March 7, 2003 · 11:30 AM PST ·
LONG BEFORE the term "supermodel" was coined, Katy Keene was one. She first appeared in Wilbur Comics #5,
cover-dated Summer of '45, and published by the Archie people. Katy may have spent her days modeling glamorous gowns, but she had the same kind
of familiar comic adventures: Troubles with boy friends, rivalries with girl friends, and even a bratty younger sister. The publishers saw
instantly that it all appealed to the same folks who purchased the Archie titles, and they kept the lovely Ms. Keene around for decades, both as a
back-up feature in those books and — beginning in 1949 — also in her own title. One thing that convinced them of Katy's popularity
was an enduring and unprecedented avalanche of mail.
Cartoonist Bill Woggon, who created Katy and her adventures, had the idea of asking readers to submit their own fashion designs for his
leading lady to wear, and every story was footnoted with little captions: "Katy's swimsuit designed by Becky Lou Freebish of Jerkwater, Alabama," or
whatever. In truth, Woggon — and the many fine artists who assisted him over the years — usually had to embellish and improve the
readers' submissions, but he at least tried to incorporate their concepts. When other companies began imitating the same gimmick, the usual
procedure was to cheat. The artists would draw whatever they wanted and then some secretary would wade through the mail and assign reader
credits whenever some kid's sketch seemed vaguely close — or if none did, they'd make up phony names. Woggon never did that.
Katy's comic book lasted until 1961. Apart from a few reprints, she didn't get star billing again until her book was revived in
1983 — reprints of Woggon's work, then new stories by a fine Katy fan named John Lucas — and it lasted until 1990. She still has
devout fans out there who collect old Katy Keene comics, which are not always the easiest thing to find in complete form. You see, most
issues also included cut-out paper dolls, and many readers cut them out.
All of this, unfortunately, is leading up to an obit for Bill Woggon, who passed away March 2 at the age of 92. Woggon was a
charming man who devoted much of his life to cartooning, and who injected a personal touch into a kind of comic that was too often produced by
anonymous assembly lines. He was an enormous friend and teacher to many artists who assisted him, including Floyd Norman, Bill Zeigler and
Barbara Rausch. In his later years, he was delighted by the vast number of adults in both fields who told him he was an inspiration that had
led them into cartooning, fashion design and even — in at least a few cases — modeling, itself. He will be missed but his work will
not be forgotten.
March 7, 2003 · 3:30 AM PST ·
THE TWO most recognizable voices in the world of movie trailers today are Don LaFontaine and Hal Douglas. There are other
guys who narrate movie trailers but a majority of them are "doing" LaFontaine or Douglas, at least to some extent. There are also other
voiceover guys who profess to be combining the two.
LaFontaine is the guy you associate with Arnold Schwarzenegger and the Terminator II commercials. Here's a link to a demo of his work, and you'll need the dreaded RealPlayer installed to hear it.
And you can not only hear Hal Douglas but actually see him at work. He's on-camera for the trailer for the Jerry Seinfeld
documentary, Comedian. Here's a link to a site where
— assuming you have Apple QuickTime installed — you can view said trailer, which is very funny. (Thanks to Marc Wielage for the
March 7, 2003 · 2:30 AM PST ·
POLLS like this one are saying that if
the next presidential election were held today, by a slim margin, registered American voters would vote for an unnamed Democrat over George W.
Bush. This is good news for the Democrats but, given their track record, they'll probably blow it by eventually naming someone. Then
watch their advantage plummet.
IT'S BOTHERED ME for a few days that I erroneously recalled that Fred Allen died while walking his dog. It probably isn't
worth two thoughts, but I was sure I'd read that somewhere. Turns out, I did. The producer of What's My Line?, Gil Fates, wrote a
book about the history of that show. In it, he says Allen was walking a dog when he suffered the fatal heart attack. This is apparently
wrong, but at least I can stop wondering why I thought that.
March 6, 2003 · 12:00 PM PST ·
I HAD great fun writing the Garfield TV cartoons for many years. Here's your chance to write the Garfield
comic strip. Over at the cat's website, they've installed Garfield's Comic Creator, an online tool that allows you to put together your own Garfield
strip. Mix and match characters and backgrounds and props, and type in your own dialogue. (And to answer an oft-asked question: No, I
don't know when any of the Garfield cartoons will be issued on DVD in this country. The producer seems to be in a state of perpetual
negotiation for this to happen.)
