential."

But I didn't know that then. The best I could do — and I really did try this line of argument — was because I once heard someone say that the only really interesting part of a basketball game was the last quarter. I tried to convince my parents that we could leave the house at 9 PM, get there for the last quarter and still not miss anything important.

They somehow didn't buy that so I was dragged to the Sports Arena when I could have/should have been home watching Fred and Barney. I hated the whole stupid thing and did everything possible to communicate to my parents how miserable I was every minute of what they inexplicably thought was an exciting game. I must have done it well because they never did that again.

Still, that awful night, I actually missed an episode of The Flintstones! A whole, actual episode of The Flintstones! On Monday, I pumped my schoolmates who'd seen it for details…and expressed shock that some of them could have watched but hadn't. What the hell was wrong with those children?

I consoled myself that all was not lost; that some (not all) of the episodes were rerun near the end of the season…so I had a chance. As it turned out, this was not one of the ones that was repeated and I figured sadly I would never see it. Who knew at the time those would all be rerun and rerun forever and someday, I'd even be able to buy a copy of it and watch it whenever I wanted to? I finally caught it a year or three later in syndication by which time my interest in The Flintstones was somewhat diminished.

So let us pause to remember that because of technology, no child ever has to endure that pain today. Whatever ten-year-olds are watching today — Son of Zorn or Bob's Burgers or Elena of Avalor or Naked and Afraid — they never have to miss an episode.

It's a great time to be alive.

For the record, I think Barack Obama has been a pretty good president. Like all of them, his record is a mixed one to everyone but those who come to it eager to say "He did everything right" or "He did everything wrong." I have a few friends in each of those categories and I've learned not to discuss the matter with them because they're not interested in the actual record; just in some validation of a view they formed long ago.

New York magazine has some really good pieces for those who are interested in a real evaluation of the man's eight years. There's this timeline of the events of those eight years, some of which involve President Obama and some of which don't.

Then Jonathan Chait interviews Obama about the challenges he's faced, most of which were from Republican obstinance. I am still not happy with everything that involves drones and the killing of people overseas but it doesn't shake my endorsement of the view that for much of his term, Obama's been the only grown-up in Washington politics. I believe history will view this man very well.

Lastly, I would also recommend this conversation with Vice-President Biden. There are a few places where he sounds a bit like Hank Kingsley talking about Larry Sanders but I think Biden looks pretty good as he gets close to stepping-down. And they also have an interview with Bernie Sanders about Obama's record dealing with Wall Street. All of this is well worth reading.

A few years ago, I wrote this on this here blog thing…

I am not a fan of the Dodgers. I am not even much of a fan of baseball. Once upon a time, I had some interest in both largely because my father did. This was back when the Dodgers were Maury Wills, Frank Howard, Willie Davis, Tommy Davis, Jim Gilliam, Johnny Roseboro, Don Drysdale, and Duke Snider.

And — oh, yeah — Sandy Koufax.

Only one member of the team is still at it today: Vin Scully. No, he didn't put on the uniform but he was the single most indispensable person in the stadium when the Dodgers played. And I always suspected he was secretly managing the team. Walter Alston was officially the manager then but it was easy to imagine Alston, just sitting in the dugout during the game, listening to Vin Scully like everyone else in the place. I'd hear Scully say, "This is the time when Walt Alston is probably deciding to take out the pitcher and bring in Ron Perranoski to throw to the next batter" and I was sure Alston would listen to that, then turn to someone and say, "Bring in Ron Perranoski to throw to the next batter."

At least, it sure felt like that.

I'm not sure how someone who hasn't lived in Los Angeles for a few decades can fully grasp what Vin Scully means to this town. He's beloved and he's respected. I can't think of anyone who does what they do better than how he's done what he's done. Here's Keith Olbermann with a personal reminiscence. Scully is a right-wing Republican but no one who isn't lets that get in the way of their affection for the man.

