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“Garfield Goose and Friends” & “Clutch Cargo”: Vintage WGN Chicago TV Memorabilia

March 22nd, 2008 by Scott Marks

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The success of WGN’s Garfield Goose and Friends (1952 - 1967) transformed the Goose Who Thinks He’s King of the United States into a household name throughout Chicagoland. When merchandising tie-ins were still in their infancy, Gar became a celebrity spokes-clacker for Pepperidge Farm baked goods.

These oversized buttons (the picture is just slightly larger than the pin-back itself) were handed out as promotional items in the early 60s. Mine came to me while working the counter at Flashback Collectibles on Clark Street.

One day a fellow sauntered in with a box containing rare items of unknown origin. (The store adhered to a strict “we ask no questions, you tell no lies” policy.) I probably blew two weeks pay on the contents. A half-dozen original glass slides from the opening credits, the header card for the elusive hand puppet, 8 x 10 pictures, a Chicago American TV guide, buttons and even a poster featuring Gar, Romberg Rabbit and Frazier Thomas hawking Ked’s Redball Jets (which fetched a handsome price on eBay a few years back).

So much gold! There was also an unused Garfield patch identical to the one that Frazier wore on the breast pocket of his blindingly yellow Century 21 sport coat. (Who says fat people have to hide behind dark colors?)

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Here is a rather glaucomic clip from the affectionately name Fuzzy TV Memories of the opening credits and Gar in drag doing a Norman Bates-ish turn as Mama Goose.

Also contained in the corrugated treasure chest were several items featuring show regular Clutch Cargo. In fact, the only goody that I didn’t grab up was the mint (and I do mean mint) Clutch Cargo Coloring Book.

Postcards:
CLUTCH CARGO

SPINNER AND PADDLEFOOT

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Not sure whether the bobble-heads pictured on this postcard ever hit store shelves or were just prototypes.

Adventure Club Certificate:
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Sticker:
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Easily the rarest jewel in the pile was a 16mm, dye-transfer print of the show’s opening credits. The colors remain eye-popping, particularly the kaleidoscopic burst emitted throughout the WGN logo. When I moved to San Diego in 2000 to assume the position of the Museum of Photographic Arts (MoPA) inaugural film curator, you can bet that the credits came with me. What I didn’t anticipate was how quickly they would hit the museum’s screen.

It was the theater’s black tie, opening night gala and each plush seat in the 226-seat auditorium was packed with wealthy donors. Since it was the newly-installed theater’s maiden voyage, I thought it fitting to baptize the film program with student shorts by major directors. (Godard’s All the Boys are Named Patrick, Truffaut’s Les Mistons, Jane Campions’ Peel, David Lynch’s The Grandmother and, what else, Martin Scorsese’s It’s Not Just You, Murray.)

According to Theatre Management 101, the projectionist has final cut and my operator was a doozy. Introduced through a mutual friend, Zosch (not his real name) certainly had the background and experience to do the job. He was also, how should I put this…a bit eccentric, something expected from anyone who enjoys spending their nights alone and in a cramped booth. Zosch was a “nervous” type, frequently covered in what my boss later referred to as “100 proof flopsweat.”

After completing my liturgical preamble before the erudite aggregation I set about introducing the evening’s first offering, Marty’s Murray. The hush that fell over the crowd was soon replaced by puzzled gasps. Instead of my mint 16mm print of Murray, the strains of Monkey on a String and a cartoon flicker of a Technicolor goose assaulted the assemblage.

It’s one thing to misplace reels, but any professional projector-threader, drunk or sober, should instantly be able to detect the difference between black-and-white and color film stocks. (Didn’t he know that Marty couldn’t afford color film stock until The Big Shave?) The auditorium doesn’t have direct access to the booth and in the time it took me to rocket my way through the atrium and up the stairs, the brief credit scene had unraveled into a Clutch Cargo cartoon spliced to the end of Gar’s celluloid tail.

After seven months of blowing more reel changes than a Vegas hooker does conventioneers, Zosch was shown the door. Nine years later and it’s funny, but at the time images of a projectionist dangling by a thread of countdown leader invaded my every thought.

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Roll in the red carpet: MoPA’s Oscar party cancelled!

February 21st, 2008 by Scott Marks

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Lest we forget, these two jadrools won Oscars and Hitchcock and Cary Grant didn’t!

