A Funny Man

In the late sixties, the hottest comedy writing team in Hollywood was Phil Hahn and Jack Hanrahan, two former MAD Magazine writers who had moved on to work for shows like Get Smart and Rowan and Martin's Laugh-In. They had split up by the time I got into their line of work but I got to know both men individually and found them to be two of the wittiest men in a business full of witty people.

Here, on the website for Cleveland Magazine, we find a reprint of a 1976 article on Hanrahan. It fingers him as the man responsible for making his home town into the butt of so many jokes. I'm not sure he deserves credit/blame for that but the rest of the piece has some good info about the backstage mood of TV shows back then.

Smilin' Stan

Here's an interesting piece on Stan Lee. A few of the facts are slightly askew but the enthusiasm of the article is interesting. It well captures the way a lot of kids felt about Stan and Marvel back in the sixties.

More on Yorty

Daniel Kravetz sends in the following info…

In your interesting piece on Sam Yorty, you are uncertain about how he first came to be elected mayor of Los Angeles in 1961. Yorty was a Democrat, running one year after the dramatic Kennedy presidential victory and one year before Pat Brown defeated Richard Nixon for the governorship. He was challenging incumbent mayor Norris Poulson, who was criticized by many progressives for giving too sweet a land deal to Walter O'Malley for bringing the Dodgers to L.A. Even more upsetting to voters was Poulson's program for separating paper trash from metal and glass trash before collection, which Yorty described as demeaning to housewives in many TV appearances, most notably on George Putnam's news show.

Yeah, I remember that now. For a brief time, we had separate collections: You had to sort your trash and put out separate trash cans, and some people howled. I recall a big press conference when the newly-elected Mayor Yorty got it changed. People cheered as he poured tin cans into the same trash can as wastepaper. Odd how there's been no similar outcry today when we sort our trash and put out material to be recycled in a separate container. Thanks, Daniel.

Jews in Comics

Claims that Jews control "the media" always seemed absurd to me but at one time, we had a pretty good grasp on the comic book industry. This article by writer Arie Kaplan is the first of three parts on "How the Jews Created the Comic Book Industry." I have a few quibbles with it but will withhold carping until all three chapters have appeared.

Sam Yorty

I mentioned Sam Yorty on my weblog and found myself engaged in e-mail discussions with others who recall the flamboyant (and largely inept) mayor of the City of Los Angeles. Yorty was mayor from 1961 to 1973 and darn near proved that L.A. could function just fine without anyone in that office. He spent most of his time in power either (a) travelling, ostensibly to promote trade with our fair city or (b) running for higher offices, among them the presidency.

The last of these was the more amazing since there was never any evidence that anyone anywhere wanted him to win any of these positions, except maybe for Angelenos who wished to be rid of the guy. Republican leaders didn't like him because even though the office of mayor is constitutionally non-partisan, Yorty had let it be known that he was a Democrat. Democratic leaders didn't like him because on every single issue that came along, you could count on him siding with the Republicans. His insistence that he was destined for bigger and better things almost seemed delusional. In fact, in '68 L.A. Times political cartoonist Paul Conrad began drawing Yorty in a Napoleon suit, being taken away to an insane asylum. This occurred when Yorty began claiming that he would soon be offered an important post in the cabinet of the newly-elected President Nixon. When he wasn't, Yorty hit Conrad and the Times with a lawsuit that, of course, went nowhere and made its plaintiff look even stupider.

How Sam Yorty got elected in the first place, I cannot say but I recall how he got re-elected in '69. In the primary that year, he came in second with 26 percent of the vote, trailing Councilman Tom Bradley who had 42. That looked like the end of Yorty but long before people talked about "playing the race card," he had one up his sleeve. Bradley was black, so the credo of the Yorty campaign became that if Tom Bradley got into office, he would take his marching orders directly from the Afro-American militants known as the Black Panthers. Yorty aides combed through photos of Bradley, found every one in which the Councilman's fist was clenched (including pictures of him jogging) and published them with captions that claimed Bradley was giving a covert "Black Power" signal to his true masters.

It was an enormously dirty, racist campaign. At one point, it was alleged that Yorty's backers had recruited and paid young black males to ride around key precincts in Cadillac convertibles with Bradley campaign signs on them. They were to play the radio at deafening levels and yell at old white ladies, "You'll be cleaning my house when Mayor Tom takes over!" I'm not sure they actually went that far, but they sure came close. It was an especially ludicrous line of attack if you recall how non-militant Tom Bradley turned out to be when he did finally did get into office and how groups like the Panthers all but disappeared. Yorty's racial fear campaign actually worked in '69 and he squeaked by. The next time around, the same line of attack got nowhere and Bradley easily won what turned out to be the first of five terms.