Vinnie's retiring after calling today's game and as far as some people are concerned, he might as well take baseball with him. There are dozens of great moments I could pick to embed here but here's just one. I like this because there's no video and thanks to the colorful narrative by Vinnie, you ain't missing a thing…

I'm still kind of amazed how the entire election has changed since that first debate last week. Before, Hillary was on the defensive with lots of stories about her health, her involvement with the Clinton Institute and her general honesty. Now, she seems to have pretty decisively won the "Who has the right temperament?" argument and the stories are on Trump's defects as a human being, his mistreatment of women, his non-payment of taxes and his use of the Trump Institute for personal benefits.

As others have written, it sure looks like the Clinton side sprung a trap on him, bringing up the Alicia Machado matter, whereupon Trump stepped into it more fully than they could have dreamed. At best, he looks like a man who may have been wrongly criticized but who got way too upset and obsessed with firing back at and hurting this woman…a man unable to rise above anything. Telling everyone to check out her "sex tape" is really wacko since, first of all, they'll only be disappointed to find out that what he was calling one isn't one. He and his wives have been in steamier films and photos than that.

And if I were a voter who was looking for President Trump to change things about immigration or the economy or social issues, I'd be really bothered about how easily he seems to be distracted by personal slights. This week, he probably spent more time talking about Rosie O'Donnell's obesity than he did about securing our borders. Talk about not looking presidential.

The next debate is next Sunday and it's "town hall" style. That means that the questions will be a bit less predictable. (The charge that Hillary Clinton got the questions in advance in the first debate is really silly when you consider that anyone on either candidate's staff could have made out a list of 30 likely questions and almost everything Lester Holt asked would have been on it.)

Next Sunday though, the questions come from audience members and Trump will not only have to field them but largely address his replies to those audience members. That means being civil to them and saying, "Thank you for that question" when they ask something he'd rather not talk about. If you're going to prove you can be nastier than her and you want to bring up Bill's sexual exploits, as Trump seems to be promising, that's not the ideal place to do it.

I dunno. Maybe he can pull it off. I think he needs to relax…maybe take a day off or something. He should spend the afternoon at the zoo, calling the baboons all sluts and fat-shaming the elephants.

Our pal Kim "Howard" Johnson gives us a heads-up: Terry Jones is today receiving a Lifetime Achievement Award from BAFTA Wales as part of the British Academy Cymru Awards Ceremony, commencing in just a few hours. BAFTA is the British Academy of Film and Television Arts.

Terry won't be speaking (sad to say) but it will be presented by Michael Palin and Terry's son Bill and it will be streamed live on the Internet at 19:30 GMT, which by my reckoning is 12:30 PM Los Angeles time…so it's about two and a half hours from when I'm posting this, though the Jones segment will probably not kick off the proceedings. Here's the link to watch the entire ceremony. Kim writes, "It's nice to see Terry get the recognition he has earned, and I couldn't be happier for him and his family."

Here's a nice tribute page on the BAFTA website, and I believe Kim supplied some of the photos. One can only hope Mr. Jones is well aware how appreciated he is, which is a lot.

This afternoon, I attended a lovely private memorial for Janet Waldo, the wonderful cartoon voice actress best known for playing Judy Jetson and Penelope Pitstop, along with many, many others. The home she lived in was filled with family, friends and some very fine caterers and her loved ones (by relation) threw a perfect party for her loved ones (not by relation). I won't start naming who was there but I did spend a very nice time chatting with the lovely Jackie Joseph, who along with all her very fine TV and movie work was in the voice cast of the Josie and the Pussycats cartoon show with Janet.

There were wonderful clips of Janet's long, long careers including some amazing screen tests she did for Paramount long, long ago. She was a fine actress but as her kids noted, she didn't like appearing on camera. She much preferred to do her acting on radio and later on animated cartoons. She was sure good at it and, as the mood of the room today made clear, very much beloved.

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In other news: I'm getting lots of questions about the new autograph law and I can't answer a one of them. My answer to all is I Don't Know…and one of these days, I'm going to write a piece here about the power and frequent accuracy of I Don't Know as an answer. Too many people who don't know don't like to admit it…or they say "I don't know" and then they launch into wild, baseless speculation. In this case, I Don't Know is my answer. And the fact that there seems to be so much that We Don't Know is a good indicator to me that there's a lot wrong with this law.

