from my sketchbook: scotty beckett

In four short years I've gone from rags to riches/But what I did before that I don't know/Well you can let it rain on my windowpane, I got my own rainbow
Lindsay Lohan? Lightweight!
Paris Hilton? Amateur!

They can’t compare to Scotty Beckett.

Scotty made his debut in the Our Gang  comedies playing Spanky’s best friend for a little over a year until he left to star in feature films. He was replaced by Carl “Alfalfa” Switzer. From 1936 until the early 1950s, Scotty was one of the most popular and sought-after child actors, appearing in over sixty shorts and full-length features. He acted opposite big-name stars of the time, like Charles Boyer, Greta Garbo, Spencer Tracy and Errol Flynn. He became friends with other up-and-coming young Hollywood stars like Jane Powell, Elizabeth Taylor and Dickie Moore (who gave Shirley Temple her first on-screen kiss). His career included a mix of small, low-quality pictures and big-budget productions, including the Academy Award-nominated Anthony Adverse  in 1936. Scotty landed the role of the young Al Jolson in The Jolson Story  in 1946, despite a previous run of sub-par films.

At nineteen, Scotty, now a USC dropout, was arrested for drunk driving after crashing his car. During his booking, he bolted from the police station. In 1949, he eloped with tennis star Beverly Baker. On their Acapulco honeymoon, a jealous Scotty threatened a man at the hotel pool. The marriage lasted five months over allegations of Scotty’s controlling and abusive behavior. Scotty had tried to get Beverly to quit tennis and stop seeing her parents.

In 1951, Scotty married actress Sunny Vickers after she became pregnant.  Scott Hastings Beckett, Jr. was born five months later. The bad publicity of his earlier divorce, coupled with his forced marriage to Sunny, made Scotty a Hollywood outcast. Between 1952 and 1954, Scotty was only able to get two small acting jobs. As his friends Elizabeth Taylor and Jane Powell had blossomed into bona-fide stars, Scotty was offered the sidekick role of Winky in the low-budget, hokey, space soap opera Rocky Jones, Space Ranger.  He was also arrested again for carrying a concealed weapon and passing bad checks.

In February 1955, the Cavalier Hotel in Hollywood was robbed of a little more than $130 in cash. The masked bandit pistol-whipped the desk clerk, and disappeared. A search of the hotel revealed a man passed out drunk in the basement, armed with a gun and knife. It was Scotty Beckett. He was arrested and charged with possession of a weapon, but not with the robbery because the money was not found and the clerk could not provide a positive identification.  After posting bail, Scotty and his family fled to Mexico, where he wrote several checks to local merchants drawn on non-existent banks. When Mexican authorities caught up with him, he exchanged gunfire with them until he was captured. Scotty spent four months in a Mexican jail. When he returned to Los Angeles, he was dropped from his role in Rocky Jones.  A little more than a month later, Scotty was arrested in Las Vegas, once again for bouncing a check. Two years after that, he was arrested at the US-Mexican border smuggling illegal drugs. Sunny divorced him and took full custody of Scotty Jr. Scotty tried suicide by swallowing a bottle of sleeping pills. He was unsuccessful.

After his second drunk-driving arrest of 1959, Scotty smashed his car, fracturing his skull, thigh and hip, and suffered multiple lacerations to his head. The wreck crippled him for the rest of his life. Depressed and despondent, Scotty slit his wrists in another unsuccessful attempt at suicide. His third wife, Margaret, and her teenage daughter, had had enough and began packing to leave their home. Scotty assaulted his step-daughter with a wooden crutch he now used after his car accident.

Scotty checked into the Royal Palms Nursing Facility after suffering a beating from a drug deal gone wrong. Two days later he achieved the suicide result he was looking for. Scotty died from an overdose of barbiturates. He was 38 years old.

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IF: transportation

The Illustration Friday challenge word this week is “transportation”.
you can't get there from here
In 2001, after a buzz of preliminary publicity, a two-wheeled, self-balancing electric vehicle was introduced to the public. It was called the Segway. By 2006, approximately 23,500 had been sold.

In December 2009, British billionaire Jimi Heselden bought the company Segway Inc.

On September 26, 2010, Heselden was riding his Segway on his Northern England estate when he veered off a cliff and plummeted thirty feet to his death.

His last words were: “Oh, Shi i i i i i i i i ….”

