I ordered several fonts from Comicraft when they had their New Year's Day sale and I really like what they sent me — especially their new font based on the lettering of master comic book illustrator Joe Kubert. Because it pretty much has to appear in perfect ellipses, computer lettering can occasionally look a bit too precise to blend with comic art, especially that which is broad or loose in style. Like I wrote in the balloon, this is probably the best one I've seen. Those of you doing comics might want to check it out.
Monthly Archives: January 2003
Watchmen Watching You!
We don't like Spyware. These are programs you download from the Internet (occasionally, without realizing you're doing so) that not only do whatever they claim to do but also, secretly, gather data about you. When you're online, they secretly transmit this data to…someone. You never really know what the data is, who's collecting it, what they're going to do with it, etc. Most often, it relates to building a "user profile" of you, figuring out what kind of consumer you are and how you can best be targeted with advertising — but other, more pernicious practices are possible.
Once I learned about Spyware, I began uninstalling it all over my computer. A program called Gator did a neat job of filling in online forms for me, like credit card info and such. But it's Spyware so I got rid of it and instead installed Roboform, which does most of the same things but without nosing around on my harddisk. A lot of download managers like Go!Zilla and free games (like some called Free Solitaire) are nice but they tattle on you, so you want to get rid of them. No matter what a program does, there's probably a safe, non-intrusive alternative.
Some time ago here, I recommended the first and foremost Spyware Detection and Removal Program, which is AdAware. This was a great program and it will probably be a great program again, but its makers are running behind in releasing its next version, which will be 6.0. The current version, 5.83 is so far out of date that it won't detect a lot of newly-developed Spyware programs. In a few cases, Spyware programs it detects have been upgraded so now, if you use the old AdAware to remove them, it does more harm than good. Until 6.o comes out in a month or so, use AdAware to detect Spyware but be careful about using it for removal, and don't assume it will find everything.
In the interim, the best detection/removal program is probably Spyboy Search and Destroy, though it's a bit more difficult to use. I'll let you know here when the new AdAware is out.
Digging DigiGuide
I used to look up television programming on sites like tvguide.com and tv.yahoo.com — services which show you a grid of what's on the schedule. And those free sites were fine for what they provided. However, for a measly twelve bucks a year, one can subscribe to DigiGuide, which is a more sophisticated, multi-featured way of finding out what's on and what's going to be on.
DigiGuide was originally a British-only service and that's where the company is still based. But they've extended to the U.S. (and elsewhere) and seem to cover even the smallest UHF stations I can receive. You download their software, tell it what channels you receive and then it downloads the latest program info for those channels, compiling it into a highly-searchable database. Very neat, very handy. I've spotted a lot of shows I wanted to watch that I might otherwise have missed.
You can download a 30-day trial version over at www.digiguide.com. If it doesn't help you out, delete it before the month is up. If it does, send 'em twelve smackers for a year's subscription. End of tip.
Mel 'n' Jack
I'm just watching a very old episode of Jack Benny's TV program and here's the joke they just did. There's a cab driver played by Mel Blanc and he introduces himself to Mr. Benny by saying…
CAB DRIVERI'm Harry Gilmore. You and me went to Waukegan High School. Don't you remember? I was the one voted "Most likely to succeed." Got my own cab.
JACK BENNYOh well, isn't that nice?
CAB DRIVERHey, what are you doing now?
JACK BENNYI'm the voice of Bugs Bunny.
I'm not sure I quite understand the joke — an apparent ad-lib — but everyone (including Blanc) broke up. The audience not only recognized Mel in the role but knew who he was. Very nice.
Buster Blog
We all love Buster Keaton. And since we all love Buster Keaton, we should all pay regular visits to his official (and quite splendid) website. Every time I do, I find several articles and other features that hook me. Earlier this evening, it was a series of articles about Keaton's famed Italian villa — a 10,000 square foot mansion he once owned in Beverly Hills. After he could no longer afford it, it went through a series of celebrity owners. One of them — James Mason — discovered an old, forgotten film vault in the back. In it were prints of several Keaton films that were thought lost, and which exist today only because Mr. Mason found them there.
The villa eventually fell into disrepair and was targeted for demolition…but a restoration company stepped in and now has it close to being back the way it oughta be. Over in the "articles" section of the website are several pieces about it, including then-and-now photos. (I can't link directly to them or I would, but they're well worth a bit of hunting.)
Furshlugginer Feldstein
Good interview with MAD and EC Comics editor Al Feldstein here.
Tonight Show Lineage
I just ordered a batch of DVDs from www.johnnycarson.com. They have some wonderful shows for sale there, and I'm a sucker for Carson at his best or even his near-best. Great stuff. However, whoever wrote up the history stuff on that site is a little fuzzy on details. Here's one paragraph they have posted over there…
"Tonight!" was originally hosted by Steve Allen in 1954. Allen's regular side-kick was Ernie Kovacs. Kovacs became known as "the first commercial television artist". Ernie Kovacs alternated hosting the show with Steve Allen. However, it was Steve Allen who established many of the standards of late night television, introducing the desk and couch and an emphasis on conversations with guests.