I AGREE completely with this
article by Roger Ebert on the Pledge of Allegiance.
March 6, 2003 · 2:45 AM PST ·
I HAVE TO make time to say a few words about a very funny man named George Miller. I just got two simultaneous e-mails
from stand-up comedians telling me that George (one of their own) passed away yesterday, presumably from the leukemia he had been fighting for some
time now. I did not know George well but back when I was hanging around the Comedy Store, I saw him achieve two truly amazing
distinctions. One was that when he went on, all the other comedians would stop and listen. Even in the back, where they talk incessantly
about their own careers, they'd shut up and watch George. And the other astounding thing was that they all liked him, personally.
His act was low-key and totally his own. The material was not screamingly funny but it was unique. He'd start slow and just
when people were starting to wonder, "Who is this clown and where's the men's room?" he'd wallop them with a punch-line, not just out of left field
but clear outside the stadium, out somewhere in the parking lot. His pace didn't work all that well on television — though Mr. Letterman
loved him and had him on often. But in a club, when he didn't have to get a laugh every X seconds, he did just fine.
George had been ill for many months, and the rumor mill says that his medical bills were covered by one or more of his more successful
friends. I can believe that because, like I said, everyone liked him. They liked his act but they liked George more.
March 6, 2003 · 1:00 AM PST ·
ENLARGE THIS IMAGE
I'M SWAMPED with no time to write anything tonight, so here's a little oddment — a 1949 check actually signed by Walt
Disney to move $600 into some special account. I used to know a little something about handwriting analysis but I've forgotten every bit of
it. Still, doesn't that look like the signature of someone who would be highly creative and determined to make his name very famous? The
man almost wrote his name like it was going to be a company trademark.
Just something to think about. Back to deadlines...
March 5, 2003 · 11:00 AM PST ·
A READER named "Chaz" asks a Thundarr question that others have wondered about...
I noticed when I watched Thundarr that the letters "XAM" kept appearing on walls and old billboards. In that show's
post-Holocaust world, I always figured this was some sort of planted story point and we would someday meet Xam or find out that Xam was their God or
something. Since this never happened, I wonder if maybe the guy who painted the backgrounds was named Max and he just signed his work with his
name backwards. Can you inform me?
I can. Ruby-Spears Production — the company that brought you Thundarr — sub-contracted a lot of its animation
work to a studio in Utah named Ahern-Marshall, or A-M Productions. At some point, a group of A-M employees broke off and formed their own
animation company called "XAM!" (as in, "Ex-Ahern-Marshall"). The new operation also wound up animating a lot of Ruby-Spears shows, and someone
there liked to slap the company's name into their output. It turns up in a lot of other studios' cartoon shows of the eighties, as well.
Years ago, someone sent me a work of amateur fiction based on the premise that "Xam" was an alien Julius Caesar who had conquered the Earth in a
scenario that linked together the worlds of Thundarr, G.I. Joe, Dungeons & Dragons, Spider-Man, Punky Brewster, and other disparate
cartoon shows in which the author had noticed "XAM" signs. Quite a crossover.
Also: Someone wrote to ask if there was ever a Thundarr comic book. Well, sort of. Western Publishing contracted for
the property in 1981. (You know Western better as Gold Key Comics, but by that time, they were changing the name of their line to Whitman
Comics.) They had at least three issues written and drawn of a standard-sized comic book and also assembled one issue in a small, pocket-sized
format with which they were then experimenting. Alas, Western was having distribution problems at the time. I'm told they actually
published a small run of the pocket-sized issue, but I don't think I've ever seen a copy. They definitely did not get around to putting the
regular-sized books out. Those were postponed several times and then, when Western learned the show was going off the air, they scrapped the
comics altogether. At least one of the issues was written by John David Warner and drawn by Winslow Mortimer, and they may have done the other
issues, as well — and no, I have no idea what became of that material. A Thundarr newspaper strip was proposed, and Jack Kirby
drew up a couple of sample weeks, but that never went anywhere. Samples of that material were published in an old issue of The Jack Kirby Collector.
March 5, 2003 · 12:30 AM PST ·
THUNDARR THE BARBARIAN was an ABC Saturday morning cartoon show I worked on at the beginning of the eighties. The
series was a minor hit and would have run more than two seasons but for Garry Marshall. At the time, he had the three hottest prime-time shows
on ABC — Happy Days, Laverne & Shirley and Mork & Mindy — and he (or maybe Paramount) wanted animated versions of
them on Saturday morn. At that moment, if Marshall had wanted all the ABC executives to dance naked on his front lawn, they would have.