One of my favorite incidents in a lifetime of election-watching occurred during that election. Yorty, in a rare instance of doing something besides travelling and campaigning, had rammed through the City Council a number of proposals that enriched Occidental Petroleum. One was a controversial land swap deal where the city got some worthless acres and Occidental got some land which turned out to be quite rich in oil. During the campaign, Bradley charged that Yorty had a personal financial interest in Occidental and Yorty responded that Bradley was a lying fool and categorically denied any such interest. As it does more and more these days, the press stayed out of an election issue and didn't start looking into Bradley's charge until after Election Day when, of course, it meant so much less.

Turned out, Yorty himself might not have had a financial interest in Occidental but his wife did. The moment I loved came in one of Yorty's last press conferences when he was asked about this. He said something like, "I never denied that I had any financial interest in Occidental and anyone who says I did is a damn liar." One of the local news channels ran that footage, then ran a clip of Yorty saying, "Neither I nor anyone in my family has ever owned one share of Occidental Petroleum and anyone who says I have is a damn liar." I wish the media would do more of that kind of thing, and do it when it matters. (Later, I believe Yorty actually tried claiming that his wife had purchased more than a million dollars worth of petroleum stock without telling him…)

Sam Yorty died in 1998 without ever again holding public office. I have to say that I smell some of his tactics in the attempts to portray Cruz Bustamante as some sort of Chicano militant. Mr. Bustamante has not impressed me as anything more than the least offensive of a lot of bad choices I find on my ballot, but I think the attempts to tie him to extreme racial groups seem very strained. The same applies to any possible connection Mr. Schwarzenegger may have or have had to former Nazis. Come on. There are plenty of reasons not to vote for either of those men without resorting to that kind of nonsense.

Missing Masterworks

The L.A. Police Department has a section on their website for the Art Theft Detail. This is the division in charge of recovering lost paintings and drawings, and their jurisdiction extends to various collectibles. On their section of the L.A.P.D. site, they post pictures of items that have been stolen, ranging from Salvador Dali paintings to Peanuts cels. (Also on display and presumed stolen is an oil portrait of former L.A. mayor Sam Yorty…and you can only wonder what a thief would want with that. Maybe he's going to threaten the city: "Give me ten thousand dollars in cash or I return it!") Anyway, it seems like a good idea to me but I have to wonder about one thing: Over in the "collectibles" section, they have pictures of the covers of Action Comics #1, Detective Comics #1 and Detective Comics #27 which have been reported stolen.

In fact, I myself stole the pictures above of Action #1 and Detective Comics #27 from their site and this brings us to a couple of questions. Are those photos of the actual copies of those three stolen books? Did someone think we might be able to identify the stolen Action Comics #1 from the picture and distinguish it from any other copy of Action Comics #1 we might come across? How does someone prove that a given copy of Action Comics #1 is their copy of Action Comics #1? Did whoever put that photo up think, "Maybe someone will see this picture and remember it when they see a picture of Action Comics #1 for sale? Putting up the pic of the Dali picture makes sense since that's a one-of-a-kind item. What do they think the pictures of the comic books will accomplish?

Riding Hoodwinked

Paul Dini says that the image I posted of Tex Avery's Riding Hood character was from Red Hot Riding Hood. Says Paul…

The tell-tale signs: Red appears shorter and cartoonier in that film, with a shaded nose and three fingers and a thumb in most shots, whereas she gained some stature and a fourth finger in the later shorts. And while her appearance in Little Rural Riding Hood is all reuse (except for the photo of her seen at the beginning of the cartoon) her dance footage is from Swingshift Cinderella, not Red Hot Riding Hood.

And since I mentioned Tex Avery, I should have mentioned Preston Blair, who brought Ms. Riding Hood to life when he executed some of the most memorable animation ever done.

Let's Put On A Show!

Had a nice time last night at the Reprise! production of Babes in Arms. Richard Rodgers and Larry Hart wrote it in 1937 and the consensus was that it had a silly, lightweight plot but a lot of great songs. Every few decades since, someone takes a crack at rewriting the book and what they wind up with is a silly, lightweight plot but a lot of great songs. The great songs include "The Lady is a Tramp," "I Wish I Were In Love Again," "My Funny Valentine," "Johnny One-Note" and "Where or When." Some shows never have one number as memorable as any of those five.