Ernie Kovacs was never Steve Allen's sidekick in any sense of the word; they weren't even on the show at the same time. Kovacs did not start hosting The Tonight Show until the last few months of Allen's run. The above makes it sound like they alternated the whole time, whereas Ernie only hosted two nights a week for about seven months. (It's a shame none of those episodes still exist, as they were reputed to be Kovacs at his non-gimmicky best. I've always preferred him without the camera tricks and wacky props.)
The rest of the above "history" is more arguable. Some might suggest that Sid Caesar or even Steve Allen was "the first commercial television artist." And conversation was a very small part of the Steve Allen Tonight Show. It was more like a variety show with the occasional interview, much like Broadway Open House before it. Jack Paar was the guy who first did a late night show that consisted mainly of folks just sitting around and talking.
This is all, I suppose, trivial. But you'd sorta kinda maybe think Johnny Carson's official website could get the lineage of The Tonight Show straight. Makes you wonder about a lot of the "research" we all do on the Internet.
Union Suits
A dispute is looming over Broadway as the Musicians' Union, Local 802, negotiates its new contract. The old one expires in March and the producers — with whom they dicker — are seeking the right to reduce the sizes of orchestras and, if necessary, rely on pre-recorded music. This kind of demand won out in Las Vegas a few years back and brought us to the point where all but a few shows there are performed to taped audio tracks. It's unlikely to happen to that extent on Broadway but any cutback would be a shame.
The union has set up a website which outlines their position, and there's an online petition you can sign to show your support. Like most online petitions, it's not likely to do much good but it can't do any harm. Of more import are some short video interviews with musicians, including this nice one with Stephen Sondheim. And I was interested to read a breakdown the union offers us of how much (or rather, how little) of the ticket prices are due to musicians' salaries. The Producers, for example, charges up to $100 for a ticket, grosses more than a million bucks a week, but — according to the union — only spends $47 grand a week, plus change, for the guys in the pit. That works out to three and a half bucks out of every ticket, which is a lot less than I'd have guessed.
Some other shows spend a tad more on musicians and, on a low grosser like the recently-closed Dance of the Vampires, the cost-per-patron is higher. But on no show is it much more than six bucks. In most cases, you're paying more in handling charges for the folks who print out your tickets than you are for all those wonderful music makers.
I guess you can tell where my sympathies are on this one.
It's Not Miller Time
So I have to stop in at the drugstore and pick up something. This is last evening. I'm heading into the store when a kid — maybe 16, maybe older — stops me and says, "Excuse me, sir. If I give you the money, would you buy some Miller's High Life for me?" Reminds me of the scene in American Graffiti where the kid with the glasses is outside the liquor shop, trying to score some Sneaky Pete for his date to chug. I tell the kid outside my friendly neighborhood pharmacy, "Sorry." What I don't tell him is that I've never even bought beer for myself. I'm certainly not about to buy any for a minor.
I find the item I want and take it to the checker. Ahead of me in line, a guy is buying a six-pack of Miller High Life. He's around 40 and wearing a dark blue pea coat. I think to myself, "Ah, I see the kid outside is going to get his beer."
I pay for my item, walk outside and find that two plainclothes police officers are arresting the guy in the pea coat. The kid who asked me to buy him beer is looking on, an obvious confederate of the policemen. Entrapment? Or strict enforcement of liquor laws? I don't know which, but it would be kind of comforting to think the police didn't have anything better to do than this.
Missing in Action
Eight columns previously posted on this website have been removed. Why is this? Because I'm starting to assemble a sequel to my book (incessantly plugged on this site) Comic Books and Other Necessities of Life. Those eight columns will be in it, along with 20 more that haven't been posted on this site, plus about five more that have never been published anywhere. Don't start looking to buy this new collection because it won't be out 'til late this year, by which time you'll be sick to death of seeing me mention it here.
Jack Keller, R.I.P.
Comic book artist Jack Keller died yesterday at the age of 80. Keller was born June 16, 1922 and got into comics in 1941 when he wrote and drew a strip called "The Whistler" (no relation to the radio show of the same name) for Dell Comics. He soon joined the art crew at Quality Comics where, among other assignments, he assisted Lou Fine on The Spirit (while Will Eisner was away in the service) and inked Blackhawk and other features. He later worked for Fawcett, Fiction House, Lev Gleason, Hillman and other houses, but he was best known for his two longest gigs. Commencing in 1950, he worked for Stan Lee at the company that came to be known as Marvel Comics. For them, he primarily drew westerns, most notably a long run on Kid Colt, Outlaw.
