Flash Black

Ted Cruz got in some trouble the other day for telling a joke about Joe Biden…

While speaking at a GOP dinner in Michigan on Wednesday, Cruz delivered an oft-told stump speech line poking fun at Biden, mentioning his name and then saying, "You know the nice thing? You don't need a punchline," according to the Detroit News.

"Honestly, it works," Cruz said, according to the news report. "The next party you're at, just walk up to someone and say, 'Vice President Joe Biden' and just close your mouth. They will crack up laughing."

Immediately after the speech, Cruz knew he'd erred when several people reminded him that Biden's son, Beau, had just passed away from brain cancer. Cruz promptly issued an apology.

Okay, here's the thing: Isn't this Lewis Black's joke? I don't remember where he did it but I'm pretty sure he did that joke a few years ago about one of our previous veeps, the eminent Dan Quayle.

I just sent a question about this to Mr. Black, who'll be on Bill Maher's show Friday night.

Tales of My Childhood #13

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Arthur W. Upfield (1890–1964) was an Australian writer of mystery and suspense novels, best known for books featuring his creation, Detective Inspector Napoleon Bonaparte of the Queensland Police Force. His works were highly acclaimed and popular, but nothing in this article should be taken as my personal recommendation of them since I've never read one. My mother though read several and enjoyed them greatly…which brings us to a tale from Christmas of 1963.

At the time, I was avidly collecting comic books, primarily from two sources. One was just buying them new. Comics then came out on Tuesdays and Thursdays and were sold in drug stores, supermarkets and dedicated newsstands. It was an absolute "must" of my life to hit such establishments on those days, preferably at about the time the employees were unbundling that day's shipment and putting them in the rack.

The other source was used bookstores, of which there were then many. I believe at some point it was an "easy entry" business, meaning it didn't cost much to start one. You just needed a rented store, a lot of shelves and a ton of old books. I'd hit these establishments up often and buy old comic books, which were then a nickel each and, in most shops, six for a quarter. There are comics I bought that way and still own that are now worth mucho dinero.

My father usually drove me to these stores and every once in a while, my mother would come along and buy herself an Upfield novel. They usually had a lot of them and she'd buy one or two to read.

My mother was different from me in many ways and this was one. I would have bought them all. That is, I would have bought copies of every Upfield book I saw but did not yet own and then I would have just read them at my leisure. I'm not sure I can explain why she didn't do that. It wasn't the money. Used, the books only sold for one or two dimes each.

Sometimes when I was heading off to prowl old book shops, she'd say, "Hey, if you see any Upfield books I don't have, please buy one for me." She gave me a list of those she owned, which was about eight of the books the man had published. That gave me an idea for her Christmas present that year. I decided I would get her The Complete Arthur W. Upfield Library, meaning one copy of every one of his books she didn't have. These are all paperbacks we're talking about so they weren't expensive but there was the challenge of getting them all…and I had about three weeks.

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I walked up to my favorite bookstore up on Pico Boulevard which sold used books but could also order new ones for you. The proprietor had a reference volume that showed me the names of all the books Mr. Upfield had published. Some were on his shelves. Some others were still in print so I had him place orders for those. When I left, I had ten of those books either in my mitts or on their way to me. Over the next few days, I hit three other shops I frequented and found six more of them. Then a sweep of three stores downtown near MacArthur Park yielded only one more.

I had let my father in on my mission, of which he highly approved, and swore him to secrecy. He drove me to some of those stores where I bought old comics and then I got him to drive me to two stores I never visited because they didn't carry comics. Fortunately, each of those deprived bookstores did have some Upfield books.

Christmas Day that year fell on a Wednesday. I remembered that and I just looked it up to check and I was right. So my deadline was Tuesday and when I awoke Tuesday morning, I had procured all but one of the books. I suppose my mother would have been just as delighted by a Christmas gift of The Complete Arthur W. Upfield Library (minus one) with an I.O.U. but I was determined to find the last one that day. Oddly enough, it was one of the more recent ones. Earlier Upfield books were still in print but not this one, the name of which I do not now recall.

