Monthly Archives: January 2022

If you never read Ian Frazier's 1990 article in The New Yorker about Wile E. Coyote suing the Acme Company, it's back online.

Mike B. follows up with this article that appeared in advance of the special we're discussing here.  It gives us more info including the name of the producer, Bill Stierwalt, who IMDB tells me was involved with The Lohman and Barkley, a locally-produced (and wonderful) TV comedy show I've written about here before — here, for instance..  It also tells us that The Golden Age of Comic Books originally aired on Wednesday, March 9 at 8:30 PM.

Again, we welcome any further information on this program…or for that matter, on Misty the Prettiest Go-Go Gal…

This took twelve minutes and it's from 5/18/66 and is, as you'll note, a rerun. Thank you, Mike B. Anyone else find anything?

All this talk here about the Catman & Reuben pilot here got my pal Scott Shaw! to thinking about another local-in-Los-Angeles TV special we both remember from the same period. In 1966 (we think), KCOP Channel 13 (we're pretty sure) ran a special about the then-new fad of collecting and treasuring old comic books.

The show was hosted by Gary Owens who — since Rowan & Martin's Laugh-In was not yet in existence — was best known as a local radio personality on KMPC 719. The show included tours of the Hollywood book shops like Cherokee Books and Collectors Book Shop. In those stores, amazingly, kids of all ages paid as much as twenty whole dollars for a copy of Superman #1 that originally sold for — get this! — ten cents.

I was already hanging out at such places…though I was wise enough not to spend that kind of money for old comic books. Scott first learned of those stores and about this thing called "comic book fandom" from the special. It did a lot to legitimize our hobby, promote the notion that comics weren't just for kids…and I think it even drove the price of a Superman #1 all the way up to twenty-five or thirty bucks.

For years, Gary searched for a copy of that special and I helped him search. We both became satisfied that KCOP no longer had one. They kept almost nothing. And this was well before the days when one could record a TV show off the air so it's doubtful any video still exists. But some of you folks did wonders to search archives and find info on Catman & Reuben so Scott was wondering — and he got me to wondering — what could be found about this special.

We think it was 1966. We're sure it was Gary Owens and Channel 13 and I think it aired more than once…but not much more than that. We don't remember what it was called (neither did Gary) but I wouldn't be surprised if there were Batman-style sound effects in the name. A genuine-but-intangible newsfromme no-prize will go to anyone who can come up with any info on the program.

Here's the latest Sergio/Mark video. I play Mark…

• I just saw this headline — "Microsoft buys Activision Blizzard for $68.7 billion" — and I thought, "Damn! I should have bid 68.8." Too late.

When I wrote about the comedy team of Davis & Reese in this post, I had no idea I'd be spending so much blog space on them…but it's my fault. I had to go and mention a TV special/pilot I remembered that they did…perhaps the first-ever spoof of the 1966 Batman TV series. And yes, I know that program was kind of a spoof itself.

Thanks to industrious readers of this site, we have since found out more about the Catman and Reuben show, which as far as I now know consisted of one one-hour pilot that was so poorly-received, it led to no more.  But as you'll see in our new section, its makers apparently thought it was going to turn into a weekly series seen in many of the major markets.

Yes, to remove the topic from this section of newsfromme.com, I've opened a new section as kind of a repository/scrapbook for research and clippings devoted to this silly endeavor…and I even designed a Catman and Reuben title logo for the page.  That logo is not from the original show.  If you're interested in this little nugget of TV/comic book history, go visit our new Catman and Reuben page.

We are aware that in today's installment of the fine newspaper strip Luann, there's a character named "Mr. A" who looks an awful lot like my partner Sergio Aragonés. Thanks to the seventy-three million of you who wrote to tell me.