To make room for Fonz and the Happy Days Gang, they cancelled Thundarr. (The following year, there was a Laverne &
Shirley cartoon show and the year after, Mork & Mindy. None of them did as well as the shows they displaced.) The 21
episodes enjoyed some minor syndication as part of a package of other short-term shows but basically, Thundarr the Barbarian disappeared into
But not forever. As often seems to happen, a new generation catches on to a show and it comes back from the void in some
form. Thundarr went off in 1982 and just two years later, if you'd suggested that some company issue action figures or other
merchandise, you'd have been laughed out of Toy Fair. It was a dead, forgotten series that wasn't all that popular when it was on the
air. And yet now, twenty years after the last Thundarr was made, action figures are coming out from a company called Toynami, and other goodies may be forthcoming. That's one of the action figures above.
I really can't explain why the show is making a bit of a comeback. True, they've been rerun on Cartoon Network and more recently
on Boomerang, but they didn't attract much attention there; about as much as their earlier syndication did. And also true, the kids who watched
the show when it was originally on are now old enough to have kids of their own...but do youngsters ever watch a show because their parents liked
it? I think the answer may be that it was just a neat idea — a good-looking character with a good name and premise. Since I only
wrote one, I can also say that the scripts were generally pretty strong. My friend Steve Gerber was the story editor and he really made that
end of the production work.
One thing it did not have was good animation. Alex Toth designed the three central characters, and Jack Kirby designed everything
else. So you had a lot of terrific art that was then processed by the cheapest-possible animation house. When I see the shows now, I
can't believe they put some of that stuff on the air, but they did. At the time, the "bar" for acceptable animation on TV was a lot lower than
it is now.
Still, the show has its fans. Here's a link to one fan site where you can
find news, images, an episode guide, and an interview with the producers, Ken Spears and Joe Ruby. There's also a petition to try and get
Time-Warner — which now owns the show, as they will eventually own everything — to release the old shows on DVD. Since Time-Warner
doesn't even want to put Bugs Bunny out on DVD, I doubt they'll do Thundarr, but odder things have happened. The mere fact that anyone
remembers the show is pretty odd, all by itself.
THIS COMING SUNDAY, CBS is airing Back to the Batcave, a new TV-Movie about the exploits of Adam West and Burt Ward, back
in the days they were playing Batman and Robin on TV. Here's a link to a CBS
website that tells you all about this monumental event. And don't miss the online trailer. You really want to know what goes on after
the costumes come off.
OVER ON his website, Jim Hill pulls an article out of his archives about some folks who didn't do voices in Disney films —
like, why George Gobel turned down the role of Winnie the Pooh.
Go read it. (If that link doesn't go forward you to it, look for a piece called "Who's in Pooh and Satchmo's a no-show.")
SURPRISING the hell out of everyone, CBS is covering all three hours of this year's Tony Awards. This is the ceremony
that, every year, finishes last in the ratings, prompting rumors that the network will dump it. Instead, they're expanding it. I don't
understand, and this article doesn't fully explain it.
March 4, 2003 · 7:00 PM PST ·
GAME SHOW NETWORK'S website apparently has the schedule wrong. The Emmett Kelly episode of What's My Line?,
featuring Fred Allen's final appearance, is probably airing Friday night/Saturday morning. The following episode, featuring the tribute to Mr.
Allen, would therefore run Saturday night/Sunday morning. Thanks to Rick Scheckman for the info.
AS I'VE MENTIONED, William Saletan of Slate is probably my favorite
current political writer. Don't always agree with him but I wouldn't trust a political writer (or my own opinions) if I did. Here's a link to an article he wrote way back in 1999 that was right then, and is even righter
March 4, 2003 · 10:30 AM PST ·
CORRECTION: I am informed by several folks (including Alan Light and Kevin S. Butler) that Fred Allen died while out on a walk,
not while walking a dog. Mr. Allen did not like dogs. If I'd looked it up instead of writing from memory, I'd have known that.
WHILE I'M POSTING, here's a referral to an article in the New York Times about Jules Feiffer.