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from my sketchbook: wallace wood

art for art's sake
Wallace Wood began his influential career in art as an apprentice under several of his own influences, Will Eisner and George Wunder, who had taken over the popular comic Terry and the Pirates from creator Milton Caniff. Wallace, a graduate of New York’s School of Visual Arts. soon moved on to famed horror comic publisher EC, where he contributed to Tales from the Crypt.  He then became one of the main writers and illustrators for EC’s fledgling humor magazine MAD.  Wallace’s style was perfect for the comic parodies like “Superduperman” and “Batboy and Rubin”.

The prolific Wallace was in high demand, illustrating everything from children’s educational books to early issues of Daredevil  for Marvel Comics. He provided drawing for the underground magazine The Realist,  anonymously drawing the controversial Disneyland Orgy poster in 1967. He denied any connection to the piece for years, but the dead-on character copies were undeniably Wallace’s handiwork. In 1968, Wallace created the sexy adventure character Sally Forth exclusively for publication in Military News,  a tabloid produced for male military readership, and later in Overseas Weekly, another military periodical.

Very much in demand, Wallace worked for the top comic publishers, including Marvel, DC, Warren, Gold Key, Avon and even the Wham-o Toy Company. He eventually tried his hand at publishing himself, creating Witzend  magazine, featuring artwork by underground artists like Vaughn Bode and Jeff Jones, as well as his own creations. He also published several issues of explicitly pornographic comic parodies of Snow White, Prince Valiant and Tarzan, each using the identical styles of the originals.

Plagued by chronic headaches and bouts with alcoholism over his entire adult life, Wallace suffered kidney failure and a stroke that left him blind in one eye. With his health declining, as well as the demand for his artistic services, Wallace committed suicide by gunshot in 1981 at the age of 54.

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IF: beneath

May the Blessings of the Bomb Almighty, and the Fellowship of the Holy Fallout, descend upon us all. This day and forever more.
After a full week of the draining drudgery of elementary school, there was nothing I liked better than spending Saturday afternoon at a movie matinee. I’d call up a bunch of friends from school and we’d hastily make plans to meet at the nearby Leo Theater or the Orleans, which was a little farther away. Rarely, we would opt for the dreaded Parkwood Theater, although it was closer to my house than the other two theaters. The Parkwood was an ominous gray building at the end of a strip center that also housed a drug store, a barber shop and – if my memory is correct – seven beer distributors.

The Saturday matinees of the 1960s and early 70s would show a different offering than the regular evening feature. The program would usually start off with previews of the next weekend’s show, followed by a cartoon and the first of usually two films with – what the theater management believed – an appeal to children. One would think that kiddie entertainment would include Mowgli’s animated adventures in “The Jungle Book” or the musically whimsical “Chitty Chitty Bang Bang.”  I, however, remember seeing such child-friendly features as “Dracula – Prince of Darkness,” “Witchfinder General” and the occasional K. Gordon Murray freak-out. I saw Walt Disney’s “Darby O’Gill and the Little People” with Scott, a friend from school. This deceitful Disney film had Scott screaming and fleeing from the darkened auditorium when the wailing banshee appeared on-screen in her green-glowing glory. It was a far cry from political correctness of “Night in the Museum” or “Legend of the Guardians: The Owls of Ga’Hoole.”

One Saturday, my mom dropped a station wagon full of my friends off at a showing of “Beneath the Planet of the Apes,” the inferior first sequel to the Charlton Heston sci-fi blockbuster. It didn’t matter that I had not seen the original. A couple of my friends were not even aware that an earlier, similar movie had preceded this one. We were there to stuff ourselves with candy and popcorn and not be bored for three hours.

Overstocked with snacks, my nine-year-old pals and I found three seats and sat down as the theater lights dimmed. When the movie began, we sat riveted as we watched stranded astronaut Charlton Heston (you know – Moses! ) disappear behind a wall of fire and a guy who looked just like him (low-budget substitute James Franciscus) begin his quest to find his fellow space traveller.

And then the armies of apes showed up! It was so cool! We didn’t need a plot anymore. All we needed to know was the apes were evil and the few mute and primitive humans had to survive behind the leadership of the guy who kind of looked like Charlton Heston. The ragtag troop of grimy humans came upon a race of other humans in an abandoned subway station. These cleaner humans wore long flowing robes and actually spoke, but, to my young ears, they sure spoke weird!  One of the guys even looked like King Tut from our favorite show “Batman”. They explained that they were a peace-loving people and they showed off the deity they worshipped. It was a giant atomic bomb. (We knew what that was because it was brought up constantly by our parents and on the news amid speculations about the ongoing Vietnam War.) Despite the political overtones going right over our heads, we were pretty entertained.

