Sala Saturdays Return with 'Hate Mail'

 Before everybody gets too filled with holiday cheer and good-will toward everyone, we're going to be serializing Richard Sala's 1988 short story "Hate Mail." Part One is presented today, and we'll have Part Two next week. Click on any panel to enlarge a page so it's easier to read, and expect something strange...

                                                               To Be Continued...

Happy Birthday, Bruce Springsteen!

American singer/songwriter and guitarist Bruce Springsteen turns 75 years old today!

Here's one of his many MANY famous songs in celebration of his six decades of bringing us all entertainment through great music! A good argument can be made that this is one of best songs, so it's a shame it's faded a bit from public awareness as the years have passed. (As a bonus, the video is also a great exploitation of Springsteen's image as a Man of the People.)

Brilliant Disguise (1987)
Starring: Bruce Springsteen
Director: Meiert Avis
Rating: Six of Ten Stars

Musical Monday with the Pogues

Guest performer on "A Fairytale of New York" Kristy McColl has described it as " a Christmas song for those who hate Christmas songs". Others (unknown if they hate Christmas songs or love Christmas songs) stumble toward the fainting couch or wet themselves, because the lyrics are outrageous (OUTRAGEOUS!) and offensive because they include one character in the song insulting another as they fight by calling him a "faggot" (right after he calls her a "slut").

We like the song and we think it's clear that those who are pitching fits over that word need to get over themselves and haven't actually listened to the lyrics or are too stupid to understand a thing called "context". 

And we hope they never come upon a whole host of rap songs. Or even some nursery rhymes.

Hell, if someone with a brain was looking for a reason to take offense at this song, there's a MUCH more serious reason to do so, if you choose to interpert the story of the song in a particular way. But requires listening and thinking... something most people don't do these days. (Now, we still think anyone who's wailing and gnashing their teeth are behaving like idiots and haven't put enough thought into their reaction, but at least they would have put SOME thought into it.)

But take a look at this great video and listen to this fine song. Or not.

A Fairytale of New York (1987)
Starring: The Pogues, Shane MacGowan, Kristy McColl, and Matt Dillon
Director: Peter Dougherty

Rating: Seven of Ten Stars

It's time for the Sunday Funnies!

(Click any panel to see a larger, more easily read version of the page.)

Musical Monday with Fu-Schnickens

 
I am not an expert in rap and hip-hop by any stretch of the imagination... but I can recognize talent when I see it and BOY were the Fu-Schnickens talented! Even better -- "Breakdown" has a hook that you will find yourself humming for the next few hours or even days.

I don't grasp the meaning of the video nor the lyrics of the rap (except for the most basic... I understand the words and each sentence, but I am puzzled as to the greater meaning of it all). It's all very fascinating to watch and listen to, and extremely well performed and crafted--and each shot of the video is expertly framed--but all I can ultimately say is, "This is art, and I know what I like. And THIS--I like."

Take a look and a listen. Let me know if you agree! (And if you know what it all means.)

'Hugo' by Milton Knight

During the 1980s, there was a bit of a revival of the Funny Animal comic book genre with the number of series and width of genres embodied reaching that of its Golden Age during the 1940s. The best remembered characters and comics from this period are Stan Sakai's "Usagi Yojimbo", Steve Purcell's "Sam & Max", and, of course, Kevin Eastman and Peter Laird's "Teenage Mutant Ninja Turtles".

Cartoonist, painter, and animation historian Milton Knight's contribution to the revival was "Hugo", a series about a put-upon court jester who pined for the love of Princess Tish against the backdrop of an anthropomorphic fantasy kingdom. Here's a short tale, which originally appeared in "Hugo" #1 (Fantagraphics, 1982).

For regular updates on what Milton Knight is up to, and to support his current creative efforts, sign up at his Patreon page!)

It's a Sala Saturday

Today, we've got a rarely seen one-page weird tale by the great Richard Sala. It was never published in any magazines or anthologies, but now you can enjoy it here... and it might even help stir a little Halloween Spirit within you! (Click on the image for a larger, more easily read version.)

 

A great collection of early work by Richard Sala

Black Cat Crossing (Kitchen Sink Press, 1993)
Writers: Richard Sala and Tom De Haven 

Artist: Richard Sala

Rating: Eight of Ten Stars

"Black Cat Crossing" collects 17 short stories done by Richard Sala during from the mid-1980s through the early 1990s. There are also a pair of Sala's intrigue- and mystery-drenched "pin-up pages" that serve as endpapers for the book, a table of contents that is executed in the style of an illuminated manuscript; and another Sala's activity-packed one-pagers serving as a frontis-piece. So, it's like we're being treated to a few opening acts before the main event! 