March 4, 2003 · 1:30 AM PST ·
ENLARGE THIS PICTURE
ONE OF the joys of Game Show Network's Black and White Overnight is seeing folks like Fred Allen — though for all
his esteem on radio, Mr. Allen never quite found his niche in television. Some said he was too homely. Others said his comedy was too
verbal. It may have been a little of each, but most of the TV shows I've seen which starred Fred Allen weren't all that wonderful.
Whatever the reason, his only long-term steady gig turned out to be What's My Line?, where he functioned as a panelist — and a very
entertaining one, at that. He was witty without ever being silly, and his banter was utterly unpredictable. You never caught him going
for the obvious joke.
Alas, all good things — including good lives — must come to an end. Game Show Network has been airing the old
episodes of What's My Line? in sequence. The one that is scheduled for early Friday morning is the show from 3/11/56 with Mystery Guest
Emmett Kelly. The show was done live and no one watching it knew that the great Fred Allen had made his final appearance before the
public. On March 17, he suffered a fatal heart attack while walking his dog. The following night, What's My Line? did the
broadcast that GSN is scheduled to air on Saturday morning (3/18/56 with Mystery Guests Cyd Charisse and Ann Landers). Everyone was suitably in
shock, and it was a gloomy but historic episode...and a teary farewell to a truly clever man.
TOM SNYDER is a broadcaster I have always liked and admired, ever since he was a local newsguy in Los Angeles. (He was the
last anchorman in a major market to work solo; that is, without another person at the desk beside him, alternating stories.) I wish he had a
show but at least he has a website. And here's a direct link to some thoughts he published about his friend, Robert Blake. (Thanks to "Tomalhe"
for the pointer.)
VIRUS ALERT! There are many out there, as you know. What you may not know is that some "spoof" the address of the
sender. Example: Larry, Moe and Curly all know each other. Larry, being a stooge, gets a virus on his computer. The virus goes into
his computer's address book and gets the e-mail addresses for Moe and Curly. It then sends Moe a contaminated message that appears to be from
Curly. So be wary of mail, even from friends. And don't presume that a virus-laden message is really from the person in the "From"
March 3, 2003 · 1:00 PM PST ·
POLITICAL CARTOONISTS pay tribute to Mr. Rogers. Go see.
AND IF YOU NEED ONE, here's an
explanation of the mind-reading trick in the previous item. (Thanks to Ali T. Kokmen)
March 3, 2003 · 11:00 AM PST ·
IN CASE no one has sent you a link to this
mind-reading trick, here's one.
March 3, 2003 · 1:00 AM PST ·
IN THE PAST, I've raved about the shows down at the Civic
Light Opera of South Bay Cities. Each year, they do a quartet of fully-staged musical productions for a mere two dozen performances
apiece. This is possible largely because they work with a pool of experienced directors and (usually) cast actors who have done the shows
before. Their staging year before last of Peter Pan, for instance, was basically the long-touring Cathy Rigby production with Cathy
Rigby's understudy in lieu of Cathy Rigby. Ordinarily, shows done with minimal rehearsal for short runs look like...well, like shows done with
minimal rehearsal for short runs. With a few minor exceptions, theirs do not.
They did a superb job with their most recent offering — a production of Ragtime which I'd urge locals to run see but for
the fact that the performance I caught last night was the last one. It's a shame, if only because I think half the audience would have eagerly
purchased tickets to see it again. I would have. Apart from slightly less fancier sets (though still impressive for a three-week stint),
this was a Broadway-quality mounting. Here's the L.A.
Times review which says much the same thing but goes into greater detail.
Ragtime is a lovely show, especially if you can get past the way several disparate storylines wander until they too-conveniently
intersect. It captures something quite beautiful about the aspect of America that promises the chance for immigrant and minorities to better
themselves — and it does not idealize that promise beyond reality or suggest that it will always be honored. Ragtime music underscores
much of it, and other quite lovely music underscores the rest. Indeed, the music almost never stops, creating a symphony of human
The next show the Civic Light Opera is staging down there is Smokey Joe's Cafe and I have no reason to expect it won't be
another first-rate production. My friends who live in Los Angeles or the Valley might well go, "Redondo Beach? I don't want to travel
that far." But it's not as distant as it sounds; about ten minutes south of LAX. It's a very comfortable theater with good parking
— two things I can't say for too many theaters in Southern California. It's kind of disarming to realize that some of the best theater in
Los Angeles isn't in Los Angeles.