Several folks though did suggest I link to this article about how much cash some celebrities are now hauling home from autograph shows. I don't want to say this too loudly but I have a hunch we're going to be hearing a lot more about this industry soon…in news reports that will include mentions of the Internal Revenue Service.

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Should you be interested in reports of corruption on the part of Donald Trump, the name to watch for is David Fahrenthold, who is digging up immense amounts of scandal over at the Washington Post. Trump and his forces are dismissing everything as lies and/or Election Year Shenanigans…but if they had this kind of stuff on Hillary Clinton, they'd be calling for her immediate incarceration. As Fahrenthold sure seems to have solid proof of the shady, often illegal dealings. You can follow him on Twitter here or read his pieces for the Post here.

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Real early Tuesday morning — starting at 7:30 AM on my set — Turner Classic Movies is running four of the first five features that Buster Keaton starred in for MGM. The first and best is The Cameraman, which was followed by his last silent feature, Spite Marriage. Keaton's grand career as a maker of great comedies ended about the time he moved to MGM — or rather, was moved against his own wishes.

Sound came in, the studio interfered mightily and Keaton made a shambles of his personal life and began drinking heavily. The cause-and-effect relationships between those factors can be debated but clearly, his once-brilliant work went downhill. His third MGM film (and his first talkie) was Free and Easy, which TCM is showing. It shows a great talent losing his way. Then he made Doughboys, which TCM is not showing Tuesday and which was a little better. Then he made Parlor, Bedroom and Bath, which they are showing and which was quite a fall, even from as recently as The Cameraman.

Nothing he did was ever without interest or wonderful moments so you have a choice. You can watch to see the great bits or you can watch to see the great comedian grow less great before your eyes. I'd suggest you TiVo or DVR all four, then watch them in the reverse order.

I was surprised to see that someone had done a bluegrass cover of Elton John's "Rocket Man." Apparently, this is a big song with such musicians and there are a lot of such renditions around. This may be the best of them until William Shatner gets around to buying a banjo…

One of my e-mail addresses is for Groo, the simple-minded character I work on with Sergio Aragonés. Groo has been getting a lot of messages like this lately…

Dear groo,

this is to inform you that your Debit Card is temporarily blocked as there were unknown transactions made today.

We attached the scan of transactions. Please confirm whether you made these transactions.

King regards,
Rickey Velazquez
Technical Manager – Online Banking

And attached to each of these messages is a file that even Groo isn't stupid enough to open. If you readers of the comic book think Groo can do a lot of damage with his swords, imagine what he'd do with a debit card.

There is some panic currently in the convention/collector scene in California. It has to do with Assembly Bill No. 1570, which was signed into law on September 9. According to this article…

The law in question goes by the name "AB-1570 Collectibles: sale of autographed memorabilia," and governs the sales of any autographed items. The law supersedes existing California law, which had previously only been directed at sports memorabilia. The law requires that any autographed item sold for more than $5 must include a certificate of authenticity including information about the dealer, where and how the item was signed, and the name and address of any third party from whom it was purchased. The law was undoubtedly aimed at shutting down forgery mills, but it was written so broadly that it will make things a lot harder for anyone dealing in autographed goods.

My first thought is that this law will not shut down forgery mills. It will just put them to work creating phony certificates of authenticity. I've seen a lot of them…and also COAs where someone who has no expertise or knowledge if something is forged vows that it's legit. A friend of mine once purchased a limited edition Salvador Dali bronze statue. It came with a certificate of authenticity and I got to wondering: What kind of forger could whip up a bogus bronze Dali statue but couldn't replicate a slip of paper you could copy at Kinko's?

My second thoughts are a whole bunch of questions, starting with this: The law is to regulate dealers and it defines one as…

…a person who is principally in the business of selling or offering for sale collectibles in or from this state, exclusively or nonexclusively, or a person who by his or her occupation holds himself or herself out as having knowledge or skill peculiar to collectibles, or to whom that knowledge or skill may be attributed by his or her employment of an agent or other intermediary that by his or her occupation holds himself or herself out as having that knowledge or skill.

Okay, so if I sell alleged autographs on eBay, I don't need to mess with COAs just so long as I can argue that selling such items is not my main source of income and I don't claim to be sure that whatever I'm selling is genuine. This would seem to be a loophole about the size of the Louisiana Purchase.

