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death is not entertaining

"Lisa_Moore"_FunkyWinkerbean_CopyrightAcknowledged

Editor’s Note: In the daily observation of life around him, the author occasionally feels the need to point out ridiculously inane behavior and general thoughtlessness. These are called “Rants” and this is one of those times.

She died from the recurrence of breast cancer on October 4, 2007. Lisa Moore is survived by her husband and 5 year old daughter.

She was a lawyer, a mother, a wife and a character in the comic pages of hundreds of newspapers in America. Her illness and death had been planned and drawn out by Funky Winkerbean creator Tom Batiuk, himself a cancer survivor.

As a result of this strip and Batiuk’s absolute right to tell the stories he wants to tell, much good will be done in the very worthwhile fight against cancer. University Hospitals Ireland Cancer Center in Cleveland has unveiled a fund called Lisa’s Legacy Fund for Cancer Research and Education, named in honor of Batiuk’s character and her cancer storyline. The “Lisa” character will be the subject of a book, a compilation of her strips. The story line has resonated with thousands of readers, many directly or indirectly touched by cancer. This is all quite admirable that something like this can come from a comic strip.

The story line of this character’s death did not resonate, however, with this reader.

Part of my daily routine, as some of you are aware, is to head out for breakfast each day to my regular place, get my bagel and my Pepsi and read the morning paper. I will learn, during my daily reading, about the significantly troubling news of the day. Various wars, crimes against men, women and children around the world and in my back yard. Politicians will make thoughtless decisions and sports teams will often disappoint. There is usually some good news in there too but it’s usually overshadowed by the former.

My one respite in my newspaper reading had been the comic page, the “funnies”. Just a little break in the monotony of the bad news I have read or am bound to face in the day ahead. Tom Batiuk decided that his space on the comic pages must now provoke more than entertain and that a cancer story must be told in a realistic manner. He believes, according to an article in the Akron Beacon Journal newspaper, that newspaper comics don’t always have to make people laugh.

“I think that is a somewhat limited viewpoint,” Batiuk said. “It defines comic strips somewhat narrowly. I owe it to my readers to challenge myself and challenge readers’ expectations. Being on the comic page is a privilege.”

Actually, Tom, no you don’t need to challenge your readers, we’d really prefer to be entertained. Death, even in the comics, is not considered entertainment.

Many of us who have been touched by cancer in our lives have been challenged enough, thank you.

We’d been long engaged by the story lines and characters you’d developed in a setting we’d come to enjoy only to be disengaged by your previously entertaining strip which suddenly decided to kill off a character so that readers will grasp or be reminded of cancer’s severity.

So that we readers can imagine the patient’s and surviving family’s fear, pain and suffering.

So we can wallow even for a brief moment in the image of a 5 year old daughter without her Mother or of a widower.

We simple readers actually understand what is involved in horror wrought by cancer and we didn’t need to be reminded of it in your panels.

We’re each very sorry that you or anyone has to go through it. But pushing it on us in the comic pages of our newspaper is crappy.

Ultimately, it is your comic, these are your characters and you are the deity of their stories. I fully respect your right to go in any direction with them that you choose. For me, sadly, I choose to go elsewhere.

Newspaper comic strips should entertain or otherwise be banished to the editorial page. There cartoonists can publish all the real-life death, mayhem, bad news or depressing situations their minds can muster. Readers expect it, there.

I need less bad news and fewer surprises in my life, not Moore.

pahk yah pahdcast in bahston

podcamp boston 2007

Shall I see you in Boston during the weekend of October 26th?

Only if you’re at Podcamp Boston 2 taking place at the Boston Convention & Exhibition Center.

Join me and maybe thousands of my podcasting and blogging brethren and sisterthren and what is sure to be a lot of learning, a lot of networking and a lot of fun.

You can read all about it here…oh yeah, and it’s free.

radio’s tractor beam

tractor beam from star trek courtesy- www.ornl.gov

My friend and re-newed Mom (welcome baby Daphne) Stephanie Ciccarelli posted on her Vox Daily blog a fun question: “What Attracted You To Radio?” At the risk of parroting my voice over compadre David Houston who has previously done what I am about to do (and probably did it better) here is my response to the post offering you a little peek into my inner geek (oh, you KNOW you wanted to look, admit it!)

“I was in kindergarten in 1969 at Mount St. Joseph Academy (well, it was called the Medaille School then but it changed and…aw you don’t care).

Sister Donna Marie took the class on a field trip to a radio station – WEBR. Now up until that point, I was under the distinct impression that the music coming out of the radio came from a building where all these musicians stood around waiting their turn to play their songs live on the radio.

Imagine my surprise.