Suddenly, the robe-wearing people began their worship service and, in unison, they announced “I reveal my Inmost Self unto my God.” Then, they all reached up and pulled their facial skin off of their heads, revealing a poorly-executed special effects appliance, slightly reminiscent of a mass of veins and Silly Putty. However, I thought it was pretty effective and it succeeded in scaring the proverbial shit out of me. I recoiled against the back of my seat and stared in horror at the hundreds of actors up there on that screen, baring the results of four hours in a make-up chair and holding a flimsy rubber replica of their real face.

Forty-plus years later, I can’t get that image out of my mind. And I’ll still watch any of the “Planet of the Apes” films, if I spot one in the television listings. Just, not the Tim Burton one.

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from my sketchbook: barbara pepper

farm livin' is the life for me
When she was just sixteen, blond-haired, blue-eyed bombshell Barbara Pepper was chosen to be a Ziegfeld Girl on Broadway. That was the springboard she needed to start her career in show business. Soon, she and friend, fellow Ziegfeld girl Lucille Ball, were chosen to join the Goldwyn Girls, as contract group of female dancers at MGM. She made her debut with Eddie Cantor in Roman Scandals  in 1933. Her flashy appearance and hard-boiled “tough gal” personality allowed her to be featured in countless films throughout the 30s and 40s. She was romantically linked with a full spectrum of notable names like Howard Hughes and Peter Lorre to popular comedian Harry “Parkyakarkus” Einstein.

In 1943, she married actor Craig Reynolds. The couple had two sons before divorcing in 1949. Later the same year, Reynolds was killed in a motorcycle accident, leaving Barbara to raise her two small children as a single mother. She had to turn down acting jobs in order to devote time to her family. Soon, the demand for her acting services dried up and the one-time showgirl was forced to take jobs waiting tables and managing a laundry. She turned to alcohol to help her cope. She gained weight and her voice grew raspy as her alcohol intake increased.

Some of her showbiz friends, like Jack Benny and Lucy, offered her small roles when they could. Through the 50s and 60s, she humbly accepted guest spots on TV sitcoms and Westerns. Barbara desperately wanted the role of Ethel Mertz on I Love Lucy,  but known alcoholic William Frawley had already been hired for the series and the production couldn’t risk having another drunk on the set.

Barbara continued to take any part she could, no matter how small. Finally, in 1965, she landed the supporting role of Doris Ziffel on the sitcom Green Acres.  It was a steady paycheck despite her being upstaged by Arnold the Pig (who received more fan mail than Barbara and co-star Hank Patterson combined). After four seasons, Barbara’s failing heath forced her to turn the Doris Ziffel role over to character actress Fran Ryan.

Barbara Pepper, the glamorous showgirl turned TV dirt farmers wife, died of a coronary blood clot at age 54. Colleagues said she looked at least a decade older.

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IF: old-fashioned

Every weekend through the door come words of wisdom from the world outside
You know those time-lapse scenes in movies from your parents’’ youth? The ones that show a montage of events beginning with a spinning newspaper hurtling towards the camera, stopping to display a significant headline splashed across the front page in big, attention-getting letters? How quaint and dated they seemed. Remember the boy on the street corner— with his cap and his knee-britches supported by suspenders, — a stack of newspapers under his arm and a single issue waving wildly over his head while his calls of “”EXTRY! EXTRY!”” split the air with urgency? Remember the star reporter, sniffing out the inside scoop, his press card tucked in the band of his cocked fedora, his pad and pencil poised at the ready? These are images that will seem more and more unfamiliar as time passes, not unlike horse-drawn carriages and hoop skirts. But horse-drawing carriages and hoop skirts were never popular in my life time or my parents’, but newspapers were.

When I was young, I loved waking up early on Sunday mornings and being the first one to the newspaper. I’’d carry that heavy folded mass of colorful pulp to the living room and carefully pull out my favorite sections. First the comics, then the movie section, then the glossy Sunday magazine and TV schedule. I’’d spread the comics out on the floor and read and savor each primary-colored panel. Sometimes my ritual was interrupted when my cat would park herself smack in the middle of Dennis the Menace or Smokey Stover. I’’d pore over the full-page movie ads that previewed the films that were promised to be coming ‘to a theater near me”. I’’d read the questions in Parade, the full-color magazine supplement, posed about celebrities I’’d never heard of. Soon, my parents would awaken and my dad would scan the front page of the paper, curse a few times, light the first of many cigarettes of the day, and tear into the sports page. My mom would call out over the sounds of breakfast preparation to “save the coupons” for her.