So just how will this work? This article, which is also against the law, says…

Consider bookstores that do a lot of author events. Let's imagine that Neil Gaiman does one of his typical massive booksignings in February for his forthcoming book, Norse Gods. Say 1000 people show up and buy books at $25.95. The bookstore either has to issue 1000 COA, or risk being sued for $25.95 x 1000 x 10, plus attorney's fees. Call it $300,000.

The bill defines a "collectible" as an autographed item sold by a "dealer" to a consumer for five dollars or more. Okay, if the book lists for $25.95 and they sell it unsigned, they don't need to issue a COA.  They also won't need one ten years from now if they sell it for $300 as a First Edition, even though it will still be a "collectible," just so long as it's a non-autographed collectible.

If Neil signs it and it sells for $25.95, do they need to issue a COA? When nothing is being charged for the autograph?  Let's say ten years from now, unsigned First Editions are indeed selling for $300.  Let's say I'm a dealer and I have one allegedly signed by Neil but I have no COA.  Can I sell that for $300?  Can I sell it for $200?  Can I sell it for any price if I have the buyer sign that I have made no representation as to the authenticity of the autograph?

Okay, let's switch. Let's say I'm a customer and I go in and buy one the day Neil is signing real autographs on a whole crate of copies. Let's say that years later, I decide I can get a hundred bucks for it so I offer it on eBay. I don't need a COA since I'm not a dealer. A dealer sees my listing and because of his expertise, recognizes it as authentic and thinks it might be a good investment for him because he can sell it for $300. But he can't because he'll have no COA to accompany that sale. I can only sell to someone who has no expertise and that person can resell it as long as they don't claim to have expertise. Is this a good way to cut down on the sale of phony collectibles?

What if a dealer wants to sell a Neil Gaiman autograph he obtained three years ago? Or for that matter, a rare first edition of some H.G. Wells book signed by the author? Seems to me this law is placing all sorts of burdens on professional autograph sellers and none on people who do it part-time. It also seems to me the law is unclear.

Apparently, rules such as this were already in place regarding sports memorabilia and this new law extends them to anything that's autographed. Has it eliminated fake autographs on baseballs and football helmets? I don't know. I'm just asking.

I really don't have any direct self-interest in any of this. I don't sell my autograph and even if I did, the law exempts the signer. Still, it might inhibit the market for some autographs, particularly those of people whose signatures are not likely to soar a lot in value. A dealer who arranges a signing with William Shatner might figure Shatner's signature will someday be worth a thousand bucks. Many of that dealer's sales will be to investors who think the same thing. The COA doesn't seem like too much trouble to go to in those instances and in fact, there are some dealers who already arrange for them on that kind of sale.

But the part of the autograph market that I kind of like is the smaller sale, the one from an actor or author or someone who is genuinely making their living signing their name for $20 a pop. At autograph shows and conventions, you see a lot of them: Folks who worked on a popular TV series years ago. The residuals have long since run out. They can now make a little money (and get a little ego boost) going to conventions, meeting fans they didn't know they had and signing for them.

Again, we're talking about $20 autographs that might never be sold by dealers and might never escalate much in value. Is this new law going to harm that business?

I'm thinking now of an actor friend of mine — an older man who did not have much savings and did not have much income. What income he had came from going to autograph shows and signing photos of himself for twenty bucks each. At one show — and I was there when this happened — a dealer approached him and offered to buy fifty photos if he could get them for ten bucks apiece. The actor agreed, signed his name fifty times and made a much-needed $500 so he was happy. The dealer later sold the photos for $20-$30 each so he was happy. Presumably, the buyers were happy.

Would this new law have messed with that arrangement? Made it less likely to happen? If so, it's probably a bad law. If not…well, I still have the feeling we're going to see just as many fake autographs, now accompanied by more fake certificates of authenticity. And the fact that no one seems to be sure how things will work…that alone suggests it's a bad law. I'd love to hear why it isn't.

