Articles by mike-gold
Mon May 12, 2008 — by Mike Gold
Barack Obama and the Comic Book Time Machine, by Mike Gold
Whizzy's Wazoo #66
I have always been a major league comic book fan. Always. As a child, whenever my parents dragged me out of town I would make them stop at every possible drug store, newsstand and dime store so I could check out the comics stock. In those days we had no forewarning of what was coming out when, and few outlets carried every title. Some even ignored entire publishing lines.
So when I think back on those trips, I can date them by the comic books I had seen along the way. For example, I encountered Lois Lane #1 at a roadside inn on the road between Gary and Indianapolis Indiana, since replaced by Interstate 65. Ergo, that trip was at the very beginning of 1958. I was seven years old.
In the corner behind the comics rack, I encountered separate drinking fountains: one said, “Whites” and the other said, “Colored.” That confused me, and I asked my father why they needed two. “Because some people are damn idiots,” Dad replied in undisguised disgust.
We were in central Indiana, a place that just a few decades earlier had been the focal point of the Ku Klux Klan. Now, mind, you, if not for the Ku Klux Klan I wouldn’t be alive today.
Continue reading Barack Obama and the Comic Book Time Machine, by Mike Gold ›
Mon May 5, 2008 — by Mike Gold
R.I.P.: Ted Key
Peabody and Sherman, Hazel Creator Dies at 95
Cartoonist Ted Key, creator of the popular newspaper comic panel Hazel and the classic cartoon characters Mr. Peabody and Sherman, died today at 95.
Born Theodore Keyser in 1912, Key created Hazel for the Saturday Evening Post in 1943. The panel shifted over to King Features Syndicate in 1969 after its creator acquired the rights when the Post ceased publication. In the interim, Hazel evolved into a hit television show that ran between 1961 and 1966, and in syndication thereafter.
In 1959 Key developed the surreal "Peabody's Improbable History" cartoon series for producer Jay Ward and his program Rocky And His Friends.
Key retired from Hazel in 1993 but the panel has continued in newspapers in reprints ever since.
Mon May 5, 2008 — by Mike Gold
Name Dropping, by Mike Gold
Whizzy's Wazoo #65
I’ve been around the northeast quadrant a bit since the New York show a few weeks ago and I’ve seen a lot of people. Good people, old friends, new collaborators, strange and unusual folks. That’s what my life’s about, and I’m proud of that.
I enjoy going to the Windy City Pulp and Paper Convention. Compared with, say, the mass of hustling humanity at comics shows in New York, San Diego or on WizardWorld, the Windy City show is like a weekend at the spa. Anthony Tollin was there along with his latest Shadow and Doc Savage trade paperbacks; we talk about them here all the time. I was able to have a solid conversation with frequent ComicMix commentator Russ Maharas, I got to go over the next Simone and Ajax plot with Andrew Pepoy for a bit, FOC (that’s “friend of ComicMix”) George Hagenauer gave Adriane Nash a swell history lesson on 1950s pin-up art, Rob Davis and Ron Fortier told me about a new project that fascinated the hell out of me, and I had the chance to talk with master cartoonist Jim Engel once again.
The next day we had lunch and dinner with FOCs Charlie Meyerson and his wife Pam (Charlie of Chicago Tribune fame; Pam’s a lawyer and bon vivant) and Rick Oliver and his wife Jade (Honest Rick of First Comics, Jade was a swell comics colorist). George, Charlie and Rick have given us a lot of advice and opinion ever since ComicMix was just a gleam in our eye – Rick is a major commenter in these precincts – and the whole bundle of ‘em are brilliant conversationalists.
Since the best thing to do in Chicago is eat until you burst, we were particularly fond of our dinner with the aforementioned Mr. Pepoy, Simone and Ajax colorist Jason Millet, Hilary Barta (Munden’s Bar, The Simpsons, The Thing, Power Pack, New Mutants, Alan Moore’s Tomorrow Stories), and writer / professor Len Strazewski (Prime, Justice Society, The Fly, Starman, Phantom Lady). Sort of like the fabled Algonquin round table, but a lot more snarky.
