Book Marx

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The man at right in the above photo is, as you've probably guessed, the real Frank Ferrante…Groucho Marx. Like at least a third of the people who'll read this, I've been fascinated by Groucho Marx for years and have tried to see everything he ever did and read every book about him. That can be tough because there have been some very bad books about Groucho.

The man at left in the photo is Steve Stoliar. He didn't write one of those bad books about Groucho. He wrote a very good one called Raised Eyebrows. It's subtitle is My Years Inside Groucho's House…and Steve was not a cat burglar or the guy who rented the place after Groucho died. He was a kid hired to archive Groucho's crates of souvenirs and memorabilia, and as such was a key witness to the last years of Julius H. Marx. I had a few brief first-hand glimpses into those years and Groucho's relationship with the troubled and controversial Erin Fleming, the lady who managed his last years and who seemed to have been more caretaker than caregiver. I envy Steve his proximity to the guy above in the beret and we should be grateful for all he did for Dr. Hackenbush…but I sure don't envy him being around That Woman.

Fortunately for us, Steve is a writer…a darn good one, too. His book recounts his story in a non-sensationalized manner and there isn't a word in it that seems false or self-serving. A case can be made that Ms. Fleming was good for Groucho…or perhaps good until the final year or so. Another person I know who was around some of that thinks she was not good for Groucho but as good as he was likely to get, given the way he'd alienated so many around him, along with certain troubles within his family. You can make up your own mind about all that or do like me and find your own way to view the ambiguity. Above and beyond the Marxian lore in this book, there is much to think about regarding old age and how folks who get there can and should be taken care of.

How Stoliar got into Groucho's home is also a good story. Back in the seventies, one could often go see Marx Brothers movies in local theaters…which was a much better way to see them than at home, no matter how big your flat screen is. I took dates to see A Night at the Opera and A Day at the Races and Duck Soup and Horse Feathers — all the good ones except for Animal Crackers, which was then unavailable due to a rights snag. But I eventually got to seeing Animal Crackers. A small storefront theater in Westwood ran a 16mm print one night, advertising "A Marx Brothers Movie" but not the title. I found out which one it would be and rounded up a posse of my friends…and we went, all the time fearing a police raid. We also thought this might be the only chance we would ever have in our lives to see that film.

Thanks to Steve Stoliar, it wasn't. He was attending UCLA around that time and he launched a campaign on campus. The rhetoric was not unlike urging some foreign government to free a political prisoner but in this case, it was urging Universal Pictures to free Animal Crackers…and sure enough, it did result in a release. It also resulted in Steve meeting Groucho and Erin and getting that low-pay, high-prestige job. But you'll read all about it when you read his book, which I highly recommend. I liked it in its original hardcover when it came out some time ago. I like it even more in its new, expanded paperback edition which sports a great Drew Friedman cover and moves the story forward a few more years since the first pressing. Here is an Amazon link to order a copy. Please do. I've never met Steve except via Facebooking but we've agreed to have lunch soon. If you folks buy enough copies because of this plug, maybe he'll feel grateful enough to pick up the check.

That Old Hack Magic

To those of you who came to this site earlier today: No, I probably wasn't "hacked" again. It was probably a continuation of the earlier hacks. Last November, someone got into my wing of the file server…and I'm not sure how they got in, though it appears to have been through the Steve Gerber site. They installed two "cloaked" sites here — websites running off my server but hidden deep within its files so I didn't know they were there. One sold prescription drugs — especially those designed to induce erections — and the other sold counterfeit Louis Vuitton, Prada and Balenciaga purses. I thought I'd cleaned all that stuff out but I apparently hadn't. They'd also planted little "time bomb" viruses designed to bring my site down, perhaps as punishment for deleting theirs. The virus-laden files crashed me a week or so ago. I cleaned out (I thought) the time bombs. Today, I was crashed again, apparently because I'd missed something. I have deleted more suspicious files and reinstalled much software and now I think I'm clean. But I thought that before.

I'm installing additional security and scanning every damn file on the server and let's see if I've gotten it all now. I think I have but will not be surprised if this site crashes again soon. So don't you be surprised.