Back in this post and this post, we were talking about the comedy team of Davis and Reese and I recalled from memory a pilot-type show they did back a long, long time ago. I wrote in the first of the above links…

The most interesting thing I recall about them is that around the time the Batman TV show (the one with Adam West) was all the rage, Davis and Reese made a pilot-of-sorts parodying it. This is all from memory and I may be a bit off but I remember it being a five-episode, shot-on-video, low-low budget serial that ran once, Monday-thru-Friday in Los Angeles on Channel 9. I think Davis played the Robin-like character and Reese played the Batman-type guy and that's all I remember about it other than that it wasn't very funny. Does anyone else recall this thing? I don't know if it was local or national or what.

I didn't think there was any way to further research this but David A. Grudt, a reader of this site, prowled around in the L.A. Times archives and found out stuff. It was called Catman and Reuben and indeed, Davis played the Robin-like character and Reese played the Batman-type guy.

I recalled it as five-episodes aired in one week. It was, in fact, one hour which KHJ Channel 9 aired twice — at 10 PM on two successive Monday nights — February 21, 1966 and again on February 28. As a point of reference, the Batman TV show debuted on January 12, 1966.  So someone had to get awfully busy to get the parody written and produced and telecast a mere six weeks later.

David wrote, "It would seem to have been only on Ch. 9, not national" and I think that's probably true.  At this point, a lot of the local channels in Los Angeles were producing shows and pilots with what usually turned to be the following pipe dream: That a network would see what they were doing and grab up the show…or there would be interest such that national syndication would become feasible.  The following year, Channel 9 tried some other short-lived programming including the infamous kids' show that adults watched, Shrimpenstein.

David also found an article which said, "Channel 9 answers the Batman craze with this hour-long spoof, Catman.  In the first thrilling episode, Catman and Reuben are called on to stop the evil Dr. No-Good from smuggling any more whee! into the country.  Stars the comedy team of Tony Reese and Pepper Davis."

I am fairly confident of my almost-56-years-ago recollections that the show was very dull and cheap-looking.  It mostly consisted of Catman and Reuben standing around the Cat-Cave (the main and perhaps only set) talking about a lot of off-stage action.  Catman was very serious and wise.  Reuben — and yes, I noticed his name spelled wrong above — was pretty dumb and always saying, "Gosh, that sure makes sense to me, Catman!"

It struck me that they were trying to turn that line into a catchphrase so he said it about eighty-seven times.  Did we ever see the much-talked-about master villain, Dr. No-Good?  I'm not sure we did but I may not have made it to the end, especially since I had school the next morning.

And that is all we know about this show…and all we may ever know.  We'll probably never even find out what "whee!" is and why it's a bad thing.  Great thanks to David Grudt for finding what he found.

Here's a segment from The Dean Martin Show from (I think) 1970. Dean's there with his regular piano player, Ken Lane. Then in comes "Vladimir," who is actually our friend Leo DeLyon. This should give you an idea of the kind of thing Leo did…obviously, very well.

As you watch Dean's reactions, keep in mind that this was probably done with very little — probably no — rehearsal…

I'm not 100% certain myself of the exact date but many folks out there are telling me that forty (40) years old today, the first issue of Destroyer Duck went on sale. I may be biased but I think this was a very important event in comic book history. My pal Steve Gerber was locked in a lawsuit against Marvel Comics over the ownership of the character, Howard the Duck…and it was also about the terms of his severance from his character and that company.

Lawsuits, as you know, can be very expensive and Marvel Comics, of course, had a lot more money than Steve did. At one point, the judge in the case actually fined Marvel a large amount for certain tactics that, he said, were deliberately intended to drive up Steve's legal bills. Alas, even that amount did not cover his costs so a bunch of us got together and produced a benefit comic book to raise money for the cause.

Steve and I edited the book and he wrote the lead story which was drawn by Jack Kirby and Alfredo Alcala with the aid of Tom Orzechowski and Steve Leialoha. Jack drew the cover which was inked by Neal Adams with a title logo by Tom O. Other stories were contributed by Shary Flenniken, Dan Spiegle, Gordon Kent, Martin Pasko, Joe Staton, Scott Shaw!, Carol Lay, Sergio Aragonés and me. The comic was published through the good offices of Eclipse Comics — Dean and Jan Mullaney and Cat Yronwode.

