Monthly Archives: July 2006

Jon Meacham on the American tradition of being united, rather than divided by religious differences.

I haven't gotten around to seeing the Broadway show, Avenue Q…but everyone I know who's seen it says it's wonderful. Here's a number from the 2004 Tony Awards telecast that would seem to bear this out…

Jane Mayer on the Bush administration's view of its own power…with special emphasis on Dick Cheney's interesting interpretations of our laws.

Here's a link to the L.A. Times obit on Jan Murray. Amazingly, it makes no mention of all the fine work he did over the years hosting the Chabad Telethon. It also makes some factually-awry statements like, "In 1965 he moved to Los Angeles and found work in films and on TV series such as The Lucy Show and Car 54, Where Are You?" About twenty seconds of Googling would have told this reporter that Car 54 was produced in New York from 1961 to 1963. Oh, well.

One of the best things I've seen on or around Broadway was the revival of 1776 that the Roundabout company mounted in 1997. In fact, I saw it twice: Once with its original star, Brent Spiner, as John Adams and later with his replacement, Michael McCormick, in that role. Today's clip from the Tony Awards ceremony broadcast in '98 features Mr. McCormick.

I had a great time both visits…though I have to say I've never loved the score for 1776. It really is that rarest kind of musical — the kind where the book is better than the songs. The composer, Sherman Edwards, was not a facile tunesmith. He had co-written a few pop songs that were performed by Elvis Presley. His most lasting hit was probably "See You in September," as recorded by The Happenings. 1776, which took him many years to write and more years to sell, was his only musical.

I've seen 1776 three or four other times and always enjoyed it. Somehow, the book by Peter Stone does an amazing job of making you forget that you know how the story turns out. Halfway through at intermission, you're saying, "Those poor saps…they'll never get that Declaration of Independence signed." When they do, there is always a burst of giddy, joyous applause from the audience. It's one of my favorite moments in any musical…and there hasn't been a song in over twenty minutes.

So here, in honor of the Fourth of July, is the opening number from 1776. Wish I could show you the whole thing.

This article by Trudy Rubin makes some strong points about what both Democrats and Republicans are doing wrong with regard to the Iraq situation. Well worth a read.

Our national shortage of Old Jewish Comedians worsens with news that Jan Murray has passed away at the age of 89. Mr. Murray had been in poor health for some time — too ill to even host the annual Chabad Telethon for many years.

But when he did, he was wonderful at it. If you never saw him preside over that ritual, you missed some truly great television. Every twenty minutes or so — more often as they near the conclusion — they go to the tote board to see how much money has been pledged and when they do, all the men on stage link hands and dance in celebration. When their number included Murray, it was hilarious to watch as he'd get wearier and wearier throughout the show. I think he was in his early eighties the last time he did it…and he did it with an attitude of, "Oh, no! I have to dance again." I'm confident some people were calling up to donate money just so they'd do another tote and see if they could kill Jan Murray.

Well, I hope you're happy, people. You finally got your wish.

And I write that with only admiration for his performances. Murray played his mounting fatigue for every bit of comedy he could wring out of it and he was very funny. Others have hosted the telethon since he retired and they've all been terrible. It's never been the same since he left it. (This year's is September 10 and Shelley Berman will be taking a spin at filling Jan Murray's dancing shoes. If anybody can…)

Most of Jan Murray's career in television was spent hosting game shows.  One of these days, I need to tell the story of when the youthful me met him in the corridor outside where they taped Treasure Hunt and he impressed the heck out of me.

I only met him twice after our 1959 encounter in the halls of NBC. Once was at the Friars Club and once was on the set of the Chabad Telethon. Both times, he struck me as the same guy I'd met as a kid: Funny, polite, charming and very much in control. I don't think I ever saw him actually do anything you'd call an act…but when I think of Jan Murray, I think of a guy who sure knew how to work an audience. And whose career was a matter of dancing 'til he dropped…which, sadly, he just did.

From the 1990 Tony Awards, here are Brent Barrett and Michael Jeter performing "We'll Take a Glass Together" from the musical, Grand Hotel. I didn't care much for the show but this number was worth the price of admission.

Brent Barrett was last seen in the movie of The Producers, playing a member of Roger DeBris's in-house staff, and he's currently in Las Vegas in the version of Phantom of the Opera being offered there. Michael Jeter's story is a lot sadder. Later in this same award show, he won the Tony for Best Actor in a Musical…for a role in which he played a dying bookkeeper. I'm sorry no one seems to have his acceptance speech online because it was quite emotional with him saying, "If you've got a problem with alcohol and drugs and think you can't stop, I stand here as living proof to the contrary." He said it in a modest way but with such impact that I couldn't help but think it must have affected some people who needed to hear things like that.