Those of you wanting to witness my public rage when the former pole dancer picks up her best screenwriting statuette will have to rely on their imaginations. The Museum of Photographic Arts has called off its Academy Awards gala due to lack of interest.

What is it with San Diego’s film community? Worse yet, what’s with all the woosies scared to enter Balboa Park after sundown? Every decade someone is hurled over the Laurel Street bridge and locals fear that they’ll be next. We should be so lucky! Patrons can figure out how to make it to the Globe or Prado Restaurant, but when it comes to movies people look at the Park after dark as a leper colony.

Okay, maybe a buck-and-a-half a head was a bit stiff, but MoPA is a more than worthy cause. For you less charitable types there was free booze and a dinner whipped up by deliciously dependable Waters Catering. On top of that, Beth Accomando and I, two die hard Oscar-haters would be doing the color commentary. Even if you lose you win!

Just when I wrapped my mind around watching the Oscars outside my safety zone. Looks like another year sitting in my underpants, cleaning my gun and snacking on bread dipped in peach brandy.

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AMPAS President asks nominees to ignore WGA strike and attend Oscar ceremony

February 5th, 2008 by Scott Marks

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Salma Hayek & Sid Ganis announce last year’s nominations

During Monday’s annual Oscar luncheon at the Beverly Hilton hotel, Academy President Sid Ganis basically begged nominees to cross picket lines to attend this year’s fatuous popularity contest.The New York Times reports Mr. Ganis as saying, “Regardless of those circumstances, which are beyond our control, we will be presenting the awards as scheduled.”

Schmuck, the circumstances aren’t beyond your control. You’re the president of the all mighty Academy and what you say goes. Why can’t the Academy just hold off on the ceremony until the time comes when the writer’s strike is over? If nothing else, Sidney, think of how much more positive free publicity the Academy would amass in the time it takes to settle.

Stupid Sid couldn’t resist adding that the Academy Awards are not just about business but also about recognizing cinematic achievement.

The Academy Awards and artistic integrity?!?!? Since when? “It would be such a terrible shame,” said Sid, “if through no fault of yours and no fault of ours, the current conditions prevented us from shining that brightest possible light” on mediocrities like Juno and Michael Clayton.

And unlike the Publisher’s Clearing House raffle, Sid pointed out that the official certificate of nomination reads, “Must be present to win.”

Shockingly, the striking writers appear split in two camps: those who want winners to show up and use their acceptance speeches as a “bully pulpit” and those that feel a boycott would cause Hollywood further harm (and embarrassment).

The good news is that recent talks between striking writers and production companies show signs of hope.

As for me, strike or no strike, I’ll see you at the MoPA Oscar party on February 24.

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Brace Yourselves: KPBS Film Club goes public with MoPA Oscar party!

January 31st, 2008 by Scott Marks

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This will be a first for me. I don’t do Oscar well in public. Generally I watch them at home (preferably alone) and can’t remember the last time I viewed them in the company of others. I don’t want people to see me during or immediately after the ceremony. It’s nobody’s business.

Imagine my delight when my old stomping grounds the Museum of Photographic Arts (MoPA) invited the Film Club into the Joan & Irwin Jacobs Theatre to host an Oscar soirée. This year I leave the cocoon and join my KPBS partner Beth Accamondo live on stage and miked to do play by play commentary for this year’s Oscarcast.

Please, God, don’t let me work blue. And whatever you do, keep me away from the bar.

Neither of us has much good to say about the Oscars, but Beth insists that I harbor more contempt. Check the tapes; she’s said things about the beloved Academy that would render Jean Hersholt inhumane.

Luckily there isn’t much this year to outrage me, no Forest Gumps that would cause me to uproot seats and overturn tables. Then again, if Juno wins Best Screenplay, I just might pull a Sinatra and throw a tray of glasses.

Needless to say we were both a little surprised (and a lot flattered) when we got the call, so what the heck? It’s a great museum and if Beth and I have anything to do with it, there will be fun! A lot of fun and great food and libations (except for me) to boot. And the party is a lock strike or no strike.

The festivities kick off at 5 and will end when the last precious award is handed out. Tickets are $150.00 a head and it’s black tie optional. (Guess which option I’ll take.)

For more information, visit the MoPA website.

Come join us for an Oscar party you’ll never forget!

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