The plot, such as it is, revolves around a group of talented, unpaid interns who work in a regional theater that's in trouble due to a string of rotten plays. The heroine, Bunny, is a part owner but is about to lose her share of the theater to a bad guy named Fleming who has mismanaged the place into near-bankruptcy. His latest offering is a dreadful thing called The Deep North, written by, directed by and starring an inept, egomaniacal Southern playwright. A great Broadway producer is coming to see it so the salvation of the theater (or at least of Bunny's share) depends on the kids getting the bad play cancelled prematurely — like, during the first act — and getting the opportunity to show the producer a revue they've been developing in their spare time. There are a number of romantic entanglements but basically, that's what it's about, at least in the version Reprise! is doing, which is a 1959 rewrite of the book by George Oppenheimer.

But the inane script can almost be forgiven because the songs are so good, the dancing in this version is so good, and the cast is first-rate. Jodi Benson is terrific as Bunny. All the publicity material reminds us that she was the voice of The Little Mermaid and all around us, you could hear people whispering, "She was the Little Mermaid." And she was — but she's also a terrific musical comedy performer with the kind of voice you have to have to sustain that one endless note in "Johnny One-Note." Also wonderful in the cast were Beth Malone, Jeffrey Schecter, former "New Kid on the Block" Joey McIntyre, Bets Malone, Steve Vinovich, Jenna Leigh Green, old pro Ruta Lee and, in the role of the jerk playwright, Tom Beyer.

As with all these Reprise! shows, there aren't many performances and my subscription is for late in the run because the later you go, the more experience the cast has had in their roles. So you probably won't be able to catch this one, which closes Sunday. But there still tickets for the next two Reprise! shows. They're doing Kismet in January and Company in May. Details at their website. Looking forward to both.

Oddball Alert

Our pal Scott Shaw! brings you one of the oddest of the oddball comics today over at Oddball Comics. That's right: It's another issue of The Adventures of Manuel Pacifico, Tuna Fisherman. And no, they weren't kidding.

From Editor and Publisher

Last week, many newspapers in the U.S. declined to run a Doonesbury strip that mentioned masturbation. According to this article, those that did run it received almost no complaints.

Also: According to this piece, a great many newspapers buried or did not run the recent admission by George W. Bush that there is no evidence that Iraq was directly involved in the 9/11 attacks. This kind of "coverage" goes a long way to expain why so much of America thinks Hussein was connected to those awful deeds.

More on Morton

Here's an obit for Jay Morton, the one-time animation and comic book writer who is said to have coined the famous "More powerful than a locomotive…" tagline for Superman. This one says he wrote "about 25" of the early Superman cartoons but there were actually only 17 Superman cartoons in that series and Morton probably didn't work on the last few.

Two Rural Sex Symbols – The Answer

What do Daisy Mae (in the '59 movie) and Red Hot Riding Hood have in common? Imogene Lynn. Imogene Lynn was a popular vocalist of the Big Band era, heard on records by Ray McKinley, Artie Shaw and others. Born in Trenton, Missouri, she began her professional career in 1940, singing with Emerson Gill and several "Society Bands," playing the national tour of hotel ballrooms and night spots. In 1942, she moved to Los Angeles along with her husband, musician Mahlon Clark, who had a pretty good career of his own playing the clarinet. There, she went to work for McKinley and sang lead vocals on "Big Boy" and "Who Wouldn't Love You" for Capitol Records, both top-selling tunes. Two years later, she went to work for Shaw where she sang on his million-selling rendition of "Accentuate the Positive" for RCA. She toured with Shaw for several years and later went on to be the female vocalist for the MerryMacs, then for the Starlighters.

From the mid-forties on though, her main career was as an anonymous studio singer and as a dubber of non-singing actresses. She sang for Mona Freeman in Mother Wore Tights and Isn't It Romantic?, for Loretta Young in Mother Was a Freshman and, yes, she dubbed Leslie Parrish when she played Daisy Mae in Li'l Abner. And that's her you hear as Little Red Riding Hood (aka Red Hot Riding Hood) in several Tex Avery cartoons. Ms. Lynn passed away in February of this year at age 80.

Recommended Reading

Shortly after U.S. forces secured Iraq, we heard reports that the Iraqi Museum in Baghdad had been looted of priceless, one-of-a-kind artifacts and treasures. The extent of the looting was argued by pro-war and anti-war Americans, with both sides apparently throwing out wholly fictitious statistics. For what seems like a more temperate, informed view of the situation, you might want to read this article.