Today's Video Link

This is a 10-and-a-half minute segment from the 60 Minutes show from September of '87…a piece on Mad Magazine. The main point of interest is the chance for those who never met him to get a look at William M. Gaines, the colorful publisher of that publication.

Gaines died in 1992 and this was one of the last interviews he did. The three men you'll see with him in his office are Nick Meglin and John Ficarra, who were then the magazine's editors (Ficarra still holds that job) and its editorial consultant, Dick DeBartolo. You also get to see a bit of the old Mad offices over at 485 MADison Avenue. There's no mention of the magazine's first editor and founder, Harvey Kurtzman, or of Al Feldstein who took over from Kurtzman and ran the mag for 29 years during which it became the best-selling humor publication in the history of mankind.

The piece dwells a lot on the fact that Mad did not merchandize much or sell advertising at all — two policies that have changed since Gaines passed away. In the interest of accuracy, it should be noted that while Bill's stated reasons for declining those dollars were true, there was also probably another, unstated reason. Gaines was a compulsive who had a dread fear of his magazine getting any larger. He liked keeping it small and simple so he could manage it by himself. He didn't like dealing with new people and ran in fear from any suggestion — and there were many — that might have meant increasing the size of the operation, its staff, its financial complexity, etc. When the subject of selling ads in Mad came up, Gaines had what you might call his "principled" reasons for refusing, and perhaps they were reason enough. But he also was horrified at the idea of just dealing with advertisers and of upgrading Mad's printing and adding more color, which is what those advertisers would have wanted.

And there was another thing: Mad had been pretty successful in the late sixties and early seventies. He'd gotten very wealthy off a magazine without ads so he didn't want to tamper with the package. By '87, sales were in serious decline but it was still profitable enough, and Mad remained a sacred untouchable within the Time-Warner company that owned it. Sales were nosediving at the time of his death and that trend continued. Some members of the Mad crew believe that if Bill had lived, he would have gone to the better-printed format — including paid ads — that is the current Mad package. (I'm of two minds on this. I sure wish Mad had had that kind of printing in the days when Wally Wood and Jack Davis were drawing for them and Mort Drucker was in every issue instead of every fourth or fifth issue. If it had meant paging through some ads to get to that, I'm not sure I wouldn't have made the trade-off.)

Gaines was an interesting man. He ran Mad in a way that was consistent with his personal quirks even when it cost him a lot of money. It was a generally-benevolent dictatorship and some of his people tolerated certain business practices that they would not have accepted elsewhere…because they loved Bill. Here are a few minutes with the man and his magazine…

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Today's Political Musing

Ralph Nader says that John Edwards stands out from all the other Democratic contenders. Is this the same Ralph Nader who in 2000 said he couldn't see a bit of difference between Al Gore and George W. Bush?

Important Skidoo Announcement

Skidoo, a movie of mind-boggling inanity, is on Turner Classic Movies this weekend. Let's clarify when.

When I made the below banner, I gave the date as January 4, which is Friday. The truth is that its official airtime is 11 PM on Friday night on the West Coast, 2 AM on Saturday morning on the East Coast. So it's technically January 5 in some time zones.

Jay Jay and the Governor

So…is Mike Huckabee trying to appear uncommonly clueless? This is in this morning's New York Times (not the Wall Street Journal)…

Former Governor Mike Huckabee of Arkansas today professed his support for the striking television writers union just a few hours before he was expected to board a plane to for a taping of the Jay Leno show where he will face a vocal picket line of striking writers.

Mr. Leno's program is returning to the air for the first time since a long hiatus for the strike. Speaking to reporters, Mr. Huckabee said he was unaware that he would be crossing picket lines and believed that he the program had reached a special agreement with the union.

Although crossing picket lines might not be unusual for most Republican candidates, Mr. Huckabee has waged an unusual populist campaign on economic issues, stressing his empathy with the anxieties of working people. On Wednesday, he said he identified with the striking television workers as an author himself and believed they deserved a share of the proceeds from the sale of their work.

…and then it goes on from there (link) to list some of his other recent inconsistencies.