Many of the stories had previously appeared in comics anthologies (which were, sadly, dying out once and for all during the period Sala was contributing to them), and a few were original to this book. Most are examples of Sala's ability to capture the feel of randomness that permeated many pulp short stories of the 1930s while crossing them with a 1940s and 1950s B-movie or film noir sensibility. A few also shows how he can masterfully he can use the "unreliable narrator" in his stories.

The rating I give this book is an average of the stories within it.

The collection opens with three long stories (each more than ten pages). The first two, "The Fellowship of the Creeping Cat" and "The Big Dark Zero" feature equal parts mystery, drama, and humor. They are loving spoofs of pulp-fiction and film noir mystery tales with ludicrous set-ups and overly tangled dark secrets that nonetheless are executed every bit as serious as "The Maltese Falcon". And this is why they work. Both stories also sport genre-appropriate endings that are a satisfying mix of tragic and justice that will leave even the most critical reader satisfied.

"The Fellowship of the Black Cat" focuses a writer of limited success who finds himself at the center of a string of murders related to a long-defunct secret society of vigilantes. It is full of goofy elements, but it is also features escalating tension, because the reader clues into the trouble the protagonist is getting himself into before he does. The mystery of who is behind the plot is also an interesting one. The only complaint I have about the story is that the ending could have been a little stronger, so it rates an 8 of 10 Stars.

"The Big Dark Zero" is a pulp-fiction, film-noir style mystery tale about an amnesiac who has to rediscover his forgotten past to discover why people are suddenly trying to kill him. As the mystery unravels, the facts become increasingly ridiculous, but the story is played perfectly straight throughout, with even a touch of tragedy, which makes this a very effective tale. This is a solid 9 of 10 Stars.

The third and final of the longish stories in "Black Cat Crossing" is also one of the very best in the book. It may even be the best short story Sala wrote and illustrated, period. (It also has an amusing bit of crossover with another story in the book, perhaps the earliest example of the Salaverse, which is hinted at in some of the Peculia and Bloody Cardinal stories, and elsewhere.)

"Where is Christine Broder?" is one of the finest examples of how Richard Sala was an expert of the unreliable narrator. Throughout this whole film-noirish mystery tale involving a burned-out investigator looking for a missing woman the reader has the sense that something is off. It's a sense that keeps growing, but you're never quite sure WHAT is off about the first person narrative that's unfolding and when Sala finally reveals the truth of what's going on, in a perfectly timed and executed fashion, readers feel a mixture of  empathy for the narrator and a twinge of horror about his situation. It's a 10 of 10 Stars without question.

In the middle of the book are six one- and two-page stories in color. They are generally the weakest of what is collected in this volume, with four of them feeling more like story sketches or outlines than full-fledged works; I give most of these collective 6 of 10. The only two that are worth commenting on are a chilling spoof of romance comics titled "A Newlywed's Heartache" (in which the bride discovers chilling facts about her husband) and "Night Delivery which is a pun-based one-page story that I probably found more amusing than any adult should. Both of those rate 8 of 10 Stars.

The black-and-white stories resume with "Another Mad Doktor", which you can read in its entirety, here at Shades of Gray; and "Psychorama", which is the earliest of at least three spoofs of the kids' "alphabet primers" that Sala did. Each letter of the alphabet stands for a deadly lunatic in a psychologist's casebook, and each of these one-panel, rhyming gags are a mixture of cute and creepy. Both of these earn a solid 8 out of 10 Stars.

Next up, we have "The Proxy", a story drawn by Sala but written by . I'm not sure what to make of this one. I read it four times, carefully, and I am still not certain what's going on or what the point it. I am not even sure if there is a point, beyond telling a story about a guy who is is drawn back into the web of deceit and lies and manipulations that exists around his shady kinda-sorta friend, Doc. By the end of the story, I had the sense that the protagonist is screwed and that Doc... well, I really don't know about Doc. Still, it was an engaging story, so it's getting a 7 of 10 Stars.

 With "The Peculiar Case of Dr. V", Sala presents a mystery tale that features his trademark mix of suspense and goofiness, blended with a twist ending that elevates the take from average Sala to excellent Sala. It's another 7-Star effort!

