December 2012 - Page 6 of 7 - Ramblin' with Roger

FantaCon 2013 update

Haven’t seen Steve Bissette in person since 1988.

Michae

As some of you know, I worked at FantaCo, the comic book and film book store/publisher, et al in Albany, NY from May 1980 to November 1988, the second-longest job I ever had. (The current one is #1.)

There will be a FantaCon in September 2013, the first one since 1990. I’ll be there, Allah/Yahweh willing.

You’ll note that Tom Skulan, the creator of FantaCo and FantaCon, has dedicated the show to the memory of three individuals. I KNEW THEM ALL.

Phil Seuling was one of those people that the term “bigger than life” was designed for. He essentially invented the direct sales market for comic books, and his Seagate Distributors was not only FantaCo’s primary supplier in the early years, but the fact that he took a chance on FantaCo’s largely untested product line helped permit FantaCo to become a successful publisher. He threw some of the most lavish parties I’ve ever been to, in Brooklyn, NY.

Not only did Raoul Vezina work the front counter at FantaCo, he also designed the FantaCo logo, Smilin’ Ed. He drew the duck character that graces this blog. One of my favorite memories ever was co-plotting a Smilin’ Ed story with him for the X-Men Chronicles. He also was friends with more folk than anyone I knew, and would often get us into the J.B. Scott’s nightclub for free when some band he knew was playing.

Chas Balun was this gentle giant of a man. Had a great sense of humor, which showed up in his horror film writings. He lived on the West Coast of the US, so I didn’t meet him that often. Since I shipped most of the FantaCo publications, I got to speak with him on the phone regularly. My buddy Stephen R. Bissette was speaking fondly of him on his Facebook page earlier this month.

Speaking of Steve, I’m looking forward to seeing him in person, at the only show he’s doing outside his native Vermont in 2013. He’s the artist probably best known for his collaboration on Swamp Thing, though he’s done a lot of other great stuff. Haven’t seen him in person since 1988.

Also haven’t seen Michael T. Gilbert in a very long time, probably since before Raoul died, in 1983. On the other hand, Fred Hembeck, who Tom and Fred have confirmed is coming, though he’s not noted on the site yet, I got to see on November 11 of this year.

I have two tasks in re: this, and some of you may be able to help me. I’m interviewing Tom Skulan, sending him a bunch of questions by the end of the year, which he has agreed to answer. If YOU have questions you want me to ask, please let me know. I’m also working on a FantaCo bibliography for 1978-1988; if you happen to have any of those items that I could borrow – and that would include FantaCon programs, FantaCo catalogs, and Splatter Movies T-shirts, I would appreciate that. Contact me at the e-mail on this blog.

Baseball Hall of Fame in the Steroid Era

Who WILL get in, I really don’t know, though I’ll guess Piazza, Schilling, Bagwell, and Morris.

The ballot for the 2013 inductees to the Baseball Hall of Fame has been announced. Two of the greatest players ever, outfielder Barry Bonds and pitcher Roger Clemens, are on the ballot for the first time; both have been implicated as users of performance-enhancing steroids. Sammy Sosa, a great home run hitter, is also in this category.

These are the other first-time nominees: Craig Biggio, Curt Schilling, Mike Piazza, Kenny Lofton, David Wells, Julio Franco, Shawn Green, Steve Finley, Roberto Hernandez, Jose Mesa, Mike Stanton, Sandy Alomar Jr., Jeff Cirillo, Reggie Sanders, Jeff Conine, Royce Clayton, Ryan Klesko, Aaron Sele, Woody Williams, Rondell White, Todd Walker.

The following players received between 5 and 74 percent of the BBWAA vote in 2012 and have appeared on no more than 14 previous BBWAA ballots, making them eligible to return to the 2013 ballot: Jeff Bagwell, Edgar Martinez, Don Mattingly, Fred McGriff, Mark McGwire, Jack Morris, Dale Murphy, Rafael Palmeiro, Tim Raines, Lee Smith, Alan Trammell, Larry Walker, and Bernie Williams.

The ones in italics above won’t get the 5 percent to get on the ballot next year. Sandy Alomar could be on that list too, though his brother was a Hall of Famer and that might help him just hit the threshold. Julio Franco (played a LOT of years), Shawn Green, Mike Stanton, and Steve Finley could go either way. I think the others will get at least 5% including David Wells, if only because he once pitched a perfect game.

Here’s some information on all the candidates. If I were voting, I would not vote for any of the steroid suspects in the first round, but might in subsequent rounds.

My ballot:
Mike Piazza- one of the best hitting catchers of his time
Curt Shilling – pivotal in World Series wins for two different teams (2001 Arizona, 2004 Boston)
Craig Biggio and Jeff Bagwell – I like the idea of two of the Houston Astros’ Killer B’s getting in together
Mark McGwire – he’s also been tainted by the enhanced performance brush. But it wasn’t banned until afterward. And it’s his 7th time on the ballot, so yes.
Larry Walker – my bias against playing in a mile high stadium where the hit ball carries better (Denver) has been overcome by his decent play away from home
Lee Smith – a one-time career saves leader; should have been in years ago

Now I have to think about the last three. As a Yankees fan, I’m biased against former Yankees Mattingly and Williams, because their predecessors were so great. Edgar Martinez was primarily a designated hitter, and I STILL hate the DH rule. But I might vote for all of them down the road. I’ll pick three players who’ve been on the ballot a long time: Alan Trammell (12th year on the ballot); Jack Morris (14th, and I would have voted for him before); and Dale Murphy (15th and final shot).