I had one last store to search — a place called Yesterday's Books down on Western Avenue. It was a big, frightening place with books filling three floors of a structure that should have been condemned long before I or Mr. Upfield were born. Their inventory was largely unsorted and as I entered, I had the feeling that the book I needed was definitely in there somewhere. The formidable challenge was to find it.

I had given myself an arbitrary time limit there of 45 minutes. That was how long it would be before my father came back to pick me up. I asked the proprietor where books by Arthur W. Upfield might be and was disheartened by his reply: "Almost anywhere." I could search all I wanted but he was not going to be of any help whatsoever.

So I searched and I searched and I did find numerous Upfield books but not the one I needed. Fifteen minutes went by…thirty…I could hear the seconds ticking away on me. Every time I came across the wrong Upfield book, it bolstered my certainty that the right one was hiding somewhere on the premises. But could I find it in time?

Forty-two minutes after I began searching, I moved a stack of dusty volumes and there under it, deliberately hiding from me, I saw what I saw: The missing Upfield book. Feelings of triumph and joy overwhelmed me as I grabbed it up —

— only to find it was not the book. Just the cover. The insides had come loose and were nowhere to be found. Damn.

I was about to admit defeat when it suddenly dawned on me that I didn't have to do that. Why surrender when you can lie?

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Well, maybe not lie but buy myself some time. I remembered where in the store I'd last come across an Upfield book that I already had. I took it and the loose cover to the cash register and asked the guy how much for the both of them. He just charged me for the complete book and threw the cover in for nothing. In the car, I proudly informed my father I had found the last book in my quest. No point in letting him in on the fraud I was about to perpetrate.

Once home, I got some glue and a knife and performed surgery. I removed the cover from the whole book and glued the loose cover onto it. What I wound up with looked just like a real copy of the last book I needed to complete The Complete Arthur W. Upfield Library…as long as you didn't open it.

Then I gift-wrapped the entire pile and stuck it under the tree. Every so often that evening, I'd catch a glimpse of the present and I'd have an ominous flash-forward: My mother would open it up, love the present I'd so ambitiously assembled for her…but say, "Hey, there's something odd about this one book…"

The next morning, she was thrilled with what I'd gotten her. Beaming with joy, she went over to a bookcase in the living room, rearranged a few things so as to clear space and placed her Upfield collection there, spines out, all lined up and looking very official.

Since the stand-in book was one of the later ones, I said to her, "If I were you, I'd start at the beginning and read them all in sequence, including the ones I already read." She said that sounded like a peachy idea and I breathed a sigh of relief. That meant I had several months before she got to it — several months to find a real copy and make the switch. Three or four weeks later, on a hunt for comic books I didn't have in a store in Santa Monica, I found a real copy and swapped it in. "She'll never know," I thought to myself.

Forty or forty-five years later, we were having dinner one night. My father was gone by then and my mother and I didn't talk too much about the past because it sometimes caused her to miss him a little too much. But that evening, she started remembering fond moments from past holidays and I decided it was time to unburden my secret and to confess my little bit of chicanery involving her Upfield books.

"I had found all but one," I explained to her, "and time was running out…"

She finished my sentence: "…so you somehow made a fake book with the right cover but the wrong insides. Then later, you found a copy of the real book and secretly switched them on the shelf."

I was startled…truly startled. I asked her "How did you know?" but all she'd do was smile and tell me, "I knew."

I never could lie to my mother.

Recommended Reading

Daniel Larison on the problems the Republican Party has with holding up Ronald Reagan as its idol. Larison says it's that too many voters don't remember the guy. I think it's that plus the fact that a lot of current G.O.P. policies are outta step with what Reagan said or did.

Today's Video Link

Stephen Colbert shaves…for now.