So what's the deal here? I could maybe, possibly buy that Huckabee didn't know the show hadn't reached (or even tried for) a special arrangement with the Writers Guild. I mean, that suggests a pretty shoddy grasp of current events but it's possible. But do we think no one on the guy's staff knew? Go Google "Leno AND strike" and see how many hits you get that impart that little nugget of information. I mean, it isn't a secret. Don't you think that when Huckabee made the decision to leave Iowa, where the all-important caucuses are tomorrow, and fly to Burbank to do a TV show, someone said, "Uh, governor, you know you'll be crossing a picket line, right?"

This matters to me for the obvious reason that it's my union on strike here. But I also agree with those who say we don't demand/expect enough from our elected officials, especially our President, in terms of experience and smarts and just knowing what's going on around them. An awful lot of voters seem to think that if the candidate seems like a nice guy — someone you could have a beer with — or someone who'd go to your church and go often, that's enough. He can surround himself with people who know all the stuff he doesn't. I got an e-mail last night from a friend making the case for Barack Obama that way. Yeah, he may be a little inexperienced but that doesn't matter…

Gee, if experience doesn't matter when you run for President, where does it matter? I've worked for comic book editors who wouldn't let me write a story for them if I didn't have sufficient credits.

I have never bought the "I didn't know" defense from any President. Didn't buy it when Ronald Reagan said it about trading arms for hostages. Didn't buy it when Bill Clinton said he didn't know about all those fund-raising violations. It's theoretically possible they didn't know but they should have. Either way, it's not an appealing trait for someone who can do so much damage if he makes the wrong decision.

It sounds to me like Huckabee is trying to have it both ways. The other day, he showed that attack ad on Romney to reporters but said he woudn't run it. So he got its message out but tried to claim some moral high ground for not disseminating it. Today, he's going to cross a union's picket line to get some teevee time but claim it was because he didn't know there would be a picket line from a union he says he supports. It's like Tom Snyder used to say: "It isn't what they do sometimes…it's how dumb they apparently think we are."

Ratings Rumble

Ah, now we know the reason I couldn't find that Garfield article in the New York Times article. Because the piece was actually in the Wall Street Journal. Here it is — from June 1, 1993…

Cartoon cat Garfield is not only lazy and a glutton; it seems he has also been trying to cheat on his Nielsen ratings.

During the past three years, CBS has repeated seven times an episode of the Saturday morning animated program "Garfield and Friends," in which the cat opens the show saying, "Hi everyone, and a special welcome to Nielsen families."

The several-second greeting seems innocuous enough, particularly to Nielsen-naive kiddies who probably don't understand the reference to the ratings service, Nielsen Media Research. Innocuous or not, however, it's strictly forbidden as far as Nielsen is concerned, because of the potential it has to distort the television ratings.

In theory, the gimmick makes it more likely that viewers will remember to punch in with the Nielsen "peoplemeter" or to record their viewing of the cartoon in Nielsen's paper diaries.

CBS says it didn't know about the greeting. The felonious feline got away with the trick until Saturday, May 22, when a sharp-eyed viewer from rival NBC (presumably an adult) noticed the message and immediately protested to Nielsen, which then told CBS to desist.

A spokesman for Nielsen said there is no way to gauge whether the gimmick affected the ratings of the 9 a.m. program, which is top-rated among the two-to-11-year-old set. The show goes into its sixth season in the fall.

The ratings company won't take any action against CBS other than sending a letter to all of its clients notifying them of the situation. But a spokesman says, "Maybe we ought to string them up by their paws."

Lee Mendelson, "Garfield" executive producer, calls the greeting "an innocent joke," and says it never would have been included had the producers, United Media/Mendelson Productions and Film Roman & Claws Inc., known it was a problem.

Mr. Mendelson says he's mystified by the brouhaha. "Of all the problems in the world, I wouldn't put this at the top of the list," he says.

I'm pretty sure the article got the quote wrong. Garfield said, "…all you lovely Nielsen families." It also erred on the name of Jim Davis's company, which is Paws, Inc. And I do recall being told that Nielsen had agreed to drop that week's ratings out when they averaged the season, thereby voiding that week…which didn't affect the numbers at all. But the reporter was right on one thing I forgot: NBC didn't complain until the seventh time this episode had been run.

No one got the least bit mad at me, by the way. The reaction at CBS was bewilderment because even though it may technically be against some obscure Nielsen rule, that kind of joke does pop up from time to time on shows and no one ever complains. We had a not-dissimilar line in another episode and no one noticed or objected.

Thanks to the many readers of this site who took the time to go look for the piece and forward me copies. The first five were Vern Morrison, Bill Stiteler, Roger Green, Eric Newsom and someone whose handle is Proquest.