Years later, I bought and read a newspaper every morning as I took the hour-long ride on public transportation to art school in center city Philadelphia. I was surrounded by fellow newspaper readers who silently reviewed the events of the previous day in a cheap and convenient package and at their own pace.

My tradition of purchasing a daily newspaper continued well into the time I entered the working world. I’’d buy a paper at my regular stop for coffee on my morning commute. Coincidentally, my career path took me to the production end of the newspaper business. In the days before computers, I was employed as a layout artist doing “paste-up” at several composition houses, — an occupation that is met with blank stares and is difficult to explain to those outside of the industry. I physically prepared and pasted together pages of ads and copy to ready newspaper pages for the printing process. The tools of my trade were an X-acto knife, a ruler and a keen eye. The last time I worked at a newspaper “comp house” was 1995. We produced over forty daily and weekly newspapers for area communities and colleges. On my last day of employment there, several editors brought their entire paper in on a floppy disk, only requiring us to print out the fully-composed pages. The death-knell for newspapers had been sounded. I had just given my two-week notice, leaving to take a position at a legal publisher whose entire operation was done on computers. I haven’t touched an X-acto knife since.

Even as the Internet became more accessible to more people, the newspaper business perceived itself as eternally invincible. However, newspapers found it necessary to continually increase prices as advertisers cancelled print ads in favor of the instant gratification of the Internet. News sources like CNN, with outlets on cable television and the Internet, could now provide information to the masses as events unfolded. By the time the news appeared in the newspaper, it was as old as — pardon the phrase — “yesterday’s news”. With the immediate availability of the Internet, an east coast sports fan whose home team was playing a crucial game in San Francisco would never again have to read the words “game ended too late for publication.” On my daily train rides to work, I see passengers accessing the Internet on their Kindles and smartphones to check the morning headlines. Suddenly, the mighty newspaper has begun to get thinner in both its editorial and advertising content. Smaller market papers have ceased publication in favor of “online-only” editions. It’’s only a matter of time until the large city papers follow suit.

Just last week at a family soiree, my twenty-three year-old son was confronted by a seventy-two year-old cousin who smugly maintained the viability and relevance of newspapers. My son at first countered, then clammed up and politely listened as the old-timer got misty-eyed standing up for his beloved newsprint-and-ink friend.

With the exception of the occasional glance at one of several alternative weeklies, I haven’’t read a newspaper in years. As a matter of fact, I don’’t know anyone under the age of 40 who has. Newspapers will eventually go the way of the coffee percolator and the VCR, two revolutionary advancements that are now just plain old-fashioned. It may take a little longer to accept, but newspapers, if I may paraphrase the insightful philosopher Samuel L. Jackson, “are “as dead as fucking fried chicken.”

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from my sketchbook: racism is alive and well

This is where the party ends/I can't stand here listening to you
Racists are like the lowly cockroach – filthy, repulsive and filled with the endurance to have kept it going for thousands of years. You catch one skittering by in your peripheral vision every once in a while. Smoosh a cockroach and there’s always another to take it place. Always.

I grew up in one of a handful of Jewish households in my neighborhood. I was on the receiving end of a regular barrage of racist comments from my misguided community peers who were parroting their parents’ twisted judgment. My father would try to comfort me and tell me to “just ignore them.” Meanwhile, he would toss about “the N word” the way most people say “Pass the salt.” My father learned that from his  mother and father, so, in his mind, there couldn’t possibly  be anything wrong with it. Ah, my grandmother! Once, she spent several days in the hospital. On a visit during her stay, I asked how things were going. She told me the nurse brought her medication in the morning and in the afternoon the (insert a derogatory word for Blacks not regularly used in this country since the Civil War) came in to take a blood pressure reading. The afternoon caller, of course, was also a nurse, but not in the antiquated narrow-mind of my grandmother. This sentiment was not limited to my family, as I later learned. When I got married, I attended a family dinner at my wife’s parents’ home. A cousin arrived late and related an incident involving some kids throwing apples at their car during the drive over. An older uncle, uninformed and unprovoked, questioned “Were they colored kids?” I was dumbfounded.