Friends keep asking me how I think his Late Show will do. Well, given that the show doesn't exist yet and even he probably doesn't know exactly what it'll be, that's hard to say. I just think the guy has the talent and appeal to do a very, very good and popular show…and I don't think America is so in love with either Jimmy that they can't be wrested away. Actually these days, with DVRs and delayed viewing, it isn't even a matter of stealing viewers from your competitors. A lot of people watched Dave and Jay. I expect a lot of people to watch Stephen and one or more Jimmies…

Fearless Forecast

I predict that in the 2016 presidential election, I will get the exact same number of electoral votes for the office of President as Rand Paul, Ben Carson, Carly Fiorina, Mike Huckabee, Rick Santorum, George Pataki, Lindsey Graham, John Kasich, Bobby Jindal, Ted Cruz, Marco Rubio, Chris Christie, Rick Perry, Bernie Sanders, Martin O'Malley and Lincoln Chafee, all put together.

5 Friends of Mine 2 Read

Ken Levine saw the touring company of Motown and had almost the exact same reaction that I did, except that he left out that everything was too damn loud.

James H. Burns has a nice little essay about going to see the Mets play.

Lee Goldberg gets some mighty odd mail…and some of the same stuff that we all get.

Joe Brancatelli has lots of stuff you'll want to know if you ever rent cars at the airport.

Bob Elisberg writes about why Jeb Bush is unlikely to be the G.O.P. nominee. It pretty much comes down to the same reason I think that: No one in the Republican party wants to be put in the position of defending his brother's track record.

Today on Stu's Show!

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The pic above is a still from It's About Time, a silly but fun sitcom of the sixties about cave people…and by the way, I think this photo was taken on Wilshire Boulevard, just west of the old Ambassador Hotel. Anyway, I call your attention to the young man on the right. That's Pat Cardi, who had an amazing career as a child actor and who's gone on to have an even more amazing career as a producer and director and entrepreneur and…well, he's done all sorts of things he'll be describing today as he pays his second visit to Stu's Show. The first time he was on, they barely got through half of what the man's done. Let's see if they can bring us up to present day with this afternoon's edition, which will include Pat's story about how he created Moviefone and somehow managed to not share in the millions it proved to be worth.

Stu's Show can be heard live (almost) every Wednesday at the Stu's Show website and you can listen for free there. Webcasts start at 4 PM Pacific Time, 7 PM Eastern and other times in other climes. They run a minimum of two hours and sometimes go to three or beyond.  Shortly after a show ends, it's available for downloading from the Archives on that site. Downloads are a measly 99 cents each and you can get four for the price of three. After you hear Pat today, maybe you'll want to go download his first appearance.

Today's Video Link

Kermit the Frog and Grover on The Ed Sullivan Show in 1970…

Space Cadet

Here's another one of those articles arguing that one should never put two spaces after a period when one is writing. I not only don't think that's right, I don't recognize that those who claim this have any sort of authority to declare it wrong. You don't like the way it looks with two spaces? Fine. I don't like the way it looks with one space. You have nothing on your side except a couple of Manuals of Style that put forth all sorts of "rules" that most of us don't follow all the time. Stop lecturing me like some governing body has made a law I'm not following.

Typographers say we should have one space instead of two? Well, that's lovely but I'm not a typographer. 98% of the time, I'm not setting type and designing printed pages. I write manuscripts that are intended for people to read. Typographers are usually out to make it pretty and legible — and I think some these days prefer pretty over legible. But all I really care about is legible.

Also, almost no typographers these days work in Courier and their "rules" presume that you're working in proportional fonts. My screenplays and teleplays are in Courier, a non-proportional font. When I write in prose form, what matters is that my script can be read. No one's intake of these pieces has even been harmed or encumbered in any way by two spaces after a period.

I also write this blog, of course. The spacing between sentences is governed by the software so I have no control over that. It doesn't matter how many spaces I put between sentences. I type two, it puts in one. I can live with that. My point is that when I do have a choice, I like two.

I think two spaces makes text easier to read. And as near as I can tell, the argument against two is not that one space makes it easier but that two aren't necessary. Listen, as far as I'm concerned, nothing I write is necessary so that's not an argument to me.