MY THANKS to those of you who sent birthday greetings for yesterday. I'll get around to sending individual messages as I
get the time. Also, there are a couple of folks who've sent cash donations to this site lately but when I've written to thank them, those
messages have come back as undeliverable. (The money seems to be good; it's the thank-you note that bounces.) All of this, please be
aware, is appreciated.
March 2, 2003 · 1:30 PM PST ·
THAT'S A JEEP — the kind you can own without helping the terrorists. The Jeep was an occasional pet of Popeye the
Sailor and experts disagree as to whether the vehicle was named after the character or not. I don't want to get into that. I just wanted
to plug a terrific website that I learned about by visiting Jerry Beck's terrific
website. The one I want to plug is the terrific website run by the Calva
Brothers, devoted to the early Popeye cartoons produced by Max Fleischer Studios. Great stuff there, with more to come.
WE HAVE several pages on this site about Cartoon Voices and on most of them, I say
Please do not send me voice demos or requests to hear your samples or to hire you or to refer you to an agent. I get way too
much of this and have had to vow never to hire or refer anyone who approaches me this way.
That's pretty straight-forward but for some reason, I get about six e-mails a week that say something like this actual example...
Hi. I can do dozens of great voices and have always dreamed of becoming a cartoon voice actor like Mel Blanc. Can you
give me a job or help me to get one?
These messages always leave me a bit puzzled: Did this person read this site? If I'd always dreamed of doing something like that,
I'd search out and devour every available nugget of info I could find. But perhaps they didn't bother to look. I get an awful lot of
e-mail from people asking me trivia-type questions that they could have answered for themselves with a twenty second visit to any good search
engine. Many people do not seem to realize that the Internet is a tool to do your own research, rather than to merely e-mail someone else to
see if they can give you a fast reply.
Or perhaps they did read the articles here and thought, "Hmm...that sounds too hard. I'll just ignore that and see if there's an
easier way. What have I got to lose?" That's one of the downsides when a means of communication, like the Internet, becomes too
easy. It doesn't cost anything to send out a zillion e-mails to strangers, asking if they'll send you their bank account numbers. It
doesn't cost anything to write to strangers and ask if they'll make your dream come true. It's kind of like buying a lottery ticket because it
makes you feel better to be "doing something" to change your life — but deep down, if you're at all honest with yourself, you know you're not
going to win and that it's not a substitute for taking real steps.
Either way, I've decided to stop taking those e-mails seriously, and to stop presuming that those folks are really serious. Maybe
someday, some of them will be. Until that time, I'm not going to allow them to bother me, any more that I'm bothered by all those messages from
beautiful Russian women who want to marry me. I figure the success ratio is about the same.
APOLOGIES for a tech problem (not my fault) that made this page difficult for some to reach for two brief periods over the last
few days. And thanks to all those who wrote to alert me to it. It shouldn't happen again — but then, I thought that after the first
time it was fixed.
March 1, 2003 · 11:00 AM PST ·
GOLDIE HAWN (seen in the enlargeable pic at right) wasn't there but many other folks involved in Rowan & Martin's
Laugh-In were present last evening as the Museum of Television and Radio honored a breakthrough comedy series of the sixties. The dais
consisted of producers George Schlatter and Ed Friendly, writer Chris Bearde, musical contributors Ian Bernard and Billy Barnes, and performers Dick
Martin, Ruth Buzzi, Lily Tomlin, Arte Johnson, Alan Sues, Gary Owens and Joanne Worley. Ms. Worley allowed others to talk, but not often.
As usual for these events, clips from the show were run and then the panel talked about what it was like to work on the series. Among the
sizzling revelations we heard were that Arte Johnson got in trouble with the Polish Anti-Defamation League for telling a gibberish joke in
double-talk Polish (they assumed it was dirty); that Alan Sues once stuck his head up Kate Smith's dress; that Richard Nixon used the "f" word; that
the censors gave them a lot of hassle; and that Judy Carne never wore underwear.
I was a big fan of Laugh-In, and I enjoy watching the reruns that air now on the Trio cable channel — or, actually, I
did enjoy watching them until I realized they only have about 40 shows that they run over and over and over. (Someone let me know if they
ever get more.) But then I always enjoyed the show. In my teen years, when I started writing comic books for Disney, I'd take the bus to
Burbank, drop my work off at the lot, then walk over to NBC and talk my way into a Laugh-In taping. Only a few segments ever had a
formal audience but when they were taping short comedy bits, as they always seemed to be, you could sit in the bleachers if you seemed even remotely
connected. So I can verify what they all said last night, which was that their tapings were enormous fun which transferred to the air.