Well, That Was Fast…

I am informed by many that the Sammy Davis clip I just posted is from The Julie Andrews Hour which aired on ABC on March 3, 1973. Ms. Andrews and Mr. Davis performed scenes from many Broadway shows so I guess they got the necessary permissions. Fiddler on the Roof had closed on Broadway by then so its producers were presumably not terribly fussy about allowing permission for it to be excerpted and performed by almost anyone.

Today's Video Link

Okay, where is this from? The fine chanteuse Shelly Goldstein sent me this link to Sammy Davis singing "If I Were a Rich Man" on some variety show, supposedly around 1969.

Point of interest: The original production of Fiddler on the Roof was still running on Broadway in 1969. It didn't close until 1972. There's usually a "grand rights" restriction on the usage of show tunes like this. You can't present them in anything resembling the context of the show without special permission from the producers of the show and that is rarely given while the show is still in first run. Right now, you could put on a ball gown and go on The Tonight Show and sing "Defying Gravity" and all you have to do is pay the royalty or have someone pay the royalty to Stephen Schwartz and the producers of Wicked. But you can't paint yourself green, put on a witch outfit and go up on a hidden elevator while singing it without a special o.k. because when you do it that way, you're doing a scene from that show.

So I want to know where this number was performed. I was thinking Sonny & Cher, partly because of the weird premise and partly because of the bad audience sweetening but they didn't go on until '71. Maybe it isn't '69 then. I also want to know if the producers of Fiddler on the Roof blessed it or were outraged or what.

Not that it's bad. Sammy was a great performer and his expressed desire to do a Black company of Fiddler was not as ridiculous as some might think. The show was very popular — and culturally relevant — overseas with a Japanese cast…so why not Black? And Sammy was, after all, half Jewish.

So…anyone know anything about this?

From the E-Mailbag…

My friend Bob Foster, who I haven't seen since the big Animation Guild party last Friday, sent me this. "SDCC" stands or San Diego Comic-Con, one of many names the Comic-Con International had before it became, now and forever, the Comic-Con International…

Speaking of people who hesitated to attend conventions but changed their mind for some reason…

I remember when Dick Moores came to SDCC (1975). I was sitting at his table at a banquet. (Inkpots?) I understand he'd never been to a convention, and had done very little comic book work (mostly on Disney and Warner Bros. characters), certainly no superhero comics. But he'd been a very good comic strip artist since 1931 when he assisted Chester Gould on Dick Tracy, wrapping up his 55-year career on Gasoline Alley. He didn't think anyone would know who he was, but when his name was announced and the room gave him a thundering ovation he wasn't expecting, there were tears in his eyes. I'm glad he got to experience the love and appreciation the fans had for him.

Yeah, there was a point where I thought the Inkpots were kinda silly. I didn't even show up to receive mine in…I think it was their second year, 1975, and a lot of my friends and I made jokes about them. One was that the people at the front table would welcome you by saying, "Here's your badge…here's your program book…and here's your Inkpot Award." But then there came a couple of instances like the one you describe where it was obvious they did a lot of good, if only as an excuse for an audience to applaud someone who deserved applause but had rarely heard any. I can think of no less than a dozen examples but the one that comes first to mind is Fred Guardineer.

Fred drew comic books almost from the time there were comic books. He was in Action Comics #1 and that was nowhere near his first job. In 1955 when the industry went into recession, Fred got out and worked for the post office for the rest of his working days. He had very little contact with the comic book community until 1998 when Dave Siegel located him in a nursing home and got his family to bring him down to the Comic-Con to see the event and to be on the Golden Age Panel. Even before the panel, Fred was astonished to learn how many people remembered and loved that work he'd done so long ago.

When the panel started, I presented an Inkpot Award to Joe Simon and a pretty-crowded room — maybe 500 people — stood and cheered. Then I whipped one out for Fred. He was a last-minute addition to the convention and the panel so he really wasn't expecting it… and the room erupted again, even louder than they had for Joe. It wasn't that they didn't love and respect Joe…but Joe received lots of honors in his long career. This, everyone sensed, was the first and maybe last time to applaud Fred Guardineer.