In 1955, he began working for Charlton Comics, both on westerns (Billy the Kid, among others) but mainly in his other area of expertise, which was auto racing. He drew and often wrote hundreds of stories for comics like Teenage Hotrodders, World of Wheels, Dragstrip Hotrodders, and Drag 'N Wheels. He retired from comics in 1973, but occasionally appeared at comic conventions near his home in Reading, Pennsylvania. I never had the pleasure of meeting him but fans who did report that he was a very nice man — one who was genuinely surprised and delighted that so many people had followed and enjoyed his work.
Geeky Correction
Correction: Comedy Central is running Beat the Geeks at 8:30 AM PST, not 5:30 AM PST. It's three hours earlier on DirecTV, since they carry the East Coast feed, and that's how I receive it. Also, I forgot to mention that they're currently running the first season shows, which aren't as good as the later ones.
A-Maze-ing Stories
The other night on Letterman, guest George Clooney got to talking about The Money Maze, a 1974-1975 ABC game show that was hosted by his father, Nick Clooney. George worked on the staff of that show, and its announcer was Letterman's current announcer, Alan Kalter. (Nick Clooney is probably best known these days as a host on American Movie Classics.)
The Money Maze was kind of a dumb program, with couples competing for the right to challenge a huge maze that filled most of the studio. The husband would race through twists and turns in the labyrinth while his wife watched from an elevated platform called the Crow's Nest, which gave her a view of the whole layout. She would yell out instructions — "Turn left! Turn right!" — while he tried to locate five "money towers." These were pillars hidden in the maze which lit up when the husband pressed a button on them. One had a "1" on it; the rest had zeroes. If the hubby got all five towers lit and got out of the maze within 60 seconds, the couple won $10,000, which presumably made it all worth the effort. If he only lit the "1" tower and three zeroes, they got $1000. If he got the "1" and two zeroes, it meant $100, and I seem to recall at least one couple winning a big ten bucks. In order to win anything, the runner had to light the "1" tower and get out of the maze in the allotted time. During one phase of the show, the towers also had prize names on them; one represented a mink stole, another was a trip to Hawaii, etc.
Those of you interested in Trivial Connections might like to know that the producer of this series was the late Don Segall, whose career in TV and comic books I wrote about here. The director was Artie Forrest, who has recently been directing some episodes of Whose Line Is It, Anyway? And the show was under the aegis of Daphne Productions, which was Dick Cavett's production company. Most likely, it got on the air because Cavett had received some sort of commitment from ABC as part of the contract for his late night talk show.
The show had a short run, in part because ABC was then having clearance problems with its late afternoon programming (it only ran in about half the country) but to a great extent because the set was so involved. Segall told me that it took a huge crew at least 24, sometimes 48 hours to set up the maze, which was rearranged for every tape day. At the time, there were only a few studios in New York that could accommodate it and they were in such demand that they charged a fortune in rental. Every time the producers of Money Maze went in to tape a new block of shows, they had to pay for several days of studio rental to set up, and then it cost an absurd amount in overtime to strike the set and store it away. Don described it as the first game show where the stage crew took home more money than the contestants.
It was a pretty clear ancestor of the so-called "reality shows" of today but don't expect to see it on the Game Show Network. Word is that all but one or two of the tapes of Money Maze were erased, due either to neglect or Nick Clooney paying someone off.
Royce D. Applegate, R.I.P.
Actor-Writer Royce D. Applegate died New Year's Day when a fire of "mysterious origin" (as they say) swept through his home in the Hollywood Hills. Royce was probably best known for his recurring role on the old s-f TV series, SeaQuest DSV, but he appeared in dozens of TV shows and movies over the years, often playing a cop or a biker. I think the photo above is from an episode of Twin Peaks.
I met him when he co-wrote an episode of Welcome Back, Kotter, and I somehow managed to run into him often enough after that to develop a casual friendship. One time, when I extended the Hollywood courtesy of asking what he'd been up to, he ticked off the names of three recently-filmed movies in which he'd had roles.
A few months later, I was walking down Cahuenga Boulevard when Royce, who was driving by, spotted me and pulled his car over to the curb. "Remember those movies I said I'd been in?" he asked. "Well, I got cut out of all three." That was said without a trace of bitterness. It genuinely amused him, and he wanted to share it with me. (I think one of the movies was High Anxiety. Mel Brooks later gave him another part and didn't cut him out of History of the World, Part One.)
I didn't know the man well, but I always liked spotting him on the screen. I think the last time was in the TV-Movie version of Inherit the Wind — the one with Jack Lemmon and George C. Scott. It was fun to think, "There's Royce again" and sad to see him this morning on the obit page.
Recommended Reading
- The Woman Who Wouldn't Talk by Gene Lyons, Arkansas Democrat-Gazette
- Wise Counsel by William Saletan, Slate
- It's the Rules, Stupid by William F. Buckley, Jr., National Review
- Bushies Get Cold Feet by Timothy Noah, Slate
- Games Nations Play by Paul Krugman, New York Times
- Lugnuts in Power by Christopher Caldwell, New York Press