REUNITING THE BEATLES, REVISITED

Way back in 2010, I posted here about a fun creative venture I had undertaken years earlier. After extensive research, I pulled songs from the earliest solo albums by John Lennon, Paul McCartney, George Harrison, and Ringo Starr—songs that I knew had originally been written for and workshopped by the Beatles, or that could have worked really well as Beatles songs, and put them together as an album-length compilation. 

The end result, Odds and Ends, was, I felt, a fair approximation of what the next Beatles album would have sounded like had the band stayed together past September 1969 and recorded another LP after Abbey Road. 

In the alternate reality I envisioned, Odds and Ends would have been recorded sometime after the May 1970 release of the Let it Be album, and released in either late 1970 or early-to-mid 1971.

The album cover that I put together for Odds and Ends

Eventually I put together a follow-up compilation, one for which I loosened up my rules a little bit. Instead of considering only what WOULD have probably ended up on a Beatles album, I decided to consider would COULD have been on a Beatles album. This meant I would consider songs that, even if they were definitely written after the breakup, had that certain Beatles quality to them, and you could, er, imagine them being recorded and performed by the group.

Appropriately enough, I titled this second compilation Imagine The Beatles. In my alternate reality, this would have come out in late 1971 or early 1972.

I actually found this image on the Internet—perfect for the cover of the compilation I put together!

I should note that my piece about Odds and Ends and Imagine the Beatles, titled "Reuniting the Beatles (On CD)," remains the most-viewed post I've ever written for this blog.

I'm revisiting the topic now for a couple of reasons. First, I've since revised the track lists for both albums, as you'll see below.

But more importantly, I have finally put together a third compilation, one that completes an unplanned trilogy of post-breakup "Beatles" albums.

And this third one may be the best one of all.

It is certainly, in my opinion, the most cohesive one. In compiling the songs, I followed the same criteria that I used for Imagine the Beatles—and I found that I could create something of a concept album, one in which most of the songs touch upon the same themes, actually reflect each other, and even form a loose narrative. 

I call this new compilation Piece of Love, because most of the songs are about love in its various forms, and also as a wink, nod, and tip of the hat to Ringo's favorite catch phrase over the last bunch of years. I envision this album coming out in 1972 or 1973.

The cover I put together for Piece of Love — no band name or title on the front, in the tradition of Abbey Road.

I recently had the privilege and the pleasure of discussing these compilations with podcast host Robert Rodriguez on his absolutely wonderful show, Something About the Beatles, and the episode is now available for listening and downloading. 

I hope you'll check it out!

In the meantime, here are the "liner notes" for the three albums I put together, with my explanations for why I chose each song. 

ODDS AND ENDS

01 What is Life  (George)

This catchy number is one of George's best songs and John and Paul would have been crazy to exclude it. I saw this as a great album opener, much like George's "Taxman" was for 1966's Revolver. In fact, in sequencing the songs for Odds and Ends, I looked to Revolver as my main source of inspiration.

02 Maybe I'm Amazed (Paul) 

Definitely something that would have fit perfectly on a Beatles album. Linda was the sole source of inspiration, so it's highly conceivable that Paul would have written and recorded this song as a Beatle, had the band stayed together.

03 Jealous Guy (John)

Originally written in 1968 as "Child of Nature," John eventually rewrote all of the lyrics. This absolutely would have worked as a Beatles song. Some have suggested that the revised lyrics function as a message to Paul. McCartney himself once said as much in an interview. 

04 It Don't Come Easy (Ringo)

With Ringo having written "Don't Pass Me By" for The Beatles (The White Album) and "Octopus's Garden" for Abbey Road, I figure by this point it would be standard operating procedure for a Beatles album to include at least one of his original compositions. (Though he did miss out on Let it Be.) Plus, George helped write this song, produced it, played on it, and even recorded a guide vocal for it.  

05 Junk (Paul) 

Paul created the demo for this song in 1968, in preparation for The White Album.

06 Well Well Well (John)

Possibly written after the band broke up, but regardless, I kind of see this song as filling the role that "I Want You (She's So Heavy)" had on Abbey Road—it's a swampy, extended performance led by John that repeats itself over and over and abruptly wraps up side one of the album. (I imagine that Paul would have had a really good time recording it, had he gotten the opportunity.) 

07 Another Day (Paul)

Paul can be heard working on this song during the Let It Be sessions.

