DC Comics Returns to An Old Logo

Yesterday DC Comics unveiled a new logo that is actually an old logo. DC Comics adopted the "DC Bullet" in 1976. In the end it would be DC Comics' most enduring logo. It would not be retired until 2005, meaning it was in use for twenty nine years. It was designed by famed graphic designer Milton Glaser, who also designed the "I Love New York" logo, the LaGuardia High School logo, the Brooklyn Brewery logo, and others. The DC Bullet is probably DC Comics' most famous logo of all-time and may well be Milton Glaser's most famous work besides the "I Love New York" logo. DC's president and publisher Jim Lee said of the return to the DC Bullet, "In the minds of many fans, that is the mark that defined the DC brand. It’s exciting to bring it back."

Of course, over the years DC Comics has had several different logo. Its earliest logo from 1940 consisted of two circles which read "A DC Publication." "DC" stood for Detective Comics, Inc. (the company being named for its flagship publication, Detective Comics), although the logo was also used on Detective Comics, Inc.'s sister company All-American Publications. In 1942 the logo was modified to read, "A Superman DC Publication." In 1946 Detective Comics, Inc. was merged with All-American Publicationsto become National Comics Publications, although it retained the logo.

The logo would be revamped by Irv Schnapp in 1949. Irv Schnapp was a graphic designer and letter who worked at DC Comics for years. Among other things, he revamped the Superman logo in 1940 and created or revamped many other logos at the company over the years. Ira Schnapp's logo differed from the earlier DC logos in that it read "Superman" at the top with "DC" in the centre and "National Comics" at the bottom. Often the "Superman" and "DC" in the logo would be in the colour red. After the DC Bullet, Ira Schnapp's DC logo is the longest lasting of DC's logos. It was adopted in 1949 and remained in use until 1970, a full 21 years. Here I must point out that while the official name of the company was "National Comics Publications" and later "National Periodical Publications," The company was known informally as "DC Comics" for years, likely since the Golden Age.

After Ira Schnapp's logo was retired, DC Comics changed logos next frequently over the next few years. The next logo featured the main character of the title in a circle with the "DC" and the title below the circle. Adopted in 1970, it was abandoned in 1972. The next logo was a simple circle with the letters "DC" in it. Adopted in 1972, it was revamped in in 1974 so that the letters "DC" were surrounded by the words "THE LINE OF SUPER STARS." Of course, in 1976 the DC Bullet was adopted.

After the DC Bullet was retied in 2005, DC Comics went through another period where they changed the logo frequently, The next design would be known as the "swoosh," the letters DC in front of an oval  design. It lasted from 2005 to 2006. DC Comic's next logo would become known by many as the "Peel." It featured a san serif "DC" in which the "D" appeared to be peeling back from the "C." The Peel was a sharp break from DC Comics' previous logos in that it entirely abandoned the circle motif. The DC Peel initially proved unpopular, although today there are those who look back on it fondly. Regardless, the Peel only lasted from 2005 to 2012. It was then replaced by a new, simpler logo that featured a serif DC within a circle. In many ways it recalled the DC logo of the early Seventies. Introduced in 2016, it has lasted until now.

I have no doubt that many fans will welcome the return of the DC Bullet. It was DC Comics logo from my early teens throughout my young adulthood. By the time it was retired, I was middle-aged. Entire generations grew up with the DC Bullet. If DC Comics had to change logos again, it would seem a return to the DC Bullet was a good idea.

Below is a handy graphic showing the DC Comics logo over the years that I snagged from Bleeding Cool.

Batman's Debt to The Spider

It is well-known that the comic book character Batman was inspired by the pulp character The Shadow. The very first Batman story, "The Case of the Chemical Syndicate," published in Detective Comics no. 27 (May 1939) was taken from The Shadow novel Partners of Peril by Theodore Tinsley (using the Street & Smith pen name Maxwell Grant) from The Shadow no. 113 (November 1936). While Batman owes an obvious debt to The Shadow, it seems to me that the superhero was also inspired largely by another pulp character, The Spider.