Recommended Reading

About this time in every presidential election, some prominent journalist writes pretty much the same article about how the Iowa Caucuses are a sham masquerading as a real primary, and how the outcome doesn't even begin to reflect what Iowans think, let alone any significant block of voters in this nation. This year, Christopher Hitchens takes a stab at that article. No one, insofar as I can tell, disputes his thesis or the facts supporting it. But no one does anything to change the set-up, either.

Today's Video Link

As a few of you know and even fewer of you care, I wrote the Garfield and Friends cartoon show for something like eight years. I forget exactly how long. Anyway, it was a lot of lasagna jokes.

During the show's life on CBS, it had three different openings and three theme songs. I cannot explain the third one, which was an odd rap thing that no one associated with the show liked and which didn't last long. The first one though went like this…

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That animation was done, by the way, by a gifted artist named Kevin Petrilak. The song was written by Desiree Goyette, who was also the voice of Nermal on the show, and that's mostly Desiree's fine singing voice you're hearing. I came up with the idea of having Garfield say a different line at the end of the main title each week, which was easy to do since his mouth didn't move. I wrote dozens and dozens of those, a couple of which got us into trouble. One week, I had him say, "And a special hello to all you wonderful Nielsen families out there." Apparently, you're not supposed to do that. NBC accused us of trying to rig the ratings (I am not making this up) and there was actually an article in The New York Times about how the Nielsen company had decided to void the Saturday morning ratings for the week because of it. (I can't find my copy, either on paper or in the online N.Y. Times archives. If someone here has Nexis/Lexis or some other service that can track it down, I'd love to get the text of that article.)

A year or so later, NBC got out of the business of programming animation on Saturday morning. The first AM this was effective, the end line to our opening was Garfield saying, "Don't bother watching NBC, kids! There are no cartoons there!" There were more complaints from the Peacock Network but nothing they could do to us. Besides, it was true.

Anyway, that was our first opening and I liked it. I've decided, however, that I like it even better in Spanish…

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Bill Idelson, R.I.P.

Comedy writer-producer-actor Bill Idelson died last night. He had been hospitalized for some time after a bad fall and that's all I know about his health problems. What I do know is that he was a successful and creative man who worked behind (and sometimes, in front of) the camera on some fine TV shows including The Twilight Zone, The Andy Griffith Show, Love American Style, The Odd Couple, The Bob Newhart Show, M*A*S*H and Gomer Pyle, USMC. He was also a writer on The Dick Van Dyke Show, and occasionally played the role of Sally's bland boy friend, Herman Glimcher.

In an earlier life, Bill was a child actor, appearing often on radio, in movies and on early television. His big radio credit was the Vic and Sade series, on which he played the role of Rush Gook.

The last decade or two, he was primarily a teacher, running a successful writing workshop that graduated many top professional writers. He also authored several books about his life and work, one of which — Writing for Dough — I often recommend to people who are curious about television writing in the fifties and sixties. He was one of the good guys and he leaves behind a fine legacy of good writing and good writers.

Recommended Reading

David Brooks on why Mitt Romney can't possibly win in '08. I suspect that if you do a little web-surfing, you can find a reasoned argument for each of the candidates, Democratic or Republican, telling why that person has no chance of winning. But this one strikes me as a pretty solid case.

Brooks, by the way, is the man soon to be known as the New York Times Conservative columnist who's occasionally correct. That's what they'll be calling him after William Kristol's new column begins appearing in the paper. You just know that hiring came about because someone said, "We need a new right-winger…who should we get?" And someone else said, "I dunno. Let's see if we can find someone who's never been right with one single prediction about American foreign policy!"

Also: I should mention, in light of some e-mail I'm receiving, that I am not opposed to Barack Obama. I'm not particularly for him either, or for anyone. I figure I've got plenty of time to decide which person I will reluctantly back and then have to cringe as they often disappoint me. Why start that process now?

Today's Skidoo Reminder

If you haven't set the TiVo or VCR yet, this would be a good time to do it. It's on Turner Classic Movies at 2 AM Eastern time on Friday night/Saturday morning…but your local cable company (if that's how you get your signal) may time-shift. So consult whatever you consult to make certain when something is on.