Next is one of the weaker efforts in the book, "Hypnorama", which is a comics summary/dramatization of a tell-all book about how subliminal messages were/are concealed in advertising art and logos. While Sala did a good job of both summarizing the topic of the book and infusing his adaptation with a sense of insanity, it just didn't grab me. Maybe it's because I am already very familiar with the topic, or because it's been done to death over the 35 or so years that have passed since Sala delivered his take on it? Whatever the reason, this one gets 6 of 10 Stars.

The last story in the book, "Judy Drood, Girl Detective", is a Sala milestone. It marked the first appearance of one of Sala's signature characters, Judy Drood. Over the space of two pages, Sala delivers a fun spoof of classic kid/young adult adventure fiction (specifically the novels starring teenaged amateur detective Nancy Drew) as well as bringing us a great example of his ability to tell complete stories in single panels--or, even better, feed the readers' imaginations with summaries of great stories . All-in-all, it's clear why this, which was initially conceived as a one-off by Sala ws something that his friends encouraged him to expand into something bigger. This tale is a solid 10 of 10 Stars, and it's another one of those that you can read here at the Shades of Gray blog.

Rounding out the anthology is the expected author's bio--although Sala delivers one that is not at all one would expect... and in perfect keeping with his forever tongue-in-cheek approach to his storytelling, one final single panel cartoon, and another of his one-page pin-up style pictures--the endpaper I mentioned at the top. These all get a solid 8 of 10 ratings.

 "Black Cat Crossing" is a spectacular collection of Richard Sala's early work, which remains as fresh and exciting as it was when it was first created three decades ago. That shouldn't be surprising, since he drew his inspiration from pop-culture and artistic evergreens.

When I average out the ratings, this anthology is a solid Eight of Ten Stars... and one that I think is well worth checking out by anyone who enjoys well done comics, film-noir, silent movies, and mystery fiction. I think you'll have a great time while in the Salaverse. (It's still in print, but it's impossible to say for how long. Sala is rapidly joining the ranks for unjustly forgotten comics creators.)

It's a Sala Saturday!

 
It's been a while since we've opened the archives and presented a bit of Richard Sala's unique pulp fiction- and horror-inspired weirdness. We hope you enjoy this little tale as much as we did! (Click on the panels for larger, more easily read versions.)

Musical Monday with Tom Waits

Downtown Train (1985)
Starring: Tom Waits and Jake LaMotta
Director: Jean-Baptiste Mondino
Rating: Seven of Ten Stars

When the moon is full, a weirdo (Waits) spends the night singing, bringing entertainment or exasperation to the residents of an inner-city neighborhood during the 1950s. (And he's lucky he doesn't live in the same neighborhood as this guy!)

 The teaser summary above is the set-up and story (such as it is) of the very creative video for "Downtown Train". The song was a single from Tom Waits' 1984 album "Rain Dogs". I can take or leave the song, but I love the video--including the odd tag at the end with Waits on the waterfront.

Fun Fact: There are no trains, downtown-bound or otherwise, in this video.

Musical Monday with Sting

"Russians" is anti-war song recorded by Sting at the height of his solo career, which coincided with the final stages of the Cold War between the Soviet Union and its allies and the United States of America and its allies. It's a great song, with a great video... and it seems like it's got a theme that's coming back around.


Russians (1985)

Starring: Sting

Director: Jean-Baptiste Mondino

Rating: Nine of Ten Stars

It's a Sala Saturday!

Here's another early one-page comic from the great Richard Sala. Created in 1985, it's another prime example of how how easily Sala mixed the creepy and strange with the comedic. (Click on any panel for a larger, more readable version.)

The Further Adventures of Gun Fury

Gun Fury #6-#10 (Aircel Comics/Malibu Graphics, June - Oct 1989)
Story and Layouts: Barry Blair
Art: Dave Cooper

Rating: Six of Ten Stars

The city needed a hero. What it got was Gun Fury and his sidekick Ammo. They were better than nothing at all. Well... most of the time...

"Gun Fury" was a series that poked fun at superheroes, the comics business and fandom, and mass-media trends of the late 1980s. The first five issues presented and complete storyline that introduced Gun Fury, Ammo (and Peter Pane, the replacement Ammo), and a supporting cast that served the double purpose of poking fun at superhero tropes and taking pot-shots at comic book industry figures. You can read a review of those issues by clicking here.