08 Oh My Love (John)

John wrote this in 1968 following the sessions for The White Album. 

9 Teddy Boy (Paul) 

This song was submitted by Paul during the Let it Be sessions, and the group rehearsed it during that period, with John turning it into a square-dance number as it went on. 

10 Art of Dying (George)

George began writing this song in 1966 and had finished it by mid-1970, so it's reasonable to think that it might have eventually landed on a Beatles album had the band stayed together. 

11 Give Me Some Truth (John)

The Beatles can be heard working on this song during the Let It Be sessions, with John and Paul singing it together. John later rewrote most of the lyrics when he recorded it proper for the Imagine album.

12 Every Night (Paul) 

Paul can be heard working on this song at the piano during the sessions for Let It Be. 

13 Love (John) 

Possibly written after the band broke up, but this definitely would have fit perfectly on a Beatles album.

14 All Things Must Pass (George)

In the tradition of Revolver, George gets a third song on a single Beatles LP! I envision this as an acknowledgment of his superlative contributions to Abbey Road, namely "Something" and "Here Comes the Sun," with John and Paul agreeing—reluctantly, perhaps?—that George deserves to get more space on the albums going forward. (As you'll see, I stick to that notion on the next two compilations). 

"All Things Must Pass" was actually rehearsed extensively by the Beatles during the Let It Be sessions, in many different takes and variations. Judging from the bootlegs, Paul was clearly interested in the song, and was more than willing to work with George to perfect it. John seemed to be a bit less enthusiastic about it. (In 2002, Paul performed a majestic version of “All Things Must Pass” at the Concert For George, and continued to perform it in 2004, during his European tour.) 

So in addition to having three songs on this "album," George gets to both open and close it—a graduation of sorts, one that I'd like to think would have brought him the satisfaction and affirmation he had long been craving.  

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IMAGINE THE BEATLES 

01 Imagine (John) 

It's a safe bet that this would have been on a Beatles album had they stayed together. Paul for one has expressed having liked this song.

02 Uncle Albert/Admiral Halsey (Paul) 

This seems very much in keeping with the kind of productions that Paul had done on Sgt. Pepper’s Lonely Hearts Club Band and especially side two of Abbey Road, along with the kind of whimsical lyrics he'd written for songs like “Yellow Submarine.” Plus, it's such a catchy song that even John couldn't help but sing it. 

03 Let it Down (George) 

In putting this collection together, I found that the screeching guitar at the end of "Uncle Albert/Admiral Halsey" perfectly leads right into the powerful opening of this song, which George rehearsed with the Beatles during the Let it Be sessions. Paul seemed to enjoy playing it.  

04 Back Off Boogaloo (Ringo)

Another Ringo song that George co-wrote, produced, and played on. There's been some speculation that the lyrics were meant to be an attack on Paul—supposedly Ringo wasn't particularly impressed with McCartney's solo work up to that point and took him to task for not living up to his potential. Ringo has always denied that it was aimed at Paul, so I give him the benefit of the doubt.      

05 Look at Me (John) 

John wrote this before the breakup, so it's reasonable to think that it might have ended up on a Beatles album had they stayed together. 

06 That Would Be Something  (Paul) 

Paul may (or may not) have written this before the breakup. George said he thought it was "great" when the McCartney album first came out in 1970.

07 Wah Wah (George) 

George wrote this in January 1969 right after he left the Beatles (temporarily, as it turned out) during the Let it Be sessions. This is another song that has been interpreted as a veiled attack on Paul, though it may well have been aimed at both McCartney and John Lennon. The opening guitar riff is somewhat reminiscent of "I've Got a Feeling," one of the songs the Beatles were working on during the time when George quit the group.     

08 How? (John) 

This was probably written after the breakup, but it's a fairly commercial sounding song from John that would fit in well on a Beatles album.

09 Eat at Home (Paul) 

This is just a fun sounding McCartney song of the correct vintage. And it was reportedly John's favorite track on Ram. 

10 Crippled Inside (John) 

Despite the somewhat bleak lyrics, this is performed in an upbeat, rockabilly, commercial style that would have been well suited for the Beatles. 

11 Isn't it a Pity (George) 

This was written in 1966 and performed with the Beatles during the Let It Be sessions. Towards the end there's an obvious call-back to "Hey Jude," thus carrying on the tradition of the Beatles referencing their previous works in their songs. "Isn't it a Pity" COULD serve as the closing number for this album—it's got that epic quality to it that was also in "A Day in the Life." But there's a song that I feel functions as the perfect follow-up, and thus provides a stirring "encore"...   