Recommended Reading

Reza Aslan writes of the challenges that await our next President and in so doing makes an interesting case against Barack Obama. He makes no case for any particular candidate but the argument would seem to lead one towards Clinton…Bill, not Hillary. I don't see anyone on either party's ballots who seems to know anything about these rather serious issues, let alone how to solve them. Joe Biden, maybe — but Joe Biden has about as much chance of being elected President as Michael Vick. I don't want to have to vote for Hillary and hope that she turns a lot of her job over to her hubby but it may come to that.

I guess what I'm wondering here is: Are the candidates not talking more seriously about what to do in Iran because they really don't know? Or is it that they expect America will elect its next leader based on matters like abortion and guns and immigration and maybe how tough they sound when they mention Iraq or how religious they seem to be? And then we'll hope that whoever sounds good to us on those fronts can figure out what to actually do about the Middle East?

Good Morning, Year!

I spent last night home alone, writing and coughing and trying to stop a small cold from going big on me. I never like to go anywhere on New Year's Eve for two reasons. One is that back when I used to party-hop, I was not impressed with the merriment at any of the parties. I'm sure there are many fine, memorable ones out there but the ones I attended all seemed forced and ritualistic. It was like people were working backwards from the premise that since it was New Year's Eve, they were having a good time, whether they actually were or not. It took me a while — and a couple of less-than-glorious experiences — to decide I was happier staying home, especially with the right person. She would have been here last night but for my increasingly sore throat.

She not only missed out on my germs but also on a fine example of my other reason for not going out on New Year's Eve. Around 11:10, as I was sitting here writing something for DC Comics, I heard the horrendous sound of a Drunk Driver. I mean, it was just the sound of squealing brakes and car hitting car but you knew it was a Drunk Driver. I grabbed up a cordless phone and sprinted outside.

The D.D. was already long gone. He'd been driving a white Toyota or maybe it was an Acura. It could even have been a Honda Something. It all happened that fast. He'd been doing about sixty, well over the limit, and had attempted to pass a silver-colored Chevy on the left, which on this street meant crossing the center divider, moving briefly into the opposite lane. You shouldn't do that anywhere but you especially shouldn't do it here, where there's a curve ahead and you don't have a long view of oncoming traffic. Apparently, he saw headlights coming and rushed to swerve back into his lane, sideswiping the Chevy and sending it crashing into a black Buick that was stopped at an intersection, waiting to cross the street that the drunk and the Chevy were driving on.

Damage to the Chevy was minor — "about equal to my deductible," the guy said, and he was shaken-up but not hurt. What really upset him was that an older man and woman in the Buick were hurt to the point of needing paramedics. I called and the 911 lady had to ask me to be very honest with her as to how great the injuries were…because emergency services were being taxed by call after call at the moment, some of them quite serious but some not. I told her the situation did not seem life-threatening but "I'm not a doctor…I write Daffy Duck comic books." (I often say that even though I haven't written Daffy Duck comic books since 1973. It's a good way to tell people not to put too much stock in what I say if it's a situation where I don't think they should.)

The dispatcher chuckled, asked me if I was on strike and then said someone would be here as soon as possible. It took a little less than an hour before police and an ambulance arrived, almost simultaneously but from opposite directions. They took the folks in the Buick off in the ambulance, noting that it was a tight fit: "These are built for one but it'll take forever to get another one here." The Chevy drove off under its own power and as I look outside this morning, I see that the Buick is gone, probably via tow truck.

Three things I remember…

One is a nice, overworked policeman realizing that no one could give him any sort of description of the other driver. I didn't see him. The people in the Buick never saw him. There were no witnesses around. And the guy in the Chevy only caught a fast glimpse of him in a rear-view mirror. Still, we all took it for granted that he was inebriated. And when the Chevy driver said, "It's a shame he got away," the cop said, "There's a good chance he didn't. We've had a lot of crashes tonight. He could have been the guy who just wrapped his car around a utility pole up on Melrose."

Second thing I remember: The folks in the Buick were pretty upset. Above and beyond the fact that he probably had a broken arm and she had a bad pain in one leg, there was that "We didn't need this now" factor. '07 had been a hellish year for them with personal and financial problems. The man is fighting to keep a job at a company that may not remain in business, struggling to make payments on a home they may not be able to afford even if he doesn't lose that employment. They were out celebrating that an ogre of a year was finally departing…and now here, it had taken one last shot at them.

