Hail & Farewell.

Source: The Forward

I don’t know where to begin with Carl Reiner.

There’s a story that a fifteen-year old Albert Brooks got his start in show business when he did a backyard bit for a friend’s uncle. The bit was about Houdini who was supposed to make a big entrance but he couldn’t get the door open, and it was so funny the uncle literally fell out of his chair laughing.

The uncle was none other than Carl Reiner who, at the time, was already a comedy legend, having worked on Your Show Of Shows, where he met his lifelong friend Mel Brooks (no relation to Albert), and he would be in his second or third year of The Dick Van Dyke Show, as well as one or two years after a role in Gidget Goes Hawaiian.

Technically that’s not a story about Carl Reiner think it’s just one example of how Reiner was a magnet for funny and talented people, and not just a magnet—he made them, and everything he was part of, funnier and better. Except, maybe, Gidget Goes Hawaiian.

He was an incredible presence. Like a lot of people I know reruns of The Dick Van Dyke Show were a daily fact of life for me, whether midday in the summer or after school in the winter, and I’m kind of surprised to find he only appeared in thirty-two episodes because some of those episodes are the ones that I remember best.

And then there’s The Two Thousand Year Old Man which I still listen to regularly—the last time was just a few months ago, which I had on an album and then a cassette and then a CD and I think it will last so long it’ll go through two thousand formats, but that’s another story—and while the first hundred or so times I listened to it I laughed at Mel Brooks I began to also pay attention to Reiner, and just how perfectly and deliberately he’d set up each bit. Carl Reiner could be a really funny guy himself but he also knew exactly when to step aside and let someone else have the spotlight. In fact he was, metaphorically, the one holding the spotlight, illuminating others, unseen but nevertheless vital. See also: just thirty two episodes of The Dick Van Dyke Show.

So it’s no surprise he seemed to be working right up until the very end, probably because he was working right up until the very end. I’m surprised that the episode of Comedians In Cars Getting Coffee he and Mel did was released eight years ago. It seems more recent than that, maybe because I’ve watched it more recently than that, but also because he was so brilliant and so hard working and had such a legendary career that I don’t even know how to end except to say that there is no end to Carl Reiner.

Hail and farewell.

Source: Bandcamp

I’ve been trying to come up with something to say about the recent passing of two legends, some way to tie them together, but I can’t. So here are two unrelated stories.

Living in Nashville means I’m even less than the usual six degrees of separation from some famous musicians, and I was reminded of that one day when I was talking to a coworker from Ireland. Her husband is a drummer, and while not technically famous he did teach the guy who played the drummer in the film The Commitments, which I’d seen way back during its initial release in 1991, when I was in Cork, Ireland. That is the best place in the world to see that film but even if you’re not in Ireland I still highly recommend it, but that’s another story. Anyway the coworker and I got onto the subject of snooker and she said her husband played snooker all the time.  Since it requires a special table, one that’s not usually found in Nashville pool halls, I asked, “Where does he go to play snooker?”

“Oh, he goes to John Prine’s house,” she said casually. And I got a bit sarcastic and said, “Oh, well, we’ve all been to John Prine’s house.”

And then I immediately felt like a schmuck because she wasn’t deliberately name-dropping. And Prine, I believe, is the sort of super cool guy who never let fame go to his head and who, if we’d had the chance to meet, probably wouldn’t hesitate to invite me to his house. He was a very funny guy, too, as anyone who’s heard his songs Illegal Smile, Dear Abby, or, especially poignant after his passing, Please Don’t Bury Me, knows. And, as much as I love his music, somehow it just made John Prine even more cool to me knowing that he played snooker.

Hail and farewell John Prine.

And then I was taken back to 1982 and the release of The Empire Strikes Back. Like, well, pretty much my entire generation, I was an enormous Star Wars fan, and loved Empire. And then, making it even better, MAD Magazine hit the stands with The Empire Strikes Out. And it was hilarious. More than that, though, it was a piece of Star Wars that was tangible, that I could enjoy outside the theater. This was before VCRs, even before Star Wars would be screened on cable, so the MAD Magazine parody was as close as I could get to watching Empire again and again, at least as long as I was at a friend’s house, since I couldn’t have my own copy, but that’s another story.