None of us took a cent for our contributions. The money all went to Steve…or rather to the law firm representing Steve. His lawyer, Henry W. Holmes, knocked a big chunk of dough off the bill in exchange for appearing as a character in the Destroyer Duck story.

I can't help but note that a person then on staff at Marvel Comics — and not even at a particularly high level — took the comic as some sort of hydrogen bomb aimed at the company that issued his paychecks, loudly declaring that no one who worked on it would ever in a million years work for Marvel again. And of course, any of us who wanted to, did…in some cases, quite a lot.

How this comic impacted the changes that occurred within the industry, moving to a more creator-friendly approach, is a discussion for another time. I just wanted to note that the 40th anniversary of Destroyer Duck #1 is also the 40th anniversary of the debut-in-print of Groo the Wanderer.

That was Sergio's contribution…and I hasten to point out that it was not mine. I talked him into letting us print the first Groo story in the book — and it took him all of three seconds to say, "Certainly!" But I did not work on that first Groo story. Attention all who refer to me as the co-creator of Groo: I am not. Give Sergio all the credit or blame. (Or maybe divert a smidgen to the late Gordon Kent, who did the coloring.)

That short story spawned a demand for more and that's when Sergio asked me to join him in what has now been a four-decade adventure which shows no sign of letting up. We have another mini-series coming soon and a bunch of other projects. I'll tell you more about them in due time.

I have a flurry of e-mails from people asking me questions about COVID. Do not ask me questions about COVID. I am not a doctor. I'm a guy who works on the Groo the Wanderer comic books. Could there be a profession — apart from whatever the hell it is Joe Rogan does — that makes one less qualified to give out medical advice? This is like if you need your appendix taken out and you go to Jiffy Lube and have them do it there.

I do know this much: In this world, you need to have a good doctor — someone you admit knows way more about medicine than you do and someone you trust. That doesn't mean trusting them blindly. Doctors can be wrong. You just need to trust them more than you trust what you read on The Internet.

In the meantime, there is one COVID-related question I feel qualified to answer: "When are you [meaning m.e.] going to appear again at a comic convention?" Real simple: When I feel it's safe. I've told the folks at WonderCon Anaheim that I'll be there April 1-3 if I feel it's safe…and I'll decide that closer to those dates. As I've said before here, I've found that the wisest thing for me is to not believe any predictions about when it will be over.

Even experts, let's remember, can be wrong. At this very moment, the AccuWeather app is telling me there's zero chance of precipitation in my area. And it's raining outside.

Another danged obit but this one is a belated one. Comic Leo DeLyon died last September 21 at the age of 96. Leo (whose real name was Irving Levin) had a long career as a comedian and a musical sidekick. For a long time, whenever Phil Silvers played Vegas or any night club, Leo was the guy at the piano, playing for him and bantering and getting his own laughs. He performed similar duties at times for Sandler and Young, Dean Martin and others.

We are especially interested in him because he occasionally did voices for cartoons. In the original Top Cat series in 1961, he did the voices of the characters Spook and Brain. That's them above with Leo between them. He did other voices now and then for Hanna-Barbera…on The Smurfs and Paw Paws, and on a few specials when they needed voice actors who could sing. He was also the voice of Flunkey the baboon in the Disney version of The Jungle Book.

He was a sweet, funny guy and I'm sorry I missed the news when he left us. He had one of those careers that lasted a long, long time but it was usually in supporting roles so I think a lot of the press missed his passing.

I only found out about it because Georgi Mihailov, a loyal reader of this site, wrote to ask me who else remains of the voice casts of early Hanna-Barbera cartoons. Georgi wrote, "I can only think of three people — Tim Matheson, Jimmy Weldon and Danny Bravo, who voiced Hadji on Jonny Quest." Since we lost Julie Bennett to COVID in April of 2020, that's about it, I'm afraid. Of course, that depends on what you consider "early."

If you are interested in knowing more about my friend Dana Gabbard, I refer you to this fine article by Joe Linton.  Note that this does not appear on a comic book themed weblog but on one focusing on Dana's other big interest…local transit.