And then there was this moment: I wasn't wearing a watch. Standing out there in the street, waiting for assistance, none of us knew precisely what time it was. Suddenly, there was an eruption of cheers and a horn or two from the surrounding homes…and far off in the distance, something that may have been a gunshot or fireworks. Which meant it was 12:00. The man in the Buick was still in a lot of pain but he made the effort to lean over, kiss his wife and tell her convincingly and will great assurance, "2008 will be a lot better." Two minutes later, help arrived.

"2008 will be a lot better." For them, it almost has to be. But I sure hope it is for all of us.

Today's Poll

I don't place a lot of stock in Internet Polls but hey, let's try one. I configured this one partly as a test to see if I can embed one of these. If it turns out I can, I may find a use for them on this site.

The question here is which of the main two late night talk shows — Leno's or Letterman's — you're more interested in watching on Wednesday night when they return from two months off the air due to the strike. This is not a question over who you generally like better — Jay or Dave, nor are we asking which show you figure to watch more often after Wednesday. We're just asking which interests you more…seeing Dave return with writers and say what he has to say about the strike, or watching Jay return without writers and say whatever he's going to say. Vote now then check back later and see how the numbers are lining up.

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Today's Video Link(s)

In honor of January Uno, we have a three-for-one special for you. From The Today Show of last October 31, here's much of the cast of Young Frankenstein performing three numbers from the show out of context on a makeshift stage in the middle of the street, dancing and moving their mouths to a pre-recorded track. They did the same performance at the Macy's Parade (though with worse lip-sync) and as I mentioned, there will be a number on Mr. Letterman's show on Thursday evening.

I'm curious as to why they've been doing all this so early in the life of what everyone assumed would be a long, long-running show. Broadway shows often arrange appearances like this when they're not selling tickets at a brisk clip…but this show opened with tremendous fanfare and promotion on November 8…and there they were, more than a week before that, getting everyone up and into costume very early in the morning. This was before any reviews, remember. Usually, you don't start showing the world your best numbers until after you've opened…and then, only when you need to drive people to the box office because the reviews and word-of-mouth aren't doing that.

Could this show not be performing up to expectations? Even before it opened, could its producers have been looking at a disappointing advance sale and figuring they had to do something? In light of the mixed (in some cases, negative) notices, could Young Frankenstein not be doing so well? I went to look up the grosses to see how ticket sales have been and — well, here's a surpriseYoung Frankenstein is the only show on Broadway that is not reporting its grosses to the press. This is very rare.

Before we leap to any conclusions: According to this article, it's a decision that was made some time before the show opened. So maybe they had a principled reason for doing it…or maybe they took a look at those advance sales, got worried and decided to keep mum about how they were doing. Or maybe they decided to keep mum unless sales were outstanding. Or…

Well, it's all just speculation. It could also be doing fine. A check of the TKTS website shows that it was one of the few shows that didn't have half-price tickets available there last week. Les Miserables and Cyrano DeBergerac, which each reported selling 95% of their seats that week were on the TKTS board but Young Frankenstein wasn't. (A theory I like is that maybe they're hiding the grosses because they financed the whole thing by selling 12,000% of the show to little old ladies.)

Anyway, here are the three numbers. Both feature Roger Bart as Dr. Frankenstein, Sutton Foster in the Teri Garr role and Christopher Fitzgerald following in the footsteps of Marty Feldman. (They were all quite good when I saw the show, especially Fitzgerald. I hope my partner Sergio doesn't kill him.) This first scene is a slightly-abbreviated version of the Act One closer. Doc Frankenstein has created another of those monsters that his family likes to create and the angry villagers are swarming the castle, wondering it it's so. Igor (pronounced "Eye-gore") tries to start a dance craze to divert their attention…

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And then here's "Roll in the Hay" from earlier in Act One, which introduces the Inga character. On stage, there were some visual effects that made this a much more effective number but you may enjoy it in this form…

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Lastly, here comes "Together Again for the First Time," which is the number Dr. Frankenstein and Igor/Eyegore perform when first they meet. I liked this song a lot. In fact, despite the disappointing moment here and there, I liked the entire show a lot. I still recommend it, by the way, no matter how it looks when performed outdoors in Rockefeller Center early in the morning with traffic going by in the background as sleepy actors try to lip-sync and the director and cameraguys struggle to cover a production number that they obviously didn't see much of in advance…

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