Source: The Star Wars Unofficial Parody Site

I couldn’t articulate it at the time but I sensed that whoever had done the artwork for The Empire Strikes Out loved Star Wars as much as I did. I also didn’t know at the time that the artist was Mort Drucker, who passed away recently, or that Drucker’s work, being so close to the mark, caused a minor kerfuffle. This is from his Wikipedia page:

When the magazine’s parody of The Empire Strikes Back was published in 1980, drawn by Drucker, the magazine received a cease and desist letter from George Lucas‘ lawyers demanding that the issue be pulled from sale, and that Mad destroy the printing plates, surrender the original art, and turn over all profits from the issue. Unbeknownst to them, George Lucas had just sent Mad an effusive letter praising the parody, and declaring, “Special Oscars should be awarded to Drucker and DeBartolo, the George Bernard Shaw and Leonardo da Vinci of comic satire.” Publisher Gaines mailed a copy of the letter to Lucas’ lawyers with a handwritten message across the top: “That’s funny, George liked it!”  There was no further communication on the matter.

That’s almost as funny as the parody itself.

Hail and farewell, Mort Drucker.

They may be buried but neither one will be forgotten.

Source: BBC Radio 4

I used to listen to BBC Radio 4 a lot. And by “a lot” I mean at least four or five hours a day at work, usually while working on mundane tasks. Sometimes it was just background noise but when I heard Chopin’s Minute Waltz I turned my full attention to the radio because that meant it was time for Just A Minute. Just A Minute, if you’ve never heard of it, or heard it, is a quiz show with a four-person panel. A panel member would be given a topic and would have to speak on it for a full minute without hesitation, repetition, or deviation. If they do any of these another panel member can challenge. The challenger can then get the subject for the remainder of the minute—even if it’s just a second. Points are awarded for successful challenges and for speaking when the timer goes off.
Hesitation and repetition are easy but the definition of “deviation” has deviated over the years. Originally it was deviation from the subject but it’s been applied to deviations from “English as she is spoke”, from the facts, or even from logic. When Sir Clement Freud mentioned that his son had just given birth to a grandson Paul Merton challenged, saying that so far no one’s son has given birth.
The host from the show’s start, when it was called A Minute Please, and for the more than four decades it ran was Sir Nicholas Parsons. Friendly, subtly witty, and never seeking the spotlight himself Parsons was the perfect host. He also hosted the TV version of Just A Minute. A friend of mine who grew up in Britain tells me he also hosted a TV game show called Sale Of The Century, which I’ve never seen, and which my friend says “was an awful game show, but when you only have three channels…” And he added that Parsons himself was always a classy but warm and friendly host. On Just A Minute he was a funny, kind, and always fair arbiter, the sort of guy you’d want refereeing any competition. His old-fashioned gentility is probably why another British friend made fun of me for liking him so much. “You and my gran,” she said, “could have a nice cuppa and sit together and listen to that.” That was part of the fun, though: it really was a show for all ages. Maybe this is where I confess that one of my life goals was to be a panelist on Just A Minute.

Just A Minute ran for fifty-two years and some of its panelists include Eddie Izzard, Rob Brydon, David Tennant, Sandi Toksvig, and Miriam Margolyes. Graham Norton was a regular panelist, stepping out of his usual host role, and while he rarely got challenged for hesitation he had a hilarious way of drawing out syllables, obviously playing for time.

The length of the show’s run meant that Parsons was still hosting at the age of ninety-six, and in all those years only missed one show, due to illness. He also had a fascination with clocks–he tinkered with watches as a hobby, and in 2016 hosted the documentary The Incredible Story of Marie Antoinette’s Watch. Maybe this is where I confess that one of my life goals wasn’t just to be a panelist on Just A Minute but also wear one of my pocket watches and talk to Parsons about why they never should have gone out of fashion, but that’s another story.

Hail and farewell Sir Nicholas Parsons. I won’t hesitate to say your charm will never be repeated, and no one will accuse me of deviation for saying so.

And, seriously, here’s an episode of Just A Minute. Take a listen and you’ll be amazed how the time flies by.

“Who’s your favorite Python?”

This is a question that always stumped me. It’s like giving me a piece of chocolate cake and asking what my favorite ingredient is. For a friend of mine, though, the question was always an easy one.

“Terry Jones. He’s so wonderful as a grumpy old woman.”

There’s no question that there was a particular type he played better than any other. Whether he was the mother of a reluctant martyr in The Life of Brian, the more sympathetic mother of a young man who’s disgraced his novelist father by becoming a coal miner, or slinging Spam he was always brilliant.