The Tony brought him attention and seems to have led to his regular role on the TV series, Evening Shade. He won an Emmy for that show and later went on to a recurring role on Sesame Street and several choice movie roles. But in 1997, he again jolted people with his candor when he announced he was gay and HIV-positive. He died in 2003, shortly after completing his scenes for the film, The Polar Express. In hindsight, knowing all that he endured, the exuberant dance he does as the terminally-ill bookkeeper, out for a last "fling" seems especially bittersweet.

Jimmy Carter discusses the Freedom of Information Act and why we need less secrecy in government.

Here is the long-awaited follow-up to this message which I posted two weeks ago…

As you may remember, they had just opened the long-awaited cafeteria at Westwood Elementary School. Foolishly — I was young at the time, remember — I'd assumed the cafeteria would be like other cafeterias that I visited with my parents…places where you had some selection as to what you'd eat. Not so with the one at my school. There was one meal each day, take it or leave it — and if you took it, you had to eat it.

Students were deputized to police the lunchroom and hover around the trash cans…and if someone didn't finish their lima beans or their Spanish rice, they were sent back to the table to clean the plate. This was among my worst nightmares: Being forced to eat that which my instincts told me I shouldn't eat. All my life, I had problems with certain foods. I later found out from doctor-type people that it was a complex array of food allergies and intolerances but even at the time, I knew that if I ate raw tomato or lettuce, for instance, I was in for stomach cramps, pains, upchucking and other unpleasantness.

A great lie that was told to kids back then — and is probably still told to some — is that you always had to eat everything put in front of you. No, you most assuredly don't. Some foods don't agree with some stomaches and it's foolish to regard Not Wasting Food as more critical than your own health. It also, of course, isn't good for one's weight to approach every meal with the idea that you have to stuff every scrap they give you down your throat. If early on, I'd gotten in the habit of stopping when I felt I'd had enough, I might not have had to recently undergo Gastric Bypass Surgery.

I love cafeterias — the kind where you can see the food and then decide what to eat. There are no surprises…no finding out that the sandwich — automatically and without warning — comes with cole slaw on it or that the fried chicken is unexpectedly battered in shredded coconut or that the veal parmesan includes a gratuitous, offending layer of eggplant. You can even usually see if the portion size is more than you want to swallow. I also have always favored cafeterias because in every "real" one I've ever been in, there's a person standing there who'll carve slices of fresh, just-out-of-an-oven turkey for you, right off the bird. This may be my favorite meal in the world and when I heard my school was opening a cafeteria, I thought, "Oh boy! I can have sandwich of real, just-cooked turkey every day for lunch." It was a shock to learn that I could not.

I recall the horrifying sequence of events with a shudder. They announced on a Friday that the new cafeteria would begin serving lunch on Monday, and many students cheered the end of hauling in mom-made peanut butter-and-jelly concoctions. I told my mother not to bother filling my trusty lunch box (which may then have been the model seen in the above picture). I would henceforth be dining at the school cafeteria, which I imagined looking like the Ontra, the cafeteria in Beverly Hills that my parents and I frequented. Monday morn, I felt almost naked, walking to school without a lunch pail.

Then, around 10 AM, the vice-principal came in and read a little memo about the cafeteria, hailing its creation and telling us all how to line up for it and how to behave and to do a lot of the same things advised in this film. Everything sounded fine until she got to the part that said that the meal today would be Chicken Tostadas. I waited to hear the other options but there weren't any. It was Chicken Tostada or go hungry. Furthermore, she told us about the monitors who'd make sure you didn't leave the cafeteria until you had completely consumed every last bit of your Chicken Tostada.

I wasn't sure exactly what a Chicken Tostada was but I had the chilling sense it meant trouble. During a break, I turned to the classroom dictionary, looked up "tostada" and read that it was "a tortilla fried until crisp, garnished with fillings including shredded lettuce, salsa and other things Mark can't eat." At least, I think it said something like that. I also looked up "cafeteria" and found the definition, "A self-service restaurant in which food is displayed on counters, allowing a choice from among different selections." For a moment, I thought of chasing the vice-principal down the hall and showing her proof that, according to the Webster's people, my school had the whole concept of a cafeteria wrong…but I had the feeling it wouldn't do a whole lot of good.

I went without lunch that day…and don't think that was easy. During lunch period, they expected to see you dining either in the cafeteria or at our assigned lunch benches, and I couldn't show up at the latter, sans food without facing embarrassing questions and probably even more embarrassing explanations…so I hid out in the Boys' Room until the bell rang that said we could go out and play Dodgeball. The next morn, you could find me carrying my once-again-trusty lunch box to school.