Mon Apr 28, 2008 — by Mike Gold
Del Close Close Up, by Mike Gold
Whizzy's Wazoo #64
Well, it’s about time.
Author Kim Howard Johnson, former comics newsman (the late, lamented Comics Scene), occasional comic book writer (Superman: True Brit, with John Cleese and John Byrne), and frequent ComicMix commenter, has written the definitive biography of his mentor, collaborator and friend, comedy legend Del Close.
It’s called The Funniest One In The Room: The Lives and Legends of Del Close (Chicago Review Press, $24.95), and I’ll admit right off it’s impossible for me to not absolutely love a book in which I am mentioned in the second paragraph. I could have titled this column “Me and My Ego” but, no, this one’s about Del’s ego.
Comics fans may be familiar with Del’s work in collaboration with John Ostrander on Munden’s Bar during its original First Comics run, and/or their work together on the even-more-over-the-top Wasteland, the one we did at DC Comics. In fact, it was Del who suggested the title.
Students of American cultural history know Del as a Shakespearean actor who also performed on television and in movies and plays by Steve Martin, Jules Feiffer, William Saroyan, Judge Julius Hoffman, and Kaufman and Hart. But he is best known for his work as a director, teacher and mentor to – to name but a very, very few – John and Jim Belushi; Brian Doyle, Joel, and Bill Murray; Howard Hessman; Rob Reiner; Joe Flaherty; Harold Ramis; Betty Thomas; George Wendt; Tim Kazurinsky; John Candy; Chris Farley. Tim Meadows; Andy Richter; Stephen Colbert; Steve Carell; Kim Yale… and literally hundreds more. Oh, yeah… he was also rehearsal director of Saturday Night Live for a couple years and he created the format for SCTV.
Thu Apr 24, 2008 — by Mike Gold
59, by John Ostrander
Tales From The O-zone #63
Numbers represent. They don’t really mean.
Any meaning associated with numbers – or words for that matter – are what we assign to them. My social security number identifies me to the government but it’s not who I am. It has importance, yes, and if unscrupulous people get a hold of it, it can have a terrible impact on my life. It is not, however, my life. The finger pointing at the moon is not the moon. The road map is not itself the road.
I turned 59 last Sunday and I’ve asked myself “What does that mean? Am I different in any essential way than I was on Saturday?” No. “Do birthdays have meanings?” If we give them some – yes. I like to celebrate the birthdays of those close to me more than I like to celebrate my own. I celebrate the fact that they were born, that they entered this world, and I get to be a part of their lives. I don’t dislike my birthday; I don’t have a problem with having one. I am thankful for the thoughts and good wishes expressed and any excuse to have a double chocolate cake is a good one.
The real use to me of my birthday these days is a bit more meditative. The number 59 has meaning in context with numbers 1 to 58. They are mileposts in my journey thus far. Milepost thirty-three – my first published comic book work. I remember that because I was pleased to be a rookie at anything at 33. Milepost thirty-eight – I married Kim Yale. Talk about being a rookie! Milepost forty-seven – Kim died and the world collapsed only to begin again a few mileposts later with Mary Mitchell. Life goes on. Death gives way to new life.
Tue Apr 22, 2008 — by Mike Gold
NYCC: A Post-Game Analysis
The thrill of camaraderie, the agony of the feet
Fifty-nine weeks ago I slammed the first two New York Comic-Cons pretty hard, so it’s only appropriate that I comment on this year’s jamboree. The previous shows were held in February, so the mere fact that people waiting in line this year didn’t have to suffer in below-freezing wind chills is, in and of itself, a vast improvement.
The show was better organized, crowd flow on Friday and Sunday was almost manageable, and the convention staff from Reed Communications (not the volunteers, who were great) drifted more towards being hospitable and informed. In fact, they were neither hospitable nor informed but you could tell that this year somebody suggested being so might be a good idea.