I’ve enjoyed his documentaries that he played—mostly—straight. For me, nothing will ever surpass Herbert, the young prince who just wanted to sing from Monty Python & The Holy Grail, although so many of his other lines just from that film made it into regular conversations with my friends. Seriously, we couldn’t get through a day without saying, “And that, my liege, is how we know the Earth to be banana-shaped” or “What, the curtains?” or “Oh Dennis, there’s some lovely filth down here!”

He was also a prolific author who wrote serious works on history as well as fairy tales and books for children like Strange stains and mysterious smells: Quentin Cottington’s Journal of faery research. Somehow I’ve missed that book up until now but I’ll have to pick it up.

And I’ll never forget the evening that I was with some friends in a British pub, sitting around chatting quietly. We were talking, for some reason, about the baggage retrieval at Heathrow, and the jukebox, by itself, suddenly started playing “I’m So Worried”. It was as though he was right there with us.

Hail and farewell Terry Jones.

Source: Rip Taylor website

I can’t remember when I first saw Rip Taylor. It was probably on The Hollywood Squares or Match Game or, well, if you look at his IMDB credits he popped up all over the place and was unmistakable. I’ve probably forgotten where I saw him because he just overwhelmed everything else.Regardless of the role he was always Rip Taylor, the big-haired, big-moustached, confetti-throwing character sometimes known as “the crying comedian”. For most performers pretending to break down and throw themselves on the mercy of the audience would just be pathetic, but Rip Taylor made it work with a combination of charm and energy. It didn’t matter that his persona was probably as fake as his hair or that his jokes were ridiculously silly. He just made me laugh, and it’s fitting that his roles ranged from children’s shows—including just voice work—and more adult entertainment. Even when I was too young to understand the jokes other comedians made on game shows, or, for that matter, the jokes he told, I understood that Rip Taylor was funny.

It also didn’t matter that he regularly stole or recycled old jokes. If anything that was part of the fun, and I don’t feel bad about frequently stealing one of his lines. Any time I tell a joke that doesn’t go over so well I say, “This is it, folks, I don’t dance!” And that always does get a laugh, and every one of those laughs go to Rip Taylor.

Hail and farewell.

Source: Inquisitr

I don’t know where to begin with Tim Conway. Maybe that’s because I feel like I grew up with him, whether it was watching reruns of McHale’s Navy in the afternoons after school or watching first-runs of The Carol Burnett Show in the evenings where my favorite thing was seeing Conway break up the cast, especially Harvey Corman who, to me when I was a kid, had a kind of sinister quality. Seeing Tim Conway make Corman laugh, now that I think about it, was an early lesson for me in how comedy could make something scary safe, could rob it of its power.

Tim Conway also seemed like a big kid fumbling around among the adults, making a mess of things but, like any kid, able to get away with it because of his naiveté. Even when he played adult characters, like Mr. Tudball, the overbearing boss, he seemed like an overgrown child, just barely able to hold up the pretense of being mature, and his old man character who provided another early lesson: we end life much the same way we begin it, helplessly shuffling along, just trying to get by.

There was also something about that face of his. Tim Conway was a natural born clown, someone who seemed almost like he wasn’t born but produced in a laboratory for comedy. It made everything he did funny. I had an aunt who took me to see his films with Don Knotts: The Apple Dumpling Gang, The Apple Dumpling Gang Rides Again, and Private Eyes. None of them were that great, but everything Tim Conway said and did made me laugh. Some comedians take on dramatic roles and earn high praise for being able to play it straight. Tim Conway never did, possibly because he never wanted to, but also because I’m pretty sure he could do Hamlet’s “To be or not to be” speech and it would be hilarious.

It’s even funnier, though, that in one of his last roles, reuniting with Ernest Borgnine who played the aged superhero Mermaid Man on Spongebob Squarepants, Conway was the voice of Barnacle Boy, Mermaid Man’s sidekick, and in a great reversal, the straight man. Mermaid Man was always the joke, bumbling around, in need of help, and Barnacle Boy was the competent one, occasionally calling Mermaid Man “you old coot!” And yet, true to most of the roles he played, Conway was still a child, or at least younger than his companion. In one episode Barnacle Boy even becomes a villain simply because he’s tired of always getting the child’s meal at the Krusty Krab.

Even in old age he was young, kept that way by the innocence of laughter.

Hail and farewell Tim Conway.