Interestingly, the new cafeteria was a flop. Most of my friends tried it. Few of them liked it. I got the feeling that the only ones eating there were those with mothers who didn't want to bother making sandwiches in the morning. Those poor kids had to go in and eat the Chicken Tostada, which was a weekly feature and which was disliked even by kids who could and did eat Chicken Tostadas in other restaurants.

One day, the vice-principal came around to each class for a brief discussion as to how they could get more pupils to patronize the new, expensive-to-build cafeteria. What struck me about the dialogue was that she more or less ruled out "the food is bad" as a reason. When someone suggested this, she launched into a little speech about how it was necessary to keep prices down so that every student could afford to eat there…and for what they charged, that was the best food that could be offered. With that off the table (so to speak), she pressed us for other reasons. What if we staggered the times different classes were dismissed for lunch so the lines at the cafeteria would be shorter? What if the plastic silverware was at the end of the line instead of the beginning? The one comment no one was allowed to make was that the food stunk, and I could see that that was the only thing on everyone's mind.

Finally, I raised my hand and made a little speech, ever so politely, about how I didn't understand why a place that served only one meal was called a "cafeteria." I read the definition and suggested that maybe, just maybe, our cafeteria could offer a choice. Maybe?

The other students actually applauded. I had found a way to skirt the ban on suggesting the quality of the food was the problem. The vice-principal listened and said, "Hmm…that might be worth looking into," and I wondered why a grown-up needed a ten-year-old boy to suggest to her that maybe the reason no one was buying the product was that they didn't like the product. I mean, I'd figured that out a few years earlier when my friend Johanna and I had run a lemonade stand with neither repeat business nor enough sugar in the lemonade.

But I'll say this for the vice-principal: She took my suggestion, looked into it and — sure enough — the cafeteria began experimenting with offering a choice of entrees. For instance, the first day they did this, you could have your choice of the Chicken Tostada or the Beef Tostada. I went for the peanut butter-and-jelly on white and so did almost everyone else.

You too can be Jackson Pollock. Just go to that site and start clicking and moving your mouse around.

Thanks to Mickey Paraskevas, producer of The Cheap Show, for the link. Go to his site, too.

For the next few days, I'm going to link to some clips of musical numbers from past Tony Awards telecasts. This one, from the 1990 awards, is a medley of three numbers from City of Angels, a fine show written by Larry Gelbart with songs by David Zippel and Cy Coleman.

For those of you who don't know the show: It's the story of a mystery novelist turned screenwriter who's trying to cope with what Hollywood does to people in his line of work. The stage is bisected and some scenes take place on the left side in full color as the screenwriter battles a crazed producer as well as his own conscience, trying to write the script. Other scenes take place on the right side in muted colors (to approximate black-and-white) and these are moments from the screenplay in progress. Most actors in the show play dual roles — one in the story on the left and one in the story on the right. In this medley, the first number is a duet for two women — the screenwriter's wife (Kay McClelland) is on your left, whereas the scene at right takes place in the office of the detective hero of the novel and movie, with his secretary (Randy Graff) lamenting the boss's propensity for ignoring her. The second number in the medley is an argument between the screenwriter (Gregg Edelman) and the private eye character he invented (James Naughton)…and this segues into an abbreviated version of the show's finale. It's a wonderful musical and if you ever get a chance to see more of it than this, do.

The L.A. Times has a good obit on Lennie Weinrib. It has a few mistakes in it — these things always do — but it's nice that he made it into the papers.

Amazingly, it is but nineteen days until this year's Comic-Con International commences in San Diego…eighteen days if you're attending Preview Night. Where does my year go?

In a day or three, I'll be posting a list of the program items I'll be moderating. They include two Cartoon Voice panels, the traditional Quick Draw! and Jack Kirby Tribute panels, a panel with Sergio, the Golden/Silver Age Panel, spotlights on several great veteran comic book creators and several others you'll want to attend. Check back here for all the details of where you'll want to be.

I have a Convention Guide that I wrote that's full of tips…but mine is bupkis compared to what Tom Spurgeon has come up with. You can read mine but make sure you read his. I agree with just about everything he says.

If you need more info on the con — and you probably do — click on the banner above. The con website is well-designed and very useful. I often find myself answering questions from folks who could have found out what they wanted to know by spending a few minutes over there.

As a special favor to you all, I'll forgo my usual joke about how if you want to get a parking space there, you'd better leave now. But it's true.

Stephen Colbert on The New York Times, Brit Hume, the revelations of the U.S. monitoring banking transactions…and Superman.