With the sixth issue of the series, there were a number of changes. First, Dave Cooper became both the penciller and inker of the title, while Barry Blair continued to be the writer and provided page layouts. The story-telling style also shifted from a serial that continued from issue to issue to each issue being self-contained. The supporting cast all but vanished, with Gun Fury and Ammo being the only recurring characters. (There's also a minor running gag revolving around Gun Fury and Ammo being couch potatoes, deciding what crimes need to be fought on what they see on television.)

Another big change is that beginning with these issues, the characterization of Gun Fury as an eccentric, mildly delusional blowhard into someone who is just one step shy of being a complete idiot who exists in a world that exists only in his mind. It leads to some funny one-liners, but, overall, I think it weakened the humor of the title, pushing from a series that made fun of the ultra-violent superheroes of the late 1980s to one that seemed contemptuous of superheroes in general.

The stories in the individual issues are hit-and-miss. The least interesting are in issues #6 and #9, mostly because they cover ground and recycle jokes that were already made in issues #1 through #5 and feature thin stories. 

Issue #6 has little noteworthy in it. It's mostly the above-referenced recycled jokes from earlier issues--pot-shots at comics dealers and collectors--along with setting up the "modern" method by which Gun Fury and Ammo find crime to fight. Gun Fury is also really, REALLY stupid here in ways that are more befuddling than funny. (I don't disagree with the commentary... it's just that the ground had already been covered.)

 Issue #9 makes fun of merchandising and, curiously, pedophiles. It's generally a badly executed mess--with a couple slapstick gags that rely on motion. The scenes could have worked, but Dave Cooper was just not up to the task, failing both to capture the motion and the timing of the gags. There's this iconic moment dropped into the middle of those sequences, but it's too little to save the issue:

In fact, the most interesting thing in #9 is the letters column. It gives insight into the lead-time when it comes to publishing and how plans can change: The editor makes reference to a coming "Gun Fury: Year One" story arc that would detail Our Hero's early adventures--and it would have most likely been a spoof of any and all "origin series" that were being pumped out by Marvel and DC Comics at the time. As it ultimately turned out, the only "Year One" type material we'd get was in issue #8, which revealed how Gun Fury was first set on the path to being a hero and how he got his costume. It's an amusing issue, but it also treads ground that was covered earlier in the series. (I wonder if this was a set-up for the storyline mentioned in #9, or if it was salvaged and slightly reworked and dropped into the mix when it became apparent that the series wasn't going to last much longer. It could explain the only truly lame part of the issue--a not-very-inventive fourth-wall-breaking gag that's drawn out longer than it should have been.)

The best issues in the second half of the "Gun Fury" series are #7 and #10. Perhaps unsurprisingly, they are also the ones that have most effectively survived the passage of time and could in some ways have been published a couple years ago, despite the fact they are firmly rooted in 1980s pop culture.

During the 1980s, there was an explosion of televangelism on cable TV; it didn't matter what time of day it was, you could find religious programming somewhere. There were even channels devoted to nothing but religious programming, such as the Christian Broadcasting Network (for the born-again, evangelical crowd) and the Eternal World Television Network (for the Catholics). 

Issue #7 of Gun Fury pokes fun at these flashy religious productions geared toward television and the, even in 1989, well-documented and laughable hypocrisy of many televangelists. The humor and themes in this issue are as fresh now as they were then, and the climax is perhaps the best of any issue in the series. Gun Fury is in full classic superhero caricature mode in this issue, but it's all very funny.

Meanwhile, issue #10 feels as fresh as the day it was published because it lampoons issues that seem to have exploded across the American cultural landscape over the past two or three years: Gang violence and petty crime of all sorts, and the appearance of casual police violence.

The issue also feels like it might have been published yesterday because there's a Donald Trump caricature that is central to the issue's story. While the character isn't involved in politics, it's an illustration of how long Donald Trump has been a big part of the American cultural landscape.

As hinted at throughout this article, issue #10 would be the  final issue of the "Gun Fury" ongoing series, with the last page seeing our heroes heading off to retirement and tropical climes--and offering up final, heavyhanded, double entendre joke.

 

This would not be fend of Gun Fury and Ammo, however. While "Gun Fury: Year One" would never materialize, Our Heroes would eventually return in a mini-series. Look for my opinions of it in this space at some future date!

(Meanwhile, if you have any memories or opinions about "Gun Fury" or any other Aircel Comics, that's what the comments section is for! Also, for an excellent exploration of the man behind the creation, Barry Blair, click here.)

It's a Sala Saturday!