Saturday was pretty much the same premise as last year: “What if you tried to squeeze the entire population of Manhattan into a phone booth?” They claim attendance records were broken and that would be nice to believe, but it would be even nicer if they were at a venue where they could actually obtain enough space so that people could walk down the aisles without getting bashed in the face by an endless number of backpacks and tripped by an equal number of light sabers.
I can’t help but wonder what the show would have been like if god hadn’t helped out. Passover started Saturday and the New York metropolitan area contains a lot of religious Jews. And the pope was in for the weekend, so a lot of Catholics were attending one or another event. In fact, it looked like he was on Frank Miller’s Dark Knight panel.
Mon Apr 21, 2008 — by Mike Gold
Superman Blue ... Archie Orange, by Mike Gold
Whizzy's Wazoo #63
In the comments section of my column of two weeks ago, I told Van Jensen that today’s broad spectrum of color could not be printed on the cheap toilet paper employed in the days of yore. That stuff would soak up ink like a spirit gets sucked into Harold Ramis’s ghost trap. Back in those days just after the invention of papyrus, color artists were limited to a palette of three values each of red, blue and yellow, plus black. Not a lot to work with.
Still, as Van implies, the end result was fine. It didn’t bother us, just as riding a horse to work didn’t bother us. Except… except … it bothered me.
To be specific, blue hair bothered me.
I understand why hair was blue: if it were black, it’d just look like Clark Kent and Bruce Wayne had a big blob of India ink atop their brainpans. You couldn’t make it look like hair, and not everybody could have brown, red, or blonde hair. The blue stuff was supposed to suggest highlights, but with a few dozen colors to choose from, what can you do?
Continue reading Superman Blue ... Archie Orange, by Mike Gold ›
Mon Apr 14, 2008 — by Mike Gold
DC's Killing Fields, by Mike Gold
Whizzy's Wazoo #62
How many times can you run a stunt into the ground in one month before you just look like you’re totally bereft of originality? DC Comics’ June, 2008 solicitations, as published in Diamond Distributing’s Previews catalog, offers no less than six phony death and/or resurrection stunts.
Gotham Underground #9 asks the musical question “Will Penguin pay the ultimate price?” Well, who cares? If he’s dead, he’ll get better. Death has no sting in the DC universe.
Batman #678 is the third part of their “Batman R.I.P.” arc. “Is it truly the end for one of the world’s finest heroes?” the solicitation asks. Forgive me, but how many times have the sundry world’s finest heroes R’ed in P? Hell, I’ll bet if you ask them they would have wanted to stay dead at least a bit longer in order to get some rest in peace. I should add Robin #165 to this list as it ties in to Batman #678 and has Robin holding a dead-looking Batman on the cover. Maybe – probably – the old buzzard isn’t dead. The fact is, it doesn’t matter.
Booster Gold #10: “Someone from his past must live and someone must die!” My wife informs me (happily) that Ted (Blue Beetle the Second) has already been resurrected. The death – if it actually happens – well, again, who cares? If it was somebody important, he/she/it wouldn’t be killed off in Booster Gold. Unless the stunt has grown so lame that DC is willing to bury it in a title such as this.
Sun Apr 13, 2008 — by Mike Gold
Joe Staton Honored With Exhibit
What do Guy Gardner, Scooby Doo and Munden's Bar have in common?
Legendary comics ace Joe Staton will be honored with an art exhibit at at the Storefront Artist Project in Pittsfield, Massachusetts from August 2nd through the 31st.
Best known for his work on (please hold your applause until the end) Batman, E-Man, Femme Noir, Green Lantern, Guy Gardner, The Huntress, Jonny Quest, The Justice Society of America, Michael Mauser, Munden’s Bar, Power Girl, Rugrats, Scooby Doo, Superman, the Wild Thornberrys and about twelve thousand other creations, Joe’s most recent effort is the “new-look” Jughead four-parter that debuted in Jughead’s Double Digest #139 last week.
Joe's online collaboration with writer Christopher Mills, Femme Noir, will be debuting as a pamphlet-form mini-series in June.