For those unfamiliar with The Spider, he was  a character published in the pulp magazine The Spider, published by Popular Publications. He first appeared in The Spider no.1 (October 1933). The first two issues of The Spider were written by R. T. M. Scott, most famous for having created "Secret Service Smith." In those first two issues "The Spider" was little more than a pseudonym for millionaire Richard Wentworth as he operated as an amateur criminologist. Popular Publications decided the first two Spider novels were too slow-paced, so writer Novell Page was brought into replace him. Norvell Page totally revamped The Spider. He was still millionaire Richard Wentworth, but now as The Spider he fought crime in a sallow fright mask complete with fangs, a black felt hat, and a black cape. What  is more, he had no compunctions about outright killing criminals,  although he scrupulously avoided killing law enforcement or ordinary civilians. As written by Norvell Page and such writers as Donald C. Cormack, Wayne Rogers, Emile Tepperman, and Prentice Wnchell, he proved to be success.

As stated above, The Spider's alter ego Richard Wentworth was a millionaire. From his first appearance in Detective Comics no. 27, Batman's alter ego Bruce Wayne is also described as a socialite and a millionaire. This is in sharp contrast to The Shadow, at least in the pulp magazine (the radio show is a different matter). The alter ego of Lamont Cranston, "wealthy man about town," is not The Shadow's real identity. In fact, the real Lamont Cranston  had a deal with The Shadow so that The Shadow could masquerade as him as he travels the world. The two men looked so much alike that the masquerade was successful. That Bruce Wayne is a millionaire may then owe a good deal to The Spider. Of course, both The Spider and Batman owe a good deal to Zorro, whose secret identity was that of Don Diego de la Vega, son of the wealthiest landowner in California.

The similarities between Batman and The Spider do not end with the fact that both are rich. Richard Wentworth's best friend is New York City Police Commissioner Stanley "Kirk" Kirkpatrick. Commissioner Kirkpatrick was certain that Richard Wentworth is The Spider, but was never able to prove it. He was certain to let Wentworth know that he ever learned the truth, he would arrest him. Like many pulp vigilantes, The Spider was wanted by the police (little wonder given his tendency to kill criminals). As to Batman, it is the very first panel of the very first Batman story that we are introduced to both Bruce Wayne and his friend Commissioner Gordon. Unlike Kirk in the Spider novels, Commissioner Gordon never suspects Bruce Wayne is Batman.

Of course, this brings us to another similarity between The Spider and Batman. As mentioned above, The Spider was wanted by the police. This was also true to a degree of Batman in his first year of appearance. In multiple issues of Detective Comics he finds himself falsely accused of a crime and must clear himself. Eventually, the Gotham City Police Department would become allies of Batman, so much so that Commissioner Gordon would summon him via the Batsignal.

One final similarity between Batman and The Spider is that both use gadgets. The Spider had a small array of gadgets, the best known of which was a gold ring with which he could imprint his symbol on the heads of criminals he killed so others would not be blamed for the crime. He also carried what he called his "web," a silken line that could hold a good deal of weight. He also had a powerful air pistol so that he could kill silently when the need arose. Of course, Batman's many gadgets are well-known. The Batarang first appeared in Detective Comics no. 31 (September 1931). Batarangs would be followed by a number of other gadgets, everything from tear gas pellets to torches. Of course, in using gadgets both The Spider and Batman owe a good deal to Doc Savage, who kept such gadgets as anesthetic gas grenades, a lock picking kit, a hypodermic kit with vials of truth serum, and other gadgets in his vest.

While Batman obviously owe a good deal to such characters as Zorro, The Shadow, and Doc Savage, it would seem he also owes a good deal to The Spider. Both are millionaires. In their secret identities, both have friends who are police commissioners. Both were wanted by the police at one time or another. And both use gadgets. Anyone familiar with both characters would probably notice the similarities.

Stop Showing Police Bodycam Videos on the Evening News

Earlier this month the bodycam video of the fatal shooting of Sonya Massey in her own home was released. For those who have not heard about the case, Ms. Massey had called 911 to report a possible prowler. Two deputies responded and, ultimately, Sean Grayson shot her in the head. Grayson was fired from the Sangamon County, Illinois Sheriff's Department two weeks after he killed Sonya Massey. Grayson has since been charged with three counts of first-degree murder and one count each of aggravated battery with a firearm, and official misconduct. Sadly, the NBC Nightly News chose to air the bodycam video of Sonya Massey's murder upon its release, and I have to think the other networks did the same. I know that many news sites embedded the video in stories and set it to autoplay. To me, this is totally unacceptable.