I keep telling everyone here on the blog and in political conversations to watch the Electoral College. There has not in this election been a point when Hillary Clinton seemed seriously in danger of losing there. Her "lock" states has fluctuated from a low of 218 to a high of about 340 but she's always been ahead by a few points to get her over the necessary 270. (Right now, Nate Silver's three models have here between 291 and 312.) Trump has never been close to a lock on 218.

It might not also hurt to keep one's eye on favorability ratings. As Harry Enten notes, "In every election, the candidate who was leading in net favorability ratings in late September won the Electoral College and the election." Right now, Clinton is more than 10 points ahead of Trump in the favorability rating race…and with Trump ranting about Miss Universe and the new revelations about shady Trump business deals, I have the feeling he's going to lose ground there.

All of this however should be qualified with the reminder that a lot about this election is unprecedented. We never had a Republican nominee brag about his penis size before. And neither candidate is particularly well-liked. Whoever wins is going to be the most unpopular winner ever in that sense…and that's a new thing for America. Usually, we wait until our leaders actually take office before we hate them.

It's been announced that the legendary Carnegie Deli in New York will close at the end of this year. That's sad but not surprising. Not that long ago, the Stage Delicatessen — which was one whole block away — went outta business. For years, they were dueling delis, fighting for your brisket dollar, both often with lines out the door. People would argue over which was the better of the two.

At times, it was hard to get a seat in either and when you did, you were crammed into a tiny, noisy space. In the Carnegie, you had the risk that often, it would be right next to Jackie Mason. Still, I liked the place…and no trip to New York felt quite complete unless I'd dined there once. It was the history of the place more than the food. There were and still are better delicatessens in New York. There are also places where you can get a sandwich that is smaller and cheaper the way you'd really prefer your sandwich to be.

Every Carnegie sandwich presented the dilemma of what to do with the two-thirds of a sandwich that you had to pay for but couldn't eat. I never went there on my way to the theater; only after. I didn't want to have to carry 65% of a corned beef sandwich with me into the play and I didn't want to abandon all that pricey meat.

I'm wondering how much of its demise is due to that, how much is due to its recent closure because of an illegal gas hookup, how much is due to people just wanting to eat healthier and how much is due to the business problems of running a restaurant in Manhattan. All but the gas line were cited in the Stage shutdown. I'm also wondering if some buyer isn't going to swoop in, grab the location and the famous name and try to reinvent the Carnegie. I can imagine someone doing wonders with it if they post an "Under New Management" sign, retool the menu a bit and bar Jackie Mason.

But the Carnegie is not completely doomed. Sez here its owners will maintain the name, use it for wholesale distribution and continue to operate Carnegie Delis in Bethlehem, PA and Las Vegas. So if you have a craving for good, old-fashioned New York deli food, just head for the Mirage Hotel in Vegas. It's in the casino, right next to the California Pizza Kitchen. Same food. Not the same vibe.

In the debate, Hillary Clinton accused Donald Trump of living in his own reality. Since then, Trump seemed to be out to prove her right, insisting that he'd won the debate by a landslide. His evidence? Online polls where it's easy for one person to vote thousands of times. In all the polls conducted the way real polls work, Clinton came out on top by a wide margin.

His supporters all know this. No way would any of them say Hillary had won if the online polls said so and the real polls did not. But just as Trump and his surrogates can deny every fact and stat that indicate good news for the current economy, they can deny any poll that doesn't show them winning. Other politicians might say, "Okay, she did well but look how Mitt Romney did in his first debate against Barack Obama and then look who won the next two and the election!" Not these folks.

The polls for the general election may not yet show a huge bump for her but they do indicate movement in her direction. Keep in mind that if you're looking at an aggregator like Nate Silver's, it takes a few days for changes in polls to register on an aggregator. And some of those polls are rolling polls where, for example, each day they survey one-seventh of their sample. So what happened last Monday will not be fully reflected in the poll until next Monday.

The vice-presidential debate will be October 4. No one cares.

The next presidential debate is October 9. This one will be "town hall" format with the candidates talking directly to audience questioners…a format which does not favor Mr. Trump. Ms. Clinton's husband was the master of this format, talking to people instead of at them. Also, one of the moderators is Anderson Cooper, who Trump has said is unfit for the position or something like that. This oughta be interesting.