We stood in the control room and watched the broadcast live and I was mesmerized. Knobs and lights and oooo what’s that? A microphone! I want me one of those!

Wait, it gets geekier.

Some kids like to draw space ships or cowboys.I drew pictures of radio and TV studios.100’s of them. Microphones, cameras, technicians. Paging Dr. Freud!

Um, it gets geekier.

I’m in 2nd or 3rd grade and I come across an audio production catalog which has….microphones! Oh I thought that was the coolest thing. Lots of em to broadcast my voice. I finally got a used one and I thought it was super cool. It didn’t work, it wasn’t hooked up to anything but I had me a microphone.

Fast forward early high school where it occurred to me after everyone said I had a nice voice (my Dad had won public speaking awards in high school and my mom wanted to work in Television before women were really permitted to do such things…do you think the broadcasting bug I have was genetic?) I started reading copy from magazines like they were radio scripts. And I gave them pretty good reads. The quizzically look my Mother gave me one day when she heard this was priceless (“what are you doing?”) But I was too far gone.

College time rolls around and I am looking for a broadcasting program. I thought I would head right to one of the best broadcasting programs in the east, Syracuse University, until they said “no” (who wants to be an “Orangeman” anyway…what the hell is an “Orangeman”). The University of Dayton I liked for many reasons not the least of which was their 50,000 FM commercial (non of this public radio stuff) station broadcasting to three states with a professional GM, PD and sales staff….and all student air staff.

WVUD-FM was the equivalent of Geek Bingo!

What an amazing introduction into broadcasting and my future in radio and voice over. Sadly, the University sold the station and now one of the big radio chains owns it, WLQT (an old competitor, Kim Faris, a staple at Z-93 for years now does mornings on Lite 99.9…very nice lady).

But what an introduction and what a ride.”

walt disney sound effects and other early audio tricks

reel to reel audio editing

I get funny looks for audio production students when I tell them that when I started in radio “100 years ago” we edited audio on audio tape with a wax pencil, razor blades and ¼” editing tape.

“You mean like sticky tape to hang things on the wall?”

Um, no. Never mind.

I had to have sounded the same way when I first started out when I heard about the audio tricks of those who came before me. Those ladies and gentlemen were true pioneers, not in the Conestoga Wagon kind of way but in the wonderfully inventive “MacGyver” way.

I bring this up to share with you a site I’ve come across that features a variety of technical articles reproduced for your reading pleasure on a blog called Modern Mechanix which I believe (correct me if I’m wrong here) was a tech mag “back in the day” (you do realize that today will be “back in the day” for someone in the future, right? Just checking.)

The post that first drew my attention was an article from 1937 on how Walt Disney Studios designed its sound effects…written by the folks who did it. There are a ton of other great radio and audio related articles with the hits and misses from creative people who tried…and to me, that’s the whole ball game. Try and succeed, try and fail but just “try”.

a better commercial voice demo

ear

There are some voice talents for whom it’s a stressful process but I really enjoy the process of producing voice over demos. I love reviewing the work, picking which cuts to use, freshening some segments that were poorly produced (and making the voice sound better) and then of course, the fun of picking the order. It’s a really enjoyable process.

Except when it’s my voice over demo that I’m working on.

Don’t misunderstand, I still like the process but the challenge of the effort when it’s your own work is tougher. Why? Because as voice talents we are each too close to our own work to be as objective as we can be for others. We voiced the spots or narrations, maybe we even produced the final production; the client paid us so they must have liked it, it must have been good, maybe even good enough for the demo reel. Or is it?

Look, the demo is the VO’s calling card, our billboard on the audio super highway, and it can be the difference between getting a job and not getting a job. It’s between 1-2 minutes that will decide “feast or famine”.

For my new commercial demo, I knew there were some spots I wanted to add that I just hadn’t gotten around to putting in. There was a national spot for Shell Oil Company and a big regional spot I did for the New Jersey Board of Tourism that I felt should be included, among others.

While as a demo producer I know how to produce great demos…I also know how much I can either “not hear” or “over hear” in my own work. Mistakes in either direction can lead to a “famine” demo.

I needed to call for backup.

The key to this back up process is to go to a set (or sets) of ears you trust. You need to understand your backup’s experience in audio production, voice over and demo production. A great set of ears has respected credentials in all those areas. In this instance, my backup does what I have often done for personal friends in the biz which is to actually re cut the demo into the order that might work better. On my demo, my back up made the right changes, in my opinion.

So as not to over step the favor my back up offered on my demo and risk a deluge of requests of him for demo help, I’ll merely say thanks Frank for your help (there’s only about 250 Franks in the VO biz so good luck sifting through them).

Give this new demo a listen and let me know what you think (it’s OK if you want to critique it).