You know what's really not necessary? This "rule" about one space. I'm sorry…I have a natural tendency to question "rules" for writers and I think one of the key things to being a creative writer (as opposed to, say, a technical writer) is to decide which rules to ignore. It's kinda like the way they tell us there's no such word as "kinda." Or when they tell us we're not allowed to start a sentence with a coordinating conjunction like I just did. I want my writing to read the way I want it to read which most of the time is a friendly, informal tone not unlike the way I talk. Too many of the rules that are made for writers are designed to make us all sound bland and identical.

If I'm writing for a magazine that wants all its writers to have much the same voice, that's a different matter. I don't do a lot of that…and when I do, nobody has ever complained about how many spaces I have between the sentences. They may not like the sentences but they never care about how much air comes between them.

The idea here is communication. One person writes something. Someone else reads it. If the reader's ability to get what the writer wrote is impaired by that second space after a period then the reader is probably too stupid or distracted to understand anything. I get the feeling that those who scold you for two spaces have no real case unless it's a case of Obsessive Compulsive Disorder.

Recommended Reading

A.J. Delgado on why the Iraq War was a colossal mistake. And why even saying, "Well, the world is a better place without Saddam in power" is not accurate.

Hare Transplant

This is a rerun from 9/9/04. Nothing to add today…

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I was in the hospital when it was announced that Universal and Disney had concluded a deal that would send sportscaster Al Michaels to NBC while Disney would reacquire title to Oswald the Lucky Rabbit. For those of you unfamiliar with the history or confused by some of the newspaper accounts, I'll run through it for you as briskly as possible…

In 1927, Walt Disney's business was making animated cartoons of Oswald which were distributed by Universal Pictures. A gent named Charlie Mintz was the money man and go-between. When the cartoons became successful, Walt went to New York to attempt to negotiate a new contract with Mintz at a higher fee. Instead, Mintz offered him a worse deal. What's more, Mintz informed him that he had quietly signed contracts with most of Walt's key artists — pretty much everyone except Ub Iwerks — and that Universal owned Oswald. If Walt did not accept the new terms, Mintz would set up a new studio with those artists and make the Oswald cartoons without him.

Walt did not accept the new terms. He headed back to Hollywood and, legend has it, created his replacement character on the train home. Soon, the Charles Mintz Studio was making Oswald cartoons while Walt and Ub launched the new Disney star, Mickey Mouse. It is said that Walt never quite got over the shock of losing Oswald and he also learned a valuable business lesson. Thereafter, he refused all deals that might have diluted or endangered his title to studio creations, including The Mouse. Eventually, of course, Mickey was the hottest cartoon character of all time, dwarfing the popularity of Oswald, so there was some nice revenge there. Walt got a little more when Universal later dumped Mintz and handed Oswald over to Walter Lantz…and now, with the swap for Al Michaels, the justice is more or less complete.

What interests me here is that Oswald the Rabbit has a current value in spite of over fifty years of the character's owner being utterly indifferent about the bunny. The character's popularity declined throughout the thirties and in spite of a couple of complete redesigns. In 1943, Lantz stopped making Oswald cartoons altogether, preferring to focus on his other stars, including Andy Panda and Woody Woodpecker. Around this time, Lantz acquired ownership of Oswald but decades later, he sold his entire studio to Universal so they got him back. They didn't do anything with him, either. He was just a character in their merchandising catalog. When toy companies came to license Woody for some piece of merchandise, Oswald usually got tossed into the deal for nothing.

The old Oswald cartoons were rarely shown on television so for a decade or two, the only exposure the character got was in the pages of Dell Comics produced by Western Publishing. Lantz had a close relationship with Western and basically told them they could do anything they wanted with the rabbit and he would adjust his merchandising model sheets to match. As a result, he went through several more redesigns, eventually becoming a rather serious father type with two nephews, Floyd and Lloyd. It was pretty much the same relationship Mickey Mouse had with Morty and Ferdy, or that Donald Duck had with Huey, Dewey and Louie, also in Western Publishing/Dell Comics. In fact, quite a few of the scripts for the Oswald comics were revamped Mickey Mouse or Donald Duck scripts. None of the writers were too enthused over working with Oswald, so the editors would commission extra Mickey and Donald scripts and then change the names and (if necessary) the number of nephews. It was always one of their lowest-selling books.