The simple fact is that for many of us, police bodycam videos of the killings of individuals serve as nothing more or less than triggers for post-traumatic stress. From speaking to other survivors of victims of police violence I know I am not alone in this. Actress Vanessa Marquez, who was shot in the back and killed by officers of the South Pasadena Police Department, was my dearest friend. Ever since then I have been unable to watch any police bodycam video without serious trauma to my psyche. When the bodycam video of Vanessa's killing was released, it was aired by many news outlets. I watching one of our local television stations one Sunday night when Inside Edition came on. Unfortunately, they had a preview of a story on the shooting of Vanessa at the start of the show. It was bad enough that they claimed she was "mentally disturbed," but they also included a portion of the bodycam video. It was only someone calling Vanessa's name in a shrill voice (I am guessing it was one of her killers), but it was enough to give me nightmares for the next two weeks. I have since forced myself to watch portions of the bodycam video, but always with the same result. Here I want to state I have never watched the footage of her death, as I suspect I could never recover from that. What makes all of this sadder still is that I know mine is not an isolated case.

Here I have to emphasize that police bodycam videos of killings by law enforcement officers not only cause stress in survivors of victims of police shootings, but African Americans in general. A study published in the Fall issue of Cultural Diversity & Ethnic Minority Psychology and conducted by Glenna L. Read of the University of Georgia Grady College; Harry Y. Yan of Texas A&M; and Rachel L. Bailey of Florida State University revealed that viewing violent police bodycam videos by African Americans can result in difficulty sleeping, feelings of being on guard, and even symptoms of Post-Traumatic Stress Disorder. A 2018 study published in The Lancet about police killings showed that Black people continued to be affected by the killing of an unarmed Black person months after they first heard about it. I have not read any studies on the effects of police bodycam videos on Latinos or Native Americans, but I have to suspect they would be similar to the effects they have upon Black people. After all, Latinos and Native Americans are also disproportionately shot and killed by law enforcement.

Here I want to state that I do not oppose the release of police bodycam videos. They can and often do reveal police misconduct and unprofessional behaviour. Indeed, I have to wonder if Sean Grayson would have been charged with Sonya Massey's murder if the video had not been released. That having been said, I do wish the media would show some discretion with regard to police bodycam videos so that we survivors of victims of police violence do not see them by accident and as a result experience post-traumatic stress. To me, the best solution would be for media outlets to embed them on a webpage with a robots.txt restricting search engines from spidering the page so that the video does not appear in search results. This would give those curious about any given bodycam video a chance to see it while keeping survivors of victims of police violence from seeing it and experiencing post-traumatic stress. As to the evening newscasts, they could simply direct people to the web page.

The sad fact is that many Black people, Latinos, and Native Americans have been killed over the years. The George Floyd Protests of 2020 do not seem to have decreased them in the slightest. That means that as time goes by there are more and more survivors of victims of police violence. None of us should be subjected to police bodycam video of another killing by police that could result in post-traumatic stress.

Godspeed Duke Fakir, Last of the Original Four Tops

Abdul "Duke" Fakir, founding member, first tenor, and last original Four Tops, died on July 22 2024 at the age of 88. The cause was heart failure.

Duke Fakir was born on December 26 1935 in Detroit. He attended Pershing High School in Detroit. Growing up he wanted to be a professional athlete, and he played basketball and football, and took part in track and field events. He sang in his church's choir where his talent first became obvious. As a teen he became friends with fellow singer Levi Stubbs. They first sang with Lawrence Payton and Renaldo "Obie" Benson at a local party.

Initially, Messrs. Fakir, Stubbs, Payton, and Benson called themselves "The Four Aims." As The Four Aims they released a single on Grady Records, "If Only I Had Known," in 1956. It failed to chart. That same year they recorded the single "Kiss Me Baby" for Chess Records. It was at their first recording session at Chess Records that it was brought up that the name "The Four Aims" might be confused with popular singing group The Ames Brothers. They then took the name 'The Four Tops." They later recorded singles for Columbia Records and Riverside Records, none of which charted.