 Here's another early work from the late, great Richard Sala. It was collected in his anthology from Kitchen Sink Press "Black Cat Crossing" (1993) and it dates from the mid- to late 1980s. (Click for a larger, more readable version.)

This is my favorite of the sci-fi/horror genre-based one-pagers that Sala did.

The Coming of Gun Fury!

Gun Fury 1-5 (Aircel Comics/Malibu Graphics, January - May 1989)
Story and Pencils: Barry Blair

Inks and Washes: Dave Cooper

Rating: Six of Ten Stars

In a city where innocent citizens are being preyed upon by the rich and powerful, and by the violent and psychopathic; where the media lies as much as they tell the truth; deluded goofballs can't tell the difference between comic book fantasies and reality, a cry went up for a hero. Gun Fury answered that call... to the regret of many.

"Gun Fury" was a 10-issue series by Barry Blair and Dave Cooper, with the latters artistic style becoming increasingly dominant as the series progressed. Published by Aircel (which was by this time an imprint of Malibu Graphics) from January of 1989 through October 1989.
It featured broad, often crude, satire of the "grim and gritty" comics that were trendy at the time, as well as making fun of fandom and comics industry.

The first five issues are liked by several intertwining storylines and subplots. Along the way, the title character Gun Fury as a demented, ultra-violent hero who's part 1960s Batman and 1980s Punisher. His secret civilian identity is Jack Luger, mild-mannered staff writer at Fan Graphics, a firm that publishes several entertainment-related magazines and comic books. He has a money-grubbing, homophobic boss, and a go-getting investigative journalist female co-worker with a superhero fetish. 

In the first issue, Gun Fury's boy sidekick, Ammo, is killed in a clash with minions of the mysterious Master. Over the next few issues, he adopts and breaks in teenaged orphan Peter Pane as the new Ammo while simultaneously protecting the boy from the Master's agents, including fellow superhero Captain Rearguard who is duped into furthering the evil schemes. Meanwhile, a second more odious threat is lurking in the shadows, preparing to ooze onto the scene. 

Over the course of five issues (which form a complete, self-contained storyline), Blair and Cooper poke fun at superheroes as they were developing in the mid-1980s and into the 1990s... all grim and gritty and violent in the wake hits like "The Watchmen" and "The Dark Knight Returns", with a few dollops of hamfisted social commentary thrown in for  good measure. Perhaps the most clever aspect of Blair's approach to the topic was having the grim-and-gritty co-exist with the lighthearted melodrama and downright goofiness that were the hallmarks of the superhero comics he'd grown up with. It gives a bizarre feeling to Gun Fury's world that is perfect for the title.

What is less perfect is Blair's sense of comedy. While this is an effective spoof in broad strokes, it's less effective when you zoom in. 

First, Blair was just not very good at coming up with one-liners, and the timing is even sometimes off on gags that span panels or pages. His inability to come up with zingers that hit home is particularly obvious when he's trying to play with characters making unintentional double-entendres that are supposed to be plays on sexual activity--homosexual activity in particular. It's particularly painful when it comes to Gun Fury exclaiming "Justice is about to spurt from my loins!" (or some such battle-cries). Some of those kind of jokes made around the superhero suffering from PTSD known as Captain Rearguard work a little better, but not by much.

Second, some of the humor is just too mean-spirited for my tastes--and I'm the guy who produced things like "Bill Clinton Meets a Girl Scout" and "Super Muslim Bros." Reading these comics, it appears that Blair might have hated comics fans, comics retailers, and comics critics in general, and Gary Groth (the founder of Fantagraphics and a key figure in the comics industry when this series was published), since they're all stupid, perverted, gross, and/or money-grubbers who are corrupt to the core. Some of the shots at the comics industry are dead-on, but others just feel like Blair is grinding his personal axes and isn't terribly concerned if he's being funny or not. 

The best of Blair's industry commentary can be found in the scene where the Gary Groth stand-in is berating an editor and a pair of talented hacks for not delivering the promised issues, despite having been paid. The scene ends with the trio heading off to find ANOTHER publisher from whom to get paid for not producing a product. Most of it, though, just feels too venomous and personal to be amusing.

One thing that is of high-caliber and always close to perfect is the art. While not quite at the level of Blair and Cooper's other major collaboration, "Jake Thrash", the combination of Blair's slick, cartoony-with-a-slant-toward-the-manga-style (a decade or more before EVERYONE started doing it) and Cooper's chunky inks and brilliantly applied washes was the perfect visualization for the mixture of old-school superhero posturing married with modern-day gore and violence. The occasional playfulness with the "language" of comic book storytelling that shows up in the art is also very well done. The page below is from "Gun Fury" #1, and it's one of my favorites from the entire series.