A long-time supporter of Manhattan’s Museum of Comic and Cartoon Art, The Art of Joe Staton is being produced by the Storefront Artist Project in cooperation with the Museum. A series of related free workshops and programs is also part of the deal.
In association with the exhibit, Joe will also be conducting a free day-long workshop on August 3 which includes a drawing demonstration, sketch-a-thon, and discussion. For more information contact the Storefront Artist Project at 413-442-7201 or go to their website.
It’s very, very hard to imagine a guy who deserves this more than Joe Staton. Congratulations, ol’ timer!
Mon Apr 7, 2008 — by Mike Gold
Money, by Mike Gold
Whizzy's Wazoo #61
I started thinking about money.
Well, actually, I probably haven’t stopped thinking about it since the day I realized my daily school lunch would buy me three comic books and one candy bar. But being older yet no more mature, this time around I started thinking about the price of gasoline.
Right after the New York Comic Con, my wife, daughter and I are going to pile into my 2005 Ford Focus hatchback and drive across New Jersey, Pennsylvania, Ohio, Michigan, and Indiana to spend time in Detroit and Chicago. Mostly work, but lucky for me I work with my friends, which is sort of like spending my lunch money on comic books.
Here in Fairfield County Connecticut the price of a gallon of gas is $3.45. It’s about time they dropped that “9/10ths” thing – I’m sure they will when the price of gas goes above $9.99 a gallon. If previous trips (I do this about three or four times a year, mostly for conventions) are any indication, I suspect I’ll be paying about $3.19 a gallon in Pennsylvania and Ohio. The drive, in total, runs about 1800 miles and my Focus gets about 35 miles to the gallon – this is mostly highway driving, so I’ve got the right car for the job. That’s about 52 gallons for the trip, which I figure will run about $170.00 plus tolls. Call it $200.00; if I flew in alone the car rental would cost more, let alone my airfare.
This brings me back to my lunch money. I am so damn old that my school lunch only cost my parents 35 cents, and therefore the comic books I bought with that lunch money only cost a dime (when the price went up to 12 cents, I just stared at the cover as though it said the Communists had just seized control of the drug store). Today, the average cost of the standard format mainstream comic book costs $3.00. That’s a thirty-fold increase. A gallon of gas in the late 10-cent comics era was about 30 cents, so we’ve only suffered a little more than an eleven-fold increase.
Sat Apr 5, 2008 — by Mike Gold
GraphicAudio Adapts Three 'Justice League' Novels
The JLA does talkies!
We’ve opined previously on GraphicAudio’s full-cast adaptations of DC Comics’ Infinite Crisis and 52. Well, actually, of Greg Cox’s novelizations adapting DC Comics’ Infinite Crisis and 52. They must have sold pretty well, as they’re expanding their offerings to include at least three more projects.
They’ll be adapting a trio of Justice League paperback novels from a couple years ago: Christopher Golden’s JLA: Exterminators, Alan Grant’s Batman: The Stone King and Roger Stern’s Superman: The Never-Ending Battle. These adaptations feature a full case with music and sound effects, not quite like Big Finish’s original Doctor Who offerings in the sense that the stories are driven by each book’s narrative voice. While they fall slightly short of being full-blown audio dramas, I’ve enjoyed their work on Infinite Crisis and 52 and I hope they are able to maintain the same cast members for these CD presentations.
JLA: Exterminators comes out in May; the others follow in two-month intervals. They are released on CD and mp3 discs and are readily available at Interstate truck stops. Previous DC adaptations were distributed by Diamond to knowing comics shops, so you might want to do a pre-order. Of course, they’ll also be available at GraphicAudio’s website, where you have the option of buying them as downloads.
Mon Mar 31, 2008 — by Mike Gold
Happy Birthday: Liv Marie Alvey
ComicMix Co-Founder Getting Crowded
Liv Marie was born to Brian and Niki Alvey at 3:46 PM today, making this her zeroth birthday. She is 9 pounds 0 ounces and 19.5 inches long. Liv joins two very excited brothers and three doggies.
