There are ways of getting ComicMix E-I-C Mike Gold to do what you want. Most of them involve barbeque. It has to be good barbeque, mind you, and we’re talking beef rather than pork. Smoky brisket, a sharp sauce, maybe some hushpuppies (forget the cole slaw), fries, and a coke – get these into him and he becomes remarkably malleable.

Another really good way is talent. Mike is seduced by talent. I’m not talking big names; Mike knows plenty of people who are “names” and it’s no big deal. I’m talking about talent.  He loves being a part of what happens when talented people do things; hell, Mike’s plenty talented in his own right. But he really enjoys how creative minds work.

It’s how I got him to originally go for Munden’s Bar. The character that Tim Truman and I created, GrimJack, had proven such a hit in the back of Starslayer that he was being promoted into his own book. Given the page count of comics at the time, it meant we needed an eight page back-up feature. I wanted GrimJack to be all set in the pandimensional city of Cynosure where the main feature itself was set so I proposed that we do an anthology series of eight page stories set in Munden’s, the bar that GrimJack owned and used as his office. Each story would be complete unto itself, each could have a different artist, and maybe I’d even let another writer in. Occasionally. Maybe.

Mike wasn’t sold. His objections were that anthologies could be a lot more work, they didn’t always sell very well, the company liked to use back-ups as launching pads for new series which Munden’s Bar was unlikely to do, and the idea with backups was to have something separate from the main feature that would draw in a crowd perhaps on its own, as GrimJack had done for Starslayer.

These were all reasonable objections. I couldn’t really dispute any of them so instead I fought dirty and appealed to Mike’s love of talent.

I told him I thought I could get Del Close to co-write some of them with me.

Let me tell you about Del. He was an actor, a teacher, and most of all he was the director at Second City in Chicago for twenty-plus years. He was teacher and mentor to some of the biggest names who came out of Second City and later founded, with Charna Halpern, ImprovOlypics – out of which came more students who became important people in comedy. Like who? John Belushi, Dan Ackroyd, Bill Murray, John Candy, Betty Thomas, Stephen Colbert, Mike Meyers, Steve Carell, and so many others that I could spend the rest of the column just listing them.

Simply put – Del Close is one of the greatest influences on late twentieth century comedy and humor in America and, thus, the world. He influenced his students and they in turn are influencing others. Del shaped the sensibility of Second City for two decades. Without it, there is no Saturday Night Live, no SCTV (Del created the format for that show), none of the other improv groups that have also fed American humor in all its forms.

Hyperbole? If anything, I think I’m understating it. Del is perhaps the only individual I have ever personally met whom I would call a genius. It’s not just a matter of intellect although Del had a considerable brain; it wasn’t just a matter of knowledge – Del was enormously well read on a multitude of different subjects. It was perception; he knew how it worked because he saw the patterns. I think Einstein knew what the answers were; he had to then find the proof. Same thing with Del.

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