Who WILL get in, I really don’t know, though I’ll guess Piazza, Schilling, Bagwell, and Morris, two first-timers, and two who’d been up before.

There’s also a separate ballot for the Pre-Integration Era, six players, three executives, and one umpire from the origins of the major leagues through 1946. I’d pick:
pitcher Tony Mullane, who “won 284 games in 13 major league seasons from 1881-1894”
St. Louis Cardinals executive Samuel Breadon, who “created the blueprint for the modern farm system with minor league clubs owned or controlled by the parent club. Presided over nine pennant winners and six World Series championships”
executive Jacob Ruppert, who owned the New York Yankees from 1915-1939, with his teams winning six World Series titles and nine American League pennants during his ownership.” He purchased Babe Ruth’s contact from the Red Sox, and “led the construction of Yankee Stadium”
Hank O’Day, who was major league umpire “from 1888-1927, officiating 10 World Series, tied for second-most in history. Was selected to umpire the first World Series in 1903. Also played and managed in the majors, as a pitcher from 1884-1890”

The announcers’ awards are also out, but I have no opinion.

One of my Facebook friends wrote: “I’m going to argue that before any of these guys get in, how about considering inducting John R. Tunis, Charles Schulz, and the guy who invented Little League“; that would probably be Carl Stotz. “It’s about time that some of the people who used their talents to promote baseball also get their due in the Hall.” Last I was there, a Peanuts cartoon exhibit WAS in the Hall.

Baseball union leader Marvin Miller died recently. I agree that he belongs in the Baseball Hall of Fame as well.

U is for UHF

UHF managed to stick, in no small part because of the All-Channel Receiver Act in the early 1960s, requiring UHF capacity on TVs.

While researching a book about local television that I will almost certainly never write, I discovered that, after World War II, there was a great demand for having local television stations in the United States. TV in those days was limited to what was called VHF (very high frequency) of channels 1 to 13; eventually, channel 1 was reassigned. But with only 12 individual choices of TV stations, there were, inevitably, issues of station signals interfering with other broadcasts.

By 1949, there were just over 100 local stations in the country. While some large cities, such as New York and Los Angeles had four or more stations, other places had only one or two, and some places such as Denver, CO and Austin, TX had none.

So the Federal Communications Commission, the government body in charge of these things, instituted was called the Freeze of 1948, with over 700 applications waiting to be addressed, and only some already in the pipeline getting approved. The freeze was only supposed to have lasted a few months; it ended up taking four years.

By this time, the FCC had offered the stations the opportunity to broadcast on a different set of frequencies known as UHF, ultra high frequency, initially channels 14 through 83. There was only one little problem; most sets were not designed to access the UHF signal! As in any hardware/software balance issues of today, TV manufacturers didn’t want to make sets with UHF capacity unless there were enough stations broadcasting in UHF. And broadcasters didn’t want to invest in a UHF station unless there were enough sets that could air their signal.

There was one workaround: buying a converter. But would people pay for a device to get greater television access when they had been getting it for free? Eventually, UHF managed to stick, in no small part because of the All-Channel Receiver Act (ACRA) in the early 1960s, requiring UHF capacity on TVs. Unfortunately, before that happened, a wager by the Dumont network on the UHF technology eventually led to the network’s demise.

UHF was also clunky, even after the passage of the ACRA. While the set would click to each station between 2 and 13, the UHF dial was like a radio dial of that era, and tuning it to a given setting was a sometimes thing. This meant that getting an outside antenna was pretty much imperative.

Since UHF was less than prime viewing, stations on that end of the dial often broadcast old movies or other inexpensive productions. That was, more or less, the premise of the 1989 movie UHF, starring ‘Weird Al’ Yankovic. You can read the reviews and see the trailer and, at least for the time being, watch the whole movie.

One of the great successes of a UHF station was when entrepreneur Ted Turner bought the struggling television station in Atlanta on Channel 17 and eventually turned it into cable network TBS.

Of course, nowadays, people often DO pay for TV via cable, a dish, or other technologies. TV stations are broadcast digitally, so a given station can have 2 or more different signals. The technology is SO much sophisticated now.

ABC Wednesday – Round 11

The “no time to blog” blogpost

Our office may be moving back downtown.

This is how I know it was a busy autumn: this year will be the first in a decade that I did not donate blood at least six times, only five. To be fair, I DID actually go down to the Empire State Plaza (the Egg, for you Albanians) back in late October but could not get into the building. As it turns out the Governor was holding a booze summit and so I couldn’t get to the regular donor site, though I had time before my dentist appointment.