Those are incidents of malicious racism. I have also experienced innocent racism. You know, the statements that are made with the preface of “I’m not a racist, but… .” by the poor saps who genuinely don’t know any better. Of course, innocent  racism is like getting a small kick in the balls. Years ago, I was employed at a small graphic arts studio that did a lot of preparation work for local quick printers. In the days before home computers, I produced flyers and invitations and a lot of menus for local sandwich shops and pizzerias. One day, the well-dressed owner of several hoagie shops came in to discuss the design for his take-out menus. In the course of our exchange, this man – in his three-piece suit, coiffed hair and pinkie ring – noted that the prices and items differ for the locations in the “less-affluent/more urban” areas because (and I quote) “Black people eat different food from the rest of us.” Some time later, I had a job in the layout department at a legal publisher, where I worked closely with manuscripts. The nature of the job had me dealing with the proofreading department on a regular basis. One afternoon, close to deadline, I was waiting for a manuscript to make its way back to me. I inquired about its status to the proofreading manager – a gum-snapping, teased-haired ancestor to Jersey Shore’s  Snooki. She motioned to a clump of empty desks laden with overflowing “IN” boxes and informed me that the manuscript in question was given to (and I quote) “the little Chinese girl” before she went to lunch. The object of her offensive comment was a young lady whose parents were from Guam – a US territory – and was as American as apple pie.

For many years, my wife’s family owned and operated a general merchandise store in a farmer’s market in a rural area just outside the fifth largest city in the country. In addition to stocking an unusual combination of basic household staples and novelty items, my wife and mother-in-law were renowned for their eclectic inventory of pop culture collectibles. The clientele for the weekend-only market consisted of old-time country folk and their possibly inter-married offspring. In 1954, when my in-laws opened their store, they were the only Jews anyone in that area had ever seen. Black and Asian customers were rarities and repeatedly turned locals’ heads. On one particular Saturday, a potential customer was perusing the substantial selection of items featuring the rock group KISS. The shopper turned to my mother-in-law and said “He’s a Jew, you know”, gesturing towards a likeness of bassist Gene Simmons. Taken off-guard, my mother-in-law replied with a confused “Huh?” The patron continued, “Him! That’s why KISS goes on so many tours. ‘Cause Jews have to make more money.”

During my time in retail advertising, a general manager was adamant about the targeting of our mailed promotional material. “Watch the zip codes where this goes,” he said expressing solemn concern, “I don’t want to advertise in Black neighborhoods.” As though their money is not as valuable. He was also uneasy about driving his Lexus through areas that he deemed “questionable”.

My responsibility with my current employer is to produce advertisements on a more sophisticated level. (Without going into revealing detail, my main client base consists of those members of the working world who practice jurisprudence.) Recently, a respected attorney, who is African-American*, cited our selection of ads depicting silhouetted  figures in varied poses as “having no appeal to African-American women.” He offered additional criticism, indicating he could tell that none of the silhouettes were African-American. Upon closer inspection of the figures, I observed that no Asians, Italians or gays were featured either.

I believe that it is just human nature to be leery of anyone different; anyone we don’t see as a reflection of ourselves. And that, by definition, is “racist.” So, we are all racist in our own way, whether we like it or not. And if you say that you are exempt and you have never had a racist thought, well, then you are a racist and  a liar.

* I usually refrain from using that term, as I find it offensive and misleading. My wife is friendly with a lovely family of four; the mother is a local girl, the husband originally from Cape Town, South Africa. The children were all born in the United States. Based on their lineage, those kids are fully within their rights to be referred to as “African-American,” even though their skin is as white as a scoop of vanilla ice cream.

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Monday Artday: medical

After a long hiatus, Monday Artday, the Monday illustration blog to which I have contributed since 2007, has returned with a new challenge word. The word this week is “medical”.
Can you make a sound to distract the nurse/Before I take a ride in that long black hearse
Mildred Ratched, the sadistic tyrant who maintained strict order as head administrative nurse at the Oregon State Mental Hospital, in Ken Kesey’s 1962 novel One Flew Over the Cuckoo’s Nest, was the bane of Randle McMurphy’s existence.

Despite his own fate, McMurphy made sure he got his revenge.

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IF: acrobat

This week’s Illustration Friday challenge word is “acrobat”.
The band begins at ten to six/When Mr. K. performs his tricks without a sound/And Mr. H. will demonstrate/Ten somersets he'll undertake on solid ground
Vaudevillians Billy Wells and The Four Fays were booked to appear on the February 9, 1964 episode of the wildly popular Ed Sullivan Show. The group, who were introduced by Sullivan as performing their “unique brand of acrobatic physical comedy”, waited backstage, anxious to make their television debut.

Unfortunately for the tumbling troupe, a British musical group called The Beatles were also making their American television debut that night, scheduled just before Wells and The Four Fays’ performance.

(Incidentally, The Four Fays featured Jacqueline Jessica Anderson, mother of singer/dancer/choreographer Toni Basil. Toni sang the popular 1982 hit “Mickey”.)

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