While The Four Tops saw little success with singles in those early years, they continued to tour extensively. This brought them to the attention of Barry Gordy, who convinced them to sign to Motown Records in 1964. Their first single on Motown Records, "Baby, I Need Your Loving," was also their first hit. It went to no. 11 on the Billboard Hot 100. It was in 1965 that they had their first no. 1 hit, "I Can't Help Myself (Sugar Pie Honey Bunch)." Throughout the Sixties, The Four Tops would have several more hits, including "It's the Same Old Song," "Reach Out I'll Be There," "Standing in the Shadows of Love," and "Bernadette." Over the years The Four Tops also released several albums, the first being their self-titled debut album in 1965 and the last being Christmas Here With You in 1995.

The Four Tops continued to release singles throughout the Seventies and into the Eighties, although with less success than they had in the Sixties. They continued to tour extensively. One thing that set The Four Tops apart from other groups is that their membership remained stable. Levi Stubbs did not leave the group until 2000, and then only because he had a stroke. He died in 2004. Lawerence Payton and Obie Benson remained with The Four Tops nearly until their deaths. As to Duke Fakir, the continued to tour with The Four Tops until less than a month before his death.

Like the rest of The Four Tops, Duke Fakir was an incredible performer. As first tenor his voice was always and smooth. Like the other Four Tops his voice was also versatile. He could perform pop standards, rock 'n' roll and even country songs. The Four Tops were great showmen, and few vocal groups ever matched their talent.

The 100th Anniversary of Don Knotts's Birth

Don Knotts is best remembered for his role as Deputy Barney Fife on the classic television series The Andy Griffith Show. He is also remembered as landlord Ralph Furley on the classic Three's Company and a slough of comedy movies released by Universal in the Sixties. To this day Don Knotts remains not only one of the best remembered performers of the 20th Century, but one of the most beloved as well. Don Knotts was born 100 years ago on this date, July 21 1924.

Don Knotts had an interest in entertainment from when he was very young. He performed as a ventriloquist at school and church events before he even entered high school. While in the United States Army, he performed as a comedian and ventriloquist for the troops. He eventually abandoned ventriloquism and threw his dummy (named Danny) overboard according to Al Checco (who was a friend and classmate of Mr. Knotts).

After his stint in the Army, Don Knotts began performing at clubs as a stand-up comic. He eventually found his way to radio, appearing on various shows. He was a regular on the Western-themed children's radio show Bobby Benson and the B-Bar-B Riders. There he played a know-it-all handyman named Windy Wales, who was in a way the forerunner of Barney Fife and many of Don Knotts's other characters. As hard as it is to believe given he is best known for comedy, Don Knotts's television debut was as a regular on the soap opera Search for Tomorrow. He appeared on the show from 1953 to 1955. It was in 1955 that he began a stint in the Broadway production of No Time for Sergeants. He continued to appear in No Time For Sergeants until 1957.

Of course, it would be television that would be Don Knotts's greatest claim to fame. His big break would be as part of one of the regulars on The Steve Allen Show. He played in a variety of sketches but was best known for playing the high-strung, nervous Mr. Morrison in the "Man on the Street" interviews. With The Steve Allen Show, Don Knotts became a household name. He appeared on it from 1956 to 1960.

Don Knotts went from The Steve Allen Show to his most famous role of all. Don Knotts and Andy Griffith had become friends when they both appeared on Broadway in No Time for Sergeants. They later worked in the movie adaptation of the play. When Andy Griffith told Don Knotts about his upcoming show, Don Knotts suggested that Sheriff Andy Taylor (Andy Griffith) should have a deputy. In the end, Don Knotts was cast as Deputy Barney Fife on The Andy Griffith Show. Don Knotts drew upon the nervous Mr. Morrison from The Steve Allen Show for part of the inspiration for Barney Fife, who was also high-strung. To this, he added a streak of self-importance which covered up his many insecurities. Barney tended to be a know-it-all, claiming expertise in fields where he actually had very little (everything from firearms to martial arts). As a law enforcement officer, Deputy Fife tended to be a bit too much "by-the-book." Barney proved to be the breakout character on The Andy Griffith Show, becoming the show's most popular character on the series. Don Knotts's performance as Barney Fife was so admired that he won the Emmy Award for Outstanding Supporting Actor in a Comedy five years in a row.