12 The Back Seat of My Car (Paul) 

Paul can be heard working on this song at the piano during the Let It Be sessions. Apparently, when he played it for the other Beatles, they said that they liked its Beach Boys/Brian Wilson flavor. But they never got around to working on it extensively. It's one of McCartney's best, and would have been ideal for a Beatles album. 

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PIECE OF LOVE

01 Mind Games (John)

The title track of John's Mind Games album, the vintage is certainly right. Plus, it's one of John's better songs from the period, and it sets the tone of this compilation right away, capturing the central theme with lyrics like "Love is the answer," "Peace on Earth," and "I want you to make love, not war." Those sentiments carry over to the next song, providing tight thematic continuity: 

02 Give Me Love (Give Me Peace on Earth) (George) 

The title says it all. Another one of George's best and most successful songs, and also right in line with the time period, since it comes from his second solo album, Living in the Material World. 

03 My Love (Paul)

Again, this is the correct vintage, coming from the second Wings album, Red Rose Speedway. And the theme of love continues, though it now focuses on one person in particular instead of on a more global scale. (The song was a number-one hit for Wings in the U.S., so it presumably would have done just as well, if not better, for the Beatles—and, if nothing else, it would have given John another McCartney song to mock in the recording studio and to poke fun at in interviews.)  

04 Photograph (Ringo) 

Co-written by Ringo and George, this song is about a lost love, and the heartbreak that has resulted. It features the lyrics, "I thought I'd make it the day you went away, but I can't make it till you come home again to stay"—and that serves as the perfect set-up for the next song...

05 Some People Never Know (Paul) 

As if in response to the lyrics above, Paul sings, "Like a fool I'm far away, every night I hope and pray, I'll be coming home to stay and it's so—some people never know." I've heard both songs countless times, but once I made that connection as I was putting together this compilation, I got goosebumps.  

06 I Know (I Know) (John) 

What better way to follow up a song titled "Some People Never Know" than with a song titled "I Know (I Know)"? This track, with an opening guitar riff that echoes the one from "I've Got a Feeling," also comes from John's Mind Games album, and some have speculated that it actually is a response to Paul's song, which had come out first, on Wings' debut album, Wild Life. Whatever the case, the central theme of the compilation carries through, with John singing, "Today, I love you more than yesterday, right now, I love you more right now." 

07 Apple Scruffs (George) 

This track comes from All Things Must Pass, so it's one of the older songs included here, but it works perfectly because it's George's expression of love and appreciation for the Apple Scruffs—a group of devoted Beatle fans who regularly waited outside the Apple Corps headquarters and the recording studios where the band members worked, hoping to see them and get a chance to interact with them in person. 

08 It's So Hard (John)

The tone shifts somewhat here, with John singing about the struggles involved with going through life and love—though he acknowledges that it can be good.  

09 Oh Woman, Oh Why (Paul) 

Now the tone really shifts, with Paul singing about a relationship gone completely awry, with lyrics like, "Well I'm fed up with your lying cheating ways, but I get up every morning and every day; But I can't get by, my hands are tied, don't know why I ever wanted to try myself." Oh—and a gun is involved. Since most of Paul's songs in this collection are fairly soft and mellow, I wanted to give him at least one chance to show off his great "rocker" voice, the one he used so memorably in songs like "Oh! Darling" from Abbey Road and the 1965 B-side "I'm Down." 

10 Tight A$ (John) 

We shift away from anger and violence with this rockabilly-style song from John, the title of which is a tongue-in-cheek play on the term "tight ass." The lyrics are oozing with sexual innuendo.

11 Dont Let Me Wait Too Long (George) 

We shift again, back to an expression of pure love, with this upbeat, incredibly catchy song, one of the real highlights from George's Living in the Material World album. There's been speculation that the lyrics are aimed at a woman, possibly George's then-wife Pattie, or at God, as a reflection of George's deep devotion to spirituality. Either way, the core sentiment is straightforward and fits perfectly with the overall theme of this compilation. The lyrics about being apart and yearning to be back together echo those in other songs like "My Love," "Photograph," and "Some People Never Know."  