Taylor Ramsey read here about the passing of Ron Goulart and sent me this question…

I was surprised to hear of Mr. Goulart's passing, though Wiki still has not heard of it apparently. I have some of his non-fiction works on my shelf. It raises a question both specific and in broader terms, why did he write under so many different names or why would any modern writer?

I know of cases where someone felt that one form of writing or another was "slumming" or the style was so different from what they were known for they would chose a different name, but this seems less obvious. He was so prolific that there really couldn't be much he didn't dabble in and the broadness and strength of his work would have surely benefited from prospective editors (or at least the ones you might want to work for) knowing the full breadth of his work.

Well, I never discussed this with Ron but I know a lot of writers who write under different names and there are a lot of different reasons for using a pseudonym on a book. You might have a contract to do a certain number of books for a certain publisher and you don't want them to know you're cheating on the contract and squeezing in a book for someone else.

Or they might know and not care as long as you don't disrupt their marketing plans. Let's say they're promoting you as a mystery author who brings out two gripping murder dramas a year. You have a sudden urge to write a treacly romance novel and they don't want to disrupt the image they're painting of you as a dedicated writer of whodunnits. So they ask that you not put your real name on the romance novel..or maybe you make that decision for that reason.

Or maybe someone's worried you have too much product hitting the market at the same time. Or maybe you knocked out a quick book for a quick buck and this one's not up to the standards you want associated with your name. Or maybe this one is porn.

But the most frequent reason is this: You couldn't pass up the deal.

You got an offer to write a certain book of a certain length for a certain fee and you think, "Hmm…that's decent money and it would be nice to add that money to my bank account." And maybe it's a book for a series that has a house name…for instance, the Tom Swift books were written by a lot of different people all under the name of "Victor Appleton." The Nancy Drew books were all by "Carolyn Keene." The Doc Savage and Avenger novels were all written by "Kenneth Robeson."

If you're a professional writer with any visible ability, you will almost certainly be offered ghost-writing jobs or jobs where your name will not appear…or if it does, it will be in real tiny type or you'll be credited for "research" or something and another name will be featured prominently on the cover. You may decide that that guaranteed money is better than waiting until you can sell a novel you're working on that might be more "you." You may decide to save your real name for books that are more "you."

And often, ghosting jobs are because someone putting together the book deal wants to involve someone with a bigger name and list them as the author. Their name might sell more books than yours. I've turned down a number of such offers and not necessarily because of the anonymity. I don't think I really considered that because, at the time those offers were offered, I just plain didn't have the time to take on those assignments. If I had, I might have taken one or two of 'em if I was low on other options.

On top of all that, it can be somewhat liberating to write something that you know won't have your name on it. You get paid and you'll never have to read a review that says "[YOUR NAME HERE] is a lousy writer."  I have no idea if that was ever Ron Goulart's motive but I know one writer who was quite shy and he wrote at least a dozen novels with his name appearing on zero of them.

I'll close off this answer with a quick story. A few decades ago, I read the autobiography of a Fairly Big TV Star. In it, he said that these were his words and he had refused the publisher's suggestion of a ghost-writer. I was a bit suspicious because it was pretty well-written and this gentleman, when I'd seen him interviewed, had never seemed that erudite to me. Then one day, I met the agent who'd handled that book.

I told him, "I find it hard to believe your client didn't have a ghost-writer."  The agent grinned, obviously proud of himself and said, "My client didn't know he had a ghost-writer."

He went on to explain that he'd arranged with the publisher to secretly hire one and he told the F.B.T.S., "You just dictate your book into a tape recorder. This guy I've hired will transcribe your words, clean up the punctuation and such, then chapter by chapter, we'll send the manuscript to you for your approval."  The ghost-writer completely wrote the book based on the tapes and when the chapters went to the Fairly Big TV Star, he read them and said, "Yeah, that's what I dictated all right."

The "ghost-writer" was paid well for his work (and his anonymity) and that money enabled him to spend plenty of time on a book that he did want to have his name on…and when that one came out, it did.