Fred was in a wheelchair. As the crowd clapped, he started to struggle out of it to get to the podium as Joe had. I whispered to Fred, "You don't have to get up." He whispered back to me, "No, this is the first time I ever got an award and I'm going to stand for it." I'm not sure what was wrong with his legs. Maybe it was just being 85 years old. All I know is he made it to the lectern mike to say thanks and I was holding him up by the back of his pants. He was crying and I could look out and see his family — a daughter, a son-in-law and some grandkids, I think — and they were crying. He later told me it was the greatest moment of his life. (He later made it to a couple more cons before passing away in 2002.)

I have about twenty-five very special Comic-Con memories I will never forget. One was standing there, holding Fred Guardineer up by the back of his trousers while he made this wonderful speech for the greatest moment of his life. It was one of several moments where I decided that maybe awards like the Inkpot weren't such dumb ideas after all.

Recommended Reading

The current issue of Playboy — the one with Lindsay Lohan on the cover — has a rather interesting interview with Chris Wallace of Fox News. I don't agree with everything he says, particularly in his insistence that Fox News doesn't advance a deliberate political agenda. But I was surprised at how many times in the piece I didn't think he was full of luncheon meat and there were many points where I nodded in agreement. The entire interview is online over at the Playboy site which means (a) it won't be up forever and (b) if you go read it, you might catch a glimpse of an undressed woman in some corner of your monitor. If that will horrify you, proceed with caution.

Recommended Reading

One of the more interesting figures in the current Republican dogpile is Jon Huntsman, who's probably going to turn out to be the only G.O.P. candidate who made it into the debates but never got his turn as Front Runner. A lot of people think Huntsman is a Liberal masquerading as a Conservative. The other day, Keith Olbermann was urging the man to 'fess up and become the Democrat that he really is.

Only he really isn't. Huntsman hates Medicare and abortions and taxing the rich just like the rest of his fellow debaters. He just doesn't seem to hate them enough to get his party to notice he's there. When it got down to six contenders, you started to see articles where the person who finished fifth, ahead of Huntsman, was referred to as being fifth in a field of five.

Here, just to give the man a little notice, is an interview with Jon Huntsman. Sounds like he's starting to get a little ticked off at being ignored.

Today's Video Link

If I said Buddy Rich was the best drummer of all time, I'd get a flood of e-mails from folks arguing for other great stickmen…and some of those nominations might have merit. So I won't say Buddy Rich was the best drummer of all time. I'll just say that this is real impressive…

From the E-Mailbag…

Our pal James H. Burns writes to ask…

I don't remember ever seeing John Celardo at a convention, at least not in the late '70s, through '80s…

I'm always kind of fascinated by those comic artists and writers who might well have had a ball going to a con, meeting fans and contemporaries…

I guess I've always kind of wondered why some comics folk seemed to never attend a show —

Or were we in New York just too dopey sometimes to think of inviting them?

I don't recall Mr. Celardo ever appearing at a convention. Given that he never had his name linked with a superstar character in comic books (as opposed to strips), I doubt he was invited very often to cons and it's possible he was never invited. It's also possible he went to a couple on his own and no fuss was made.

There are professionals who get invited to cons and decline. Some are scared of crowds, especially if they're expected to appear before an audience for a panel. If you elect to spend your life sitting in a little room by yourself drawing comic books, it may be because you're shy and don't relish being around a lot of other people. One of the umpteen reasons I started hosting as many convention events as I sometimes do is that there have been writers and artists who were afraid of attending Comic-Con because it meant appearing before an audience. It has a calming effect on some when, as has often been the case, a peer could tell them, "Don't worry…there's this guy named Mark who will interview you and make it very easy."

Actually, almost anyone could do this but it helps to have that continuity of one person. For years, Nick Cardy refused entreats to San Diego because it frightened him, especially the part where he'd have to be interviewed before an audience. Someone — I think it was Arnold Drake — told him I'd hold his hand and get him through it and he finally agreed…though he did ask that we put someone else on the Nick Cardy Panel in case he froze up. I added Marv Wolfman, Colleen Doran and Sergio Aragonés to that dais…and of course, they weren't necessary at all. Nick turned out to be a great interviewee, loved the experience and couldn't wait to come back. I believe it was Nick who then urged Bob Oksner to overcome a fear of "public speaking" and accept…and Oksner in turn assured a few of his friends who were reticent. (You can read a little of that Nick Cardy Panel here.)