I seem to have taken off a lot of days from work in November, one for Hurricane Sandy, one to take the daughter to the ER, one to go see Wicked, two because my wife was having two minor surgeries and my daughter had a half-day of school, two for Thanksgiving, a half-day for a doctor’s appointment. As Yul Brynner regularly said, “et cetera, et cetera.”

The local bus company changed its routes, and I found myself waiting an hour for transportation that was never going to come.

The Daughter is going to bed later AND getting up earlier, cutting into my wife’s prep time for school, my blogging time, and both of our sleep times.

I performed in two different choir concerts, plus attended a Friends of the Library event, a comic book show, and did the usual stuff such as raking. Then Sunday past, attended TWO concerts.

Since it’s a low content/energy day, let me tell you the latest rumor at work: our office may be moving back downtown, I’m guessing around May, since we moved almost eight years ago in that month. I currently work in Corporate (frickin’) Woods, this soulless suburbany place with no sidewalks, and the drivers motor around it as though there are no pedestrians. Save for a bank, it has none of the amenities that downtown offering, such as going to the post office or a store or a restaurant, or MY bank, or my eye doctor or my dentist. I’d be taking off far fewer days if we were downtown. It takes me two buses to get to work now, but it would only take me one if we were back in civilization, with no fewer than six different buses that could get me from downtown to within three blocks of my home.

A real blog post manana. And the next day. And the 8th…

I saw someone on Facebook pass along the suggestion to send Christmas cards to “A Recovering American Soldier” at Walter Reed Hospital. PLEASE DO NOT DO THAT. As this Snopes.com report explains: “In these times of heightened security, mail from strangers to unnamed soldiers must, for everyone’s safety, must be discarded unopened.” You CAN send cards via Holiday Mail for Heroes, a Red Cross project, but it must be postmarked by December 7, or it won’t reach its intended destination either.

According to the NY Times, Bazooka, creators of Bazooka Joe gum, will be getting rid of their famous comic strips.

Book review: Vince Guaraldi at the Piano

Vince Guaraldi was known as the “Italian leprechaun.” He was short, barely over five feet tall, and youthful looking; this was the reason for his signature mustache, to look older.

If you know the name Vince Guaraldi, it’s probably because you associate the pianist as the composer of the music for the Peanuts television specials, starting in the mid-1960s. However, Doctor Funk, one of his nicknames, codified in a song he wrote and performed a decade earlier, was a well-respected performer and composer in the Bay Area/Northern California jazz scene.

Derrick Bang notes in the preface of Vince Guaraldi at the Piano that he was a reluctant writer of Vince’s legacy, expecting that someone more personally knowledgeable of the performer would surely show up to pen his story. Finding none, he put together an almost encyclopedic recollection of the musician’s life, starting with the influence of his mother. He had two failed father figures in his life, and just as Freddy Lennon reached out to John after the Beatles were famous, Vince’s dad sought to re-enter Vince’s life after Peanuts; both John and Vince said an emphatic “NO.”

Vince was an important member of combos fronted by Cal Tjader and Woody Herman (the third “thundering herd”). He actually had a Top 40 hit with Cast Your Fate to the Wind [listen] (#22 in 1963), though you may know the song better from the cover version by Sounds Orchestral (#10 in 1965). His jazz mass was revolutionary for its time. Like too many musicians, though, he got the short end of a lot of business deals early on.

Vince was also known as the “Italian leprechaun.” He was short, barely over five feet tall, and youthful-looking; this was the reason for his signature mustache, to look older. He also could have quite a temper, especially as it applied to the music, but he seldom held a grudge.

This is an important book, which I’d like to have in my library, not so much to read, but to refer to, like many reference books published by McFarland Press. He crossed paths with an interesting group of folks, including comedian-social activist Dick Gregory, influential jazz critic Ralph Gleason, plus musicians from the Kingston Trio to Jefferson Airplane and the Grateful Dead. It was Brazilian guitarist Bola Sete, though, who helped infuse the bossa nova influence that’s apparent in many of the Peanuts themes.

Some folks call this a biography, while at least one described it as more of an “expanded provenance.” It surely doesn’t always read like a bio, but the information’s all there. And the early chapters plus the ones after Vince’s sudden death in 1976, before his 48th birthday, allowed for a more reflective style.

Peanuts creator Charles Schultz died in 2000; 15 months later, he was posthumously given the Congressional Gold Medal. Peanuts TV writer/producer/director Lee Mendelson was expecting the Marine Corps Band to perform the national anthem. But when they played Linus and Lucy [listen] instead, “there wasn’t a dry eye in the house.” And, oddly enough, that included me too. So even with this wealth of facts, there IS an interesting story narrative within as well.

Check out It’s Jazz, Charlie Brown: the Vince Guaraldi Story. Profile of jazz pianist Vince Guaraldi. Aired on WFIU / Indiana Public Radio’s “Night Lights” program on December 7, 2009. 59 minutes.

Guess who won FREE TICKETS to “It’s a Jazzy Christmas”, featuring the music of Vince Guaraldi, at the College of St. Rose’s Massry Center this afternoon?