Years later, I worked on a Laugh-In imitation that was taped in the same studio. Its tapings were not a lot of fun, and I think it
Not much else to report about the evening. Lily Tomlin is brilliant, but you already know that. It was nice to see George
Schlatter and Dick Martin together, proving that old feuds can be buried. I was a little bothered that so many folks who worked on the show
— in front of and behind the camera — went unmentioned: Not a word about Larry Hovis or Richard Dawson or Johnny Brown or Teresa Graves
or Chelsea Brown or Barbara Sharma or Dennis Allen or about three dozen more, plus most of the writers. But other than that, I had a great
time, and so did a whole auditorium of people who remember Laugh-In fondly.
By the way: If you can't get Trio and want to see old episodes of Laugh-In, they're coming out on video. The initial push
— via a Gunthy-Renker website and upcoming infomercials — seems to be towards
getting folks to sign up for a subscription. You know the kind: First one's cheap, then every month or so they send you another volume and bill
your credit card at a higher price. I don't go for those and, if you have a lick of sense, neither do you. But the tapes and DVDs should
be available soon after on a pay-as-you-go basis. I'll let you know when I see them being sold that way.
WHILE TESTING out the channel-changing hook-up for my new Series 2 TiVo, I chanced to alight on Court TV and — shame on me
— got hooked watching a little of their coverage of the preliminary hearing for Robert Blake. The case against him seems overwhelming,
and his attorneys are spending a lot of their time impugning the integrity of those who gathered evidence. One investigator was asked, "Isn't
it true you told friends that you were upset you hadn't gotten on TV during the O.J. Simpson trial?" There was also a brief dust-up when a
prosecutor referred to the date of "the murder" and Blake's lawyers objected, insisting the word was prejudicial and that it would be better to refer
to "the killing." This does not make it sound like they're sitting on a pile of exculpatory data.
Court TV is practically orgasmic to have a Hollywood Murder Case to exploit, and is throwing up specials and daily summaries and
Breaking News bulletins. For some reason, during the chunk I saw, they kept cutting to comments by a lawyer who was pointedly identified as
"Michael Jackson's lawyer." No, I don't know what he has to do with Blake, other than that tabloid-type journalism loves to link hot stories
The defendant is upset with Jay Leno for treating him as if he's already been found guilty. On the one hand, I think that's
misplaced anger. If the police are announcing they have associates of Blake to testify that he tried to hire them to whack his wife — and
one was testifying when I tuned it — Leno is hardly jumping to or spreading unwarranted conclusions. On the other hand, there is
something about Robert Blake that strikes me as so pathetic, the jokes are almost like picking on the mentally ill. (And I guess it's
theoretically possible that he didn't do it, in which case the jokes are just helping to destroy an innocent man.)
I know it's not fashionable to feel sorry for violent criminals and if he did it, he deserves the maximum penalty. Surprisingly
— for a case in L.A. involving a celebrity — he may very well receive it.
But there's something else here that differs from the O.J. case. Jokes about Simpson always had to be tempered by a proper
reverence for the loss of the two people he hacked to death. In l'affaire Blake, no one is mourning the victim because there seems to be
a consensus that the deceased was not a very nice person. Blake's whole defense, such as it is, seems to be that there were a lot of people who
had reason to want her dead. That changes the dynamic. It opens up new areas of humor and makes the whole thing one big Freak Show with
no compassion required for anyone.
Simpson also looked maddeningly arrogant and determined to have a life after the trial. His one-time gridiron heroism caused many
to want to believe he didn't do it, and his skin color gave an opening to those who wished to make the case that the L.A.P.D. had racist
underpinnings. So he had some people on his side, whereas Robert Blake just looks like a loser; like a guy who did what he's alleged to have
done because he was already on the downside of life. He did it, as he did the interview with Barbara Walters, almost as if he had nothing left
to lose, his career and a large piece of his mind having long since departed.
I am all for what some would call Bad Taste Humor. As long as it's funny, do it. But I recall that Johnny Carson would
sometimes stop doing jokes on a given topic because he sensed that it was beginning to turn too tragic to be funny. And I guess the whole
subject of Robert Blake offing his wife is starting to look that way to me.
HERE'S ANOTHER PLUG for my new book. Save up those bucks for...
Click here to read the previous NEWS FROM ME