About a dozen veteran comic creators have turned down the free trip to San Diego to be a Guest of Honor at the con. Some were simply afraid or unable to travel. There have been one or two who had an unpleasant experience at some small local convention and either didn't grasp how different Comic-Con would be or thought it would be the same bad experience on a larger scale. I assume that with most, it would have turned out like it did with Cardy…but maybe not in every case. Jerry Grandenetti always said no. So did Johnny Craig. So did Ross Andru and Mike Esposito. Winslow Mortimer said no a few times and then when he finally said yes, he died before he could make it out. Robert Kanigher said no, then yes, then no, then yes. He finally agreed to appear and was announced, then backed out a few months before the event.

There was one veteran creator I'd better not name even though he's no longer with us. He refused and a friend told me the reason: "He decided it would be too painful if he came out and had the shortest line for his autograph." I don't think that would have happened but having met the person, I can believe that was a nightmare for him.

Still, most have the time of their lives…at Comic-Con and other such events. Most discover there are a lot more people out there who know and admire their work than they'd ever imagined. They usually seem startled at how many younger folks approach them and say something like, "I draw for Marvel and one of the main reasons I took up art as a kid was because of how much I loved your work on [name of comic]." Some also discover a lucrative source of income selling original artwork or contracting for commissions. A few who were away from comics even find an avenue to get back in. It's really great to see the comic art community of today thanking and honoring those who came before…and who in many cases were not particularly well-rewarded for their work and were unaware how much it meant to so many.

Hopeless Case

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I made the mistake of buying one of these.  It's the Brookstone Keyboard Case for the iPad 2…and come to think of it, I made two mistakes.  One was buying it at all and the second mistake was buying it off the Brookstone website where it was a hundred bucks — forty smackers more than Amazon sells it for.

You stick your iPad in it and then the keyboard connects via Bluetooth.  It's a handsome case for carrying but I found three problems with it.  One was that flap in the front that gets in your way when you try to type.  Another is that the keyboard is a bit sluggish, lagging a hair behind your typing appearing on screen.  That's disorienting.  Then, lastly, we have the biggie: The iPad has a sensor which turns off its screen when you close its cover…but the Brookstone case doesn't make a tight enough seal so the screen stays lit, draining your battery.

It's very disappointing since I usually like Brookstone products.  Anyway, I was out for a walk last evening so I dropped by my local Apple Store to see what, if anything, they had that would be better.  It turned out they don't carry anything of the sort but I had a very nice conversation with a nice lady who worked there.  She recommended a few keyboard cases that Apple neither makes nor sells, and I guess we talked about that and iPads in general for about fifteen minutes.  It dawned on me that if Best Buy usually had employees this sharp and knowledgeable, they wouldn't be in trouble.  Every time I visit an Apple Store I'm amazed how rapidly someone rushes over to wait on me, and how they all seem to know the products and the relevant technology.

On the way out, I saw a little girl, perhaps nine years of age, playing a game on a store display iPad.  I don't know what the game was but she was having a hard time getting anywhere in it  She moaned out loud in exasperation and a store employee rushed over to see if she was okay.  She was…but I heard her ask the employee, "Do you have an app that lets you cheat on games like this?"

John Celardo, R.I.P.

Veteran comic book and strip artist John Celardo died Friday at a nursing facility near his home on Staten Island, New York. He was 93.

According to this obituary in his hometown newspaper, Celardo attended the New York Industrial Arts School, Federal Arts School and New York School of Visual Arts. They note he began working as an artist in the late thirties, drawing animals at the Staten Island Zoo.

I can pick up the story after that: His first work in comics was done in or around 1939 for the Eisner-Iger Studio and he quickly segued to drawing comic books for Fiction House, Quality Comics and other companies. For Fiction House, he often drew Kaanga, which was a Tarzan-like character. It is said that it primed Celardo's desire for a crack at drawing the real Tarzan some day. He would get his chance but before he did, he served in World War II and drew a lot more comics, including a long stint for Better Publications.

He got his shot at the Tarzan newspaper strip in 1954, taking it over from his friend and studio-mate Bob Lubbers when Lubbers accepted an offer to go work for Al Capp. Celardo drew (and eventually wrote) Tarzan until 1967 when he was replaced by Russ Manning. With nary a week off, Celardo moved over and began drawing the Tales of the Green Beret newspaper strip when its first artist, Joe Kubert, gave it up.