Sometimes, when I break out these old comics and re-read them for review purposes, I find myself disappointed; I find that something I have fond memories of doesn't match those memories. That is not the case with "Gun Fury". I had the same reaction to reading it now as I remember having back then--it's fun but flawed. It's got great art and it's a decent spoof of All Things Comics as they stood ca. 1989, but it's dragged down by the writer spewing too much venom in various directions.

Watch this space for thoughts on "Gun Fury" #6 - #10. (Meanwhile, if you have any memories or opinions about "Gun Fury" or any other Aircel Comics, that's what the comments section is for! Also, for an excellent exploration of the man behind the creation, Barry Blair, click here.)

Musical Monday with Weird Al

I think Aaron Sorkin and Co. missed a major opportunity by not using this as the theme for their "Being the Ricardos" movie, nor using this clip as part of the End Credits. (The parody song is lots of fun, and while 'Weird Al' isn't the greatest Ricky Ricardo, Tess MacNeille is GREAT as Lucille Ball!)

Ricky (1983)

Starring: Al Yankovic and Tess MacNeille

Director: Janet Greek

Rating: Seven of Ten Stars

(Click through to watch the video on YouTube. If you have any familiarity with "I Love Lucy", you won't regret it.)

It's a Sala Saturday

"The Volcano" is another unpublished one-page story by Richard Sala. Created in the mid-1980s, it's an example of his early art style and one his many short tales told from the point of view of a character suffering from mental illness.

It's a Sala Saturday

Here's another strange one-pager, from 1983 and early in writer/artist Richard Sala's career. Click on the image for a larger, more readable version.

 

Musical Monday with U2

U2 was one of the biggest bands of the 1980s and 1990s. I have a sense that people either love or hate them. Personally, I like some of their hit songs, and I can't stand others. Today's selection falls into the "like" category, and the same is true of the very interesting video that was made to promote it, when it became the fourth and final single off the 1988 album "Rattle and Hum".

All I Want Is You (1989)

Starring: Paolo Risi and Paola Rinaldi

Director: Meirt Avis

Rating: Nine of Ten Stars

A dwarf circus ringmaster (Risi) pines for the love of a beautiful trapeze artist (Rinaldi)

As is befitting the beautiful, romantic, yet somehow still haunting, song "All I Want Is You", the promotional video that was made in support of the single featuring it. I kept expected the story here to take a "Freaks"-like turn--especially with the hint that the female trapeze artist may be in an abusive relationship with her handsome lover--but that never happens. Instead, we get a mysterious, magical twist and a sad ending. I don't know what quite to make of either, but it's cool, it supports the music, and it's fun to think about what might have happened. All that adds up to me not having any complaints... although I do have a few more thoughts to bring up. I'll do that below the video, so as to keep to my self-imposed rule of not posting "spoilers" around here.

Okay... so at the end of "All I Want Is You". the object of the dwarf's love has died, presumably falling from the trapeze. I know there's apparently controversy about that inperperation, and as the video was unfolding, I thought is was the dwarf who had fallen to his death as well, but that doesn't work. First, the coffin being carried is too big, and, second, why would the now-ghostly dwarf throw the ring he'd purchased into the grave? A bigger question, though, is what does the flying sequence mean? It's very interesting, but if the dwarf didn't fall from the trapeze, then what's that flying bit all about?

If anyone can enlighten me, please leave a comment below. (The same is true if you just think I'm thinking too hard.)

And for what it's worth--I think the trapeze artist was murdered by her overly jealous and possessive lover. He made it look like an accident, but he did in fact murder her. The dwarf and his strongman friend discover, and they take revenge in some sort of gruesome and poetic fashion which I'm sure I could work out if I wanted to apply myself! (That said, maybe it was the dwarf who killed her; he climbed up and sabotaged the trapeze, thus freeing himself from his unrequited love? I like the other notion better though.)

Comin' Back to Cali!

In case you hadn't heard, LL Cool J and friends are returning for a 13th season of "NCIS Los Angeles" on CBS. New episodes debut tonight, October 10, 2021.

In celebration of the gang coming back to Cali, we present "Going Back to Cali", a song performed by LL Cool J before he turned to acting.