Oswald pretty much disappeared even from the comic books in the sixties. Western had decided to give up on him before 11/22/63 but after that date, the notoriety of assassin Lee Harvey Oswald reinforced the decision. One of the editors there told me years later, "All the character was was a good name, and suddenly that name wasn't as good as before." Lantz occasionally asked Western to stick an Oswald story in the Woody Woodpecker comic book just for trademark reasons and to demonstrate that the character was still active. After Woody's comic book ended in the seventies, they didn't even have that.

So it's amazing that Oswald still has a following today. It's mostly in Japan where merchandise that harks back to the original Disney design is extremely popular…but somehow Oswald has endured and proven commercial enough that Disney wanted him back. Talk about your lucky rabbits.

Facemaster

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Here's a theory that will never be proven or disproven: If you polled every person in this country who makes his or her living drawing funny pictures and asked them whose talent, of all the others still alive and sketching, they most admired…the winner would be Mort Drucker. I have seen some of the world's most admired cartoonists look at Mort's work, shake their heads and mutter, "How does he do that?"

And I have seen artists, when called upon to render a caricature of some famous person, rush to see what Mort did when he had to draw that person. Even if their eventual drawing will not be in the Drucker style, seeing how Mort handled them is educational. His eye always catches the salient points to exaggerate, the basic personality and key features of the face. A celebrity never looks so much like themselves as when Mort draws them.

Last week at the National Cartoonists Society's annual gathering — held this year in Washington, D.C. — Mort was honored with the group's Medal of Honor. This is the first time it's been given out and as Tom Richmond explains, they seem to have invented the honor just so they could bestow it on Mort. Who better?

John Oliver Gets Results

Sepp Blatter says he will step down as FIFA's leader.

The Adventures of Lydia and Sylvia

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Lydia and Sylvia, the two feral cats I feed in my backyard, spent today sleeping on an old lounge chair I have back there.

Tune in next time for more exciting Adventures of Lydia and Sylvia!

Today's Video Link

Here's an episode of CBS Summer Playhouse, which was a series back in 1987 that played off unsold pilots. There are two here, hosted by Tim Reid and Daphne Maxwell Reid, who were about to star in a new series (i.e., a sold pilot) called Frank's Place.

The first of the two unsold ones is Puppetman, a situation comedy from Jim Henson's company, all about backstage at a TV show not unlike Sesame Street. Fred Newman stars as the lead puppeteer. Fred specializes in odd voices and sounds and had done some work with Henson at the time, I believe. The other puppeteer is played by Richard Hunt, who was one of the key Muppeteers, handling — among others — Scooter, Beaker, Janice and Statler. Also in the cast were Julie Payne and Jack Burns. Burns had worked with Henson as a writer on The Muppet Show.

I've worked with Julie Payne for years on Garfield cartoons — she plays Jon's girlfriend Liz among other roles — so I called her and asked her to write down what she recalled of it. Here's what she sent me…

My being cast may have been thanks to Jeremy Stevens, one of the writer-producers. He was a childhood friend of my husband, in Brooklyn. The idea of working with Jim Henson and doing scenes with his puppets was a bit of heaven. I looked forward to working with him and getting to know him, but that didn't really happen; he was busy with the puppeting aspects, and we actors were working on scenes. Very friendly cast. But the week was a bit of a blur. I got the flu and sat through the rehearsal days with my head on the table, getting up only to run through my scenes. Someone on the crew told me to take two of her favorite antihistamines — big mistake. I remember driving home on the freeway at about 30 miles per hour.

The other pilot in the half-hour is called Sawdust and it was created and written by Gary Markowitz, who worked on a lot of good shows (like Larry Gelbart's United States) in the seventies and eighties. It's a fun, interesting show about circus performers and while it seems a bit too unusual for CBS at the time, I enjoyed it…and hey, it even had a small role in it played by the unofficial Stooge, Mousie Garner…

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