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When that strip ended in 1969, Celardo began drawing for DC Comics and Western Publishing. For the latter, his work was featured throughout the seventies in the Gold Key "ghost" comics like Grimm's Ghost Stories and Twilight Zone. DC used him on a wide array of books, often as an inker. Celardo was a very good artist and the kind of inker who tended to dominate a page. Often but not always, he was assigned to ink pencil work by other artists who, some editor felt, needed a lot of "fixing."

In 1981, Celardo left comic books, returning to the strip world. He took over the Buz Sawyer newspaper strip and became the last in a line of artists to continue Roy Crane's creation. As far as I know, he retired after the strip ended in 1989.

I never met Mr. Celardo but I admired his work. From all reports, he was a solid professional and it's obvious to anyone who saw his work that he really knew how to draw and he maintained a high standard throughout his career.

Today's Video Link

It's been years since I've seen one — I'm not sure they still do them — but I used to enjoy network preview specials. Each year, they'd do these little half-hour promos promising you that every show of the new season was sparkling and wonderful and sure to become a part of your life each week. And I guess I should have known this…but as I started working in the TV business, I learned that no one (repeat: no one) at the network ever thought that most of their new shows would be successful.

In the mid-seventies, my then-partner Dennis and I were doing Welcome Back, Kotter…and the same company (Jimmie Komack's) was producing a new series called Mr. T and Tina that starred Pat Morita. We were over at the ABC exec offices one day talking to folks in the comedy department about a pilot that we were being considered for as writers and someone there made a comment that they might want to hurry production up so that if the pilot came out right, the new show could go into the Mr. T and Tina time slot. In my naivete, I muttered something about, "Well, if it gets canceled…" and one could hear the ABC brass chuckle. As far as I recall, it was the only thing I said in the entire meeting that got a laugh.

As far as they were concerned, Pat Morita's program was already canceled. I'm not sure it was even on the air yet but there were zero people in the building who thought it had any chance of survival. Why had they even bought it then? Well, because they had to buy something. I don't recall the specific numbers but it went something like this. They had eight time slots that needed to be filled that September with new shows. They'd developed 14 contenders via pilots and presentations. They'd wound with five shows that anyone there thought had a reasonable shot at success. Ergo, they had to buy three stiffs.

How did they pick the three shows that no one liked? Sometimes, it was a matter of betting on a longshot but more often, it was a matter of nurturing relationships. Kotter was a huge hit for them at the time so they gave Komack the pickup to keep him happy and so he might be less inclined to take his next project to NBC. A few weeks later, Mr. T and Tina was indeed axed but until then, one had to marvel at the robotic hype…at the promotion and planted press reports that made it out to be the surefire smash hit of the new season. Several of the shows you'll glimpse in our video link below were probably in the same category: Canceled before they got on the air.

Years later, I was friendly with the main man who'd programmed CBS prime-time for several years. I asked him what percentage of the series he put on the air were shows that he knew would not make it. He said, "A third, I thought had a good shot at success…a third had an outside chance…and a third, we knew were flops by the time the second episode was delivered to us. Usually, we knew well before that." I asked him if any of the kinds of shows in the third category ever turned out to be surprise hits — for him or anyone else in his position. He said, "I'm sure it's happened somewhere at some time but I don't recall an example."

(Parenthetically, I also asked him this question: "How many times did it happen that someone walked in and pitched you a show…and you were 90% certain just from the pitch you had a hit there?" He said twice: Magnum, P.I. and the Newhart series where Bob N. had the inn in Vermont. That's twice out of several hundred presentations.)

I don't know that this happens as much these days. Networks are no longer committed to the notion that all the new shows have to debut in September, plus they order new shows in smaller increments. Still, I find it interesting to watch these old preview specials and to try and separate the shows into those three groupings that were just mentioned. Never mind which ones disappeared after 13 weeks. Which ones did they think might make it? This preview special is from 1979 and like everything else on ABC that year, it's narrated by Ernie Anderson. It's about a half hour in three parts which should play one after the other in the little player I've embedded here for you…

VIDEO MISSING