The character of Barney Fife was lightning in a bottle, and Don Knotts would never again have a character as phenomenally popular. Regardless, he would continue to have a good deal of success in television. While his variety show, The Don Knotts Show, would only last one season, throughout the Seventies he guest starred on such shows as Here's Lucy, The Sonny & Cher Comedy Hour, The Muppet Show, and even The New Scooby-Doo Movies. In 1979 he joined the cast of Three's Company as landlord Ralph Furley, who replaced the previous landlords Stanley and Helen Roper who had received their own spin-off. Ralph Furley thought he was a ladies' man, despite rarely having any dates. He also thought of himself as a manly man, despite that he lived in fear of his mean, heartless brother Bart. While Mr. Furley would not become as popular as Barney Fife, the character did prove to be popular. He remains one of Don Knotts's best-remembered characters.

Don Knotts would continue to appear on television following Three's Company. For the last fifteen episodes of the syndicated sitcom What a Country!, he played  Principal F.J. "Bud" McPherson, replacing Gail Strickland who played Principal Joan Courtney. He later became a semi-regular on Andy Griffith's show Matlock, playing lawyer Ben Matlock's neighbour Les Calhoun. He also continued to make guest appearances on such shows as The Love Boat, Newhart, Burke's Law, 8 Simple Rules, and Las Vegas. He reprised his role as Barney Fife for one last time in the television reunion movie Return to Mayberry.

While Don Knotts may have been best known for his television work, he was also a movie star. He made his movie debut in No Time for Sergeants in 1958, in which he played Corporal John C. Brown, who has the unfortunate duty of giving Air Force recruit Will Stockdale (Andy Griffith) a dexterity test. He appeared in such films as Wake Me When It's Over (1960) and The Last Time I Saw Archie (1961) before making notable cameos in It's a Mad, Mad, Mad, Mad World (1963) and Move Over Darling (1963). With The Incredible Mr. Limpet (1964) he received his first starring role. the Henry Limpet of the title, A bookkeeper who longs to be a fish. While it received mixed reviews, it proved to be a hit at the box office.

Don Knotts thought The Andy Griffith Show would end after five years, so with the show's fifth season he began seeking other roles. He signed a contract with Universal to make a series of comedy movies. The first, The Ghost and Mr. Chicken (1966), did well at the box office and has since developed a cult following. His following movies, The Reluctant Astronaut (1967), The Shakiest Gun in the West (1968), The Love God? (1969), and How to Frame a Figg (1971), did not do nearly as well but have remained popular on television. The Love God? was significant in that it had themes that were slightly more mature than Don Knotts's other films. He played the owner of a failing birdwatching magazine whose new partner turns the magazine, The Peacock, into a girlie magazine.

Don Knotts would continue to appear in movies after his contract with Universal ended. In the Seventies he appeared in a number of Disney films, including No Deposit, No Return (1976), Gus (1976), Herbie Goes to Monte Carlo (1977), and Hot Lead and Cold Feet (1978). His most successful film with Disney may well have been The Apple Dumpling Gang (1975), in which he was paired with Tim Conway as a pair of inept outlaws. Don Knotts and Tim Conway reprised their roles in The Apple Dumpling Gang Rides Again (1979). Tim Conway and Don Knotts followed their work with Disney with the independent comedies The Prize Fighter (1979) and Private Eyes (1980). 

Don Knotts's movie appearances would be sporadic following the Seventies. He had a cameo as a CHiPs officer in Cannonball Run II (1984) and a small role as a school principal in Big Bully (1996). In Pleasantville (1998) he had a small, but significant role as a mysterious television repairman. Don Knotts also did voice work in such animated films as Cats Don't Dance (1997) and Chicken Little (2005).

Don Knotts died on February 24 2006 at the age of 81 due to lung cancer. There were many, many tributes to him. There should be little wonder that there would be. Quite simply, he was one of the funniest comedians and actors of all time. He had a knack for creating hilarious, yet well-rounded and sympathetic characters. It is with good reason that Barney Fife remains one of the most popular characters of all time and Ralph Furley is still loved by many. Regardless of how well the comedies he made at Universal did initially at the box office, they became popular on television and remain so to this day. It was with good reason that Don Knotts had such a successful career. He was just so very talented.