In case you don't read the fine print, Brian is co-founder of ComicMix, and we wish the family nothing but the very, very best.
Great way to start off the spring!
Mon Mar 31, 2008 — by Mike Gold
Breaking The Mirror, by Mike Gold
Whizzy's Wazoo #60
One of the more disgusting experiences I suffered through in my professional life was the reaction of one DC Comics executive – no longer with the company; not for quite a while – to the new El Diablo series back in 1989. His response was “not a lot of those people buy our comics.”
Without this executive’s support, the series didn’t have a chance. It lumbered on through 16 issues despite good work from a respected team. A lot of people didn’t know the title existed. Your reaction might very well have been “El Diablo?? Oh, yeah, I think I remember that...” Sigh. When I hired a black man as a full editor at DC, a first for the company, a couple of my fellow editorial staffers made their displeasure quite well known to me, and to my boss.
This is no criticism of DC: they had a large staff even at that time and these clown were hardly the only bigots in the building. That’s America, and these people (as opposed to those people) sometimes get their way. Sometimes we watch them on CNN; sometimes we elect them to office.
Comic book universes have been slow to reflect the spectrum of humanity: too many white men running around with other white men for way too long. Yep, that’s been changing somewhat more slowly than in other sectors of our popular culture, but I’ll bet we’ve still got another black superhero coming out named “Black” something. At least Marvel is unlikely to create another black sidekick named Bucky.
Sun Mar 30, 2008 — by Mike Gold
Supermoney: The Superman Trial and Jerry Siegel's Estate
ANALYSIS by Mike Gold
For those who came in late… As has been widely reported, the Federal District Court ruled somewhat in favor of the estate of Jerry Siegel in its lawsuit to have all publishing rights to the Superman story in Action Comics #1 be taken from Time Warner’s DC Comics subsidiary and given to Jerry’s heirs. The decision runs 72 pages, but at heart is the judge’s ruling that because the property existed before Action#1, “work for hire” stipulations do not apply.
The New York Times did a good job covering the story; Mark Evanier, as would be expected, did a better job. For one thing, Mark got co-creator Joe Shuster’s first name right. The New York Times did not.
Whereas there is much cause for celebration, before we start dancing in the streets we should look at what’s at stake here.
Only the original concepts – only Superman, Clark Kent, the costume as portrayed in that initial story, and the abilities unique to Superman in that story – are in play. Perry White, the Daily Planet, Lex Luthor, the Legion of Super-Heroes, Bizarro, kryptonite, Jimmy Olsen and the rest are not on the table. Only the domestic rights are in play, and even then the estate would be in something of a co-ownership position with DC Comics. So don’t look forward to that Eros Comics Superman series quite yet.
Sadly for the Siegel family, this does not bring to an end a fight started by Superman creators Jerry Siegel and Joe Shuster 60 years ago. Actually, it’s just warming up.
Continue reading Supermoney: The Superman Trial and Jerry Siegel's Estate ›
Wed Mar 26, 2008 — by Mike Gold
Don Rosa Recovering From Emergency Surgery
The Duck Man for our times...
It probably goes without saying that an artist's most significant tools are his eyes. People have figured out alternate ways of drawing, but they've got to see what they're doing. So it is with great trepidation that we note legendary Disney Duck artist Don Rosa, a regular at many a convention and fan event, underwent emergency surgery last week to cure a detached retina.
It will not be known if the procedure was successful for several more weeks, but Don is resting at home (in a prone position) and will have to undergo six months of recovery downtime. He hopes to return to the convention scene this fall.
Following in the websteps of Carl Barks is not easy, but Don has always made it look like a cakewalk by combining a variety of influences (notably Mad's Willy Elder) with his own unique gifts to bring Uncle Scrooge and the sundry Ducks to a whole new generation across the world. His work has been anthologized and is available at better comics shops across the planet.
ComicMix wishes Don a speedy, painless and successful recovery.