The word today is that Trump's surrogates are being sent out to hit Hillary on two fronts: Bill's infidelity and sleazy business dealings by the Clinton Foundation. Given Donald's history with women and the flow of scandals coming out of the Trump Foundation and Trump University, it's hard to see how he can get a lot of mileage in these areas. I can just see Trump Campaign Manager Kellyanne Conway on The View saying, "Well, Donald does have two less rape allegations against him than Hillary's husband…"

One of the most prolific comic book artists of all time, Richard T. Moore died in his sleep September 7 at his home in Templeton, California. Known professionally as Sparky Moore, he worked in comics, comic strips and animation from 1951 until shortly before his death at the age of 91. "Sparky" was also the nickname of Charles Schulz of Peanuts fame but unlike Schulz, who got his handle because of Sparkplug, the horse in the Barney Google newspaper strip, Moore became "Sparky" because he was a radio operator in the military.

Sparky Moore was born in Philadelphia in 1925. As a kid, he had two passions: Drawing and horses. He raised and bred horses for much of his adult life while drawing in a nearby stable. Sometimes, he combined his two interests. He drew hundreds of western comic books and he also carved intricate wooden rocking horses. Soon after serving in World War II, Moore met and married Helen Sheedy and they had a family that included one set of twin boys and one set of twin girls. They were married until her death in 2005.

Moore's professional art career began in the late forties but really took off in 1951 when he began drawing for Western Publishing Company, producing work that appeared in Dell Comics and also in Western's activity books, childrens books, puzzles and toys. He was extremely versatile, able to adopt an adventure style to draw movies and TV tie-in comics or characters like Rin Tin Tin, Lassie or Tarzan, or to switch and do funny animals and Disney characters. In his later years, he did mainly the latter. For Western's Gold Key and Whitman lines, he drew Disney's Robin Hood, The Aristokittens, Scamp and Winnie the Pooh, among others. For Disney studios, he did long stints on the Scamp and Winnie the Pooh newspaper strips.

During the sixties, he worked often in animation for Grantray-Lawrence on the Marvel Super Heroes cartoons, and for Hanna-Barbera on shows like Jonny Quest, Mightor and Space Ghost. He also drew comic books of the H-B super-heroes for Gold Key. He was very good at drawing in other artists' styles and I have seen Sparky Moore animation drawings for the Marvel show sold and represented as the work of Gene Colan, and drawings Moore did for Hanna-Barbera sold as Alex Toth's work.

For the most part, he was anonymous but very good…and very reliable. At Grantray-Lawrence, he met a young artist named Mike Royer and he gave Mike some of his first work in comic books and one vital piece of advice. I just phoned Mike for background and he told me, "The best piece of advice I ever got as an artist came from Sparky. He said, 'You get your first job based on your ability and all the rest based on your dependability.'"

Mike added, "Whatever success I've had professionally as an artist…I owe a lot of that to Sparky Moore."

I was a fan of Sparky Moore's art long before I could put a name to that style. He drew a lot of comics based on TV westerns for Dell in the late fifties, including Elfego Baca, Wyatt Earp, Texas John Slaughter and Rex Allen. For a change of tone, he also drew The Three Stooges and many of the Disney movie adaptations for the company. When I was in a position years later to hire artists for comic books, I kept trying to get him but he always declined gratefully, citing a full plate of other assignments. He was well-liked by editors for delivering superior work on time and by his colleagues for helping other artists. Royer said, "I got an awful lot of work because Sparky recommended me for things and everyone took his recommendations."

Most comic book fans reading this are probably not familiar with his name but if you're anywhere near my age and liked Dell Comics, you read a lot of books he did — and I haven't even gotten into the many times he ghosted books or strips allegedly by other artists to help out a friend. I doubt anyone could even assemble a checklist of his work and make it reasonably complete. But he was real good at what he did and he sure did a lot of it.

Millicent Martin, David Kernan and Gemma Craven sing a medley of songs with lyrics by Alan Jay Lerner. Lerner gets overlooked a lot when people speak of great Broadway lyricists but he sure wrote a lot of memorable numbers…