12 Tomorrow (Paul) 

We conclude with an appreciation of the little things in our lives that get us through each day and the people we love most, and an expression of hope for a bright and happy future. Paul's plea, "Baby don't let me down tomorrow," is right in the same zone as the previous song's "I love you, baby, so don't let me wait too long," which creates a really nice connection between the two final tracks.

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So, will I do a fourth compilation? Not long ago, I didn't think I'd ever do a third! So... never say never.

© All text copyright Glenn Greenberg, 2021.

  

REVIEW: STAR WARS: EPISODE IX—THE RISE OF SKYWALKER

It took me two viewings of Star Wars: The Rise of Skywalker to fully absorb it and to be able to put my thoughts down about it. A primary reason is that I had to get past my own initial expectations and get to a point where I could accept the movie on its own terms. Now that I have, I’ve come to the conclusion that, like its immediate predecessor, The Rise of Skywalker will go down as one of the most divisive, most controversial entries in the series. For me, it’s the least effective episode in the Sequel Trilogy. 

Which is not to say that I think it’s a bad movie, or that I didn’t like it. On the contrary, it’s quite enjoyable, especially the second time around. And I give it a lot of credit for trying to wrap up the Sequel Trilogy—the whole nine-part saga, really—in a satisfying manner. That may well be a fool’s errand, though, given how persnickety, hard-to-please, and, in some cases, downright hostile fans of the series can be when it goes in a direction with which they don’t agree. With 2015’s The Force Awakens, director J.J. Abrams (who also co-wrote the script with Star Wars all-time MVP Lawrence Kasdan) stuck close to what had come before and was accused of simply recycling the past. With 2017’s The Last Jedi, writer/director Rian Johnson tried to do something other than the same old thing, to deepen the narrative and challenge the audience perhaps a bit more than they’re used to—and as a result, was heavily criticized by some corners of fandom, charged with departing too much from what Star Wars is supposed to be, and what it’s supposed to be about. (I won’t even get into the truly sad individuals who had their knives out solely because of the more racially diverse cast in these new movies—particularly John Boyega’s Finn and Kelly Marie Tran’s Rose Tico, along with the fact the main protagonist is—gasp!—a girl.)

All of which is to say that with The Rise of Skywalker, returning director Abrams (this time co-writing with Chris Terrio) faced an impossible task. He was never going to please everyone. Hell, even series creator George Lucas was unable to do that with pretty much ever Star Wars movie he produced after 1980’s The Empire Strikes Back, which is still generally considered the high point of the whole franchise. And yet, with this new movie, it feels like Abrams was determined to win over both factions of fandom. The end result is something that too often chooses to play it safe, retreat to the familiar, and not make too many waves.

My goal is to avoid spoilers, so I can’t really go into details. It’s not a spoiler, however, to discuss the fact that the central antagonist this time around is none other than Emperor Palpatine, played once again by Ian McDiarmid, still alive after his dramatic death—I guess now we’d have to put quotation marks around that word—in 1983’s Return of the Jedi. But don’t expect a particularly satisfying explanation for how Palpatine survived, how he got away, what exactly he’s been doing over the intervening decades, or how he’s been doing it. The audience is given just the barest hint, and left to fill in the blanks for themselves.

(Incidentally, if you want a story that resurrects the Emperor in a well-constructed, logical, and fully-explained manner, read the 1991 comic-book mini-series Star Wars: Dark Empire, written by Tom Veitch and illustrated by Cam Kennedy. It’s not canonical—it couldn’t be, especially after this new movie—but it’s a hell of a lot of fun to experience. Think of it as being set in an alternate universe and just roll with it. End of plug.)

Palpatine takes over for—and reveals the truth behind—Supreme Leader Snoke, the evil Force-wielding head of the First Order who was introduced in The Force Awakens and killed by Kylo Ren in The Last Jedi. And the Emperor reveals a lot more—which I won’t get into here, out of consideration for those who haven’t seen the movie yet. I will say this, however: if Palpatine’s return was the only major contrivance that audiences would have to buy into, I don’t think it would be too big a problem. But it comes as a key part of an additional major contrivance, and the two together just may be too much to embrace. I’m still on the fence about it myself.

On top of that, the film meanders a bit too much in certain spots, yet doesn’t take enough time to fully address the ramifications of certain key plot points. (To be fair, Return of the Jedi was guilty of this too.)

I also had some issues with how the Force was depicted in this movie. It reminded me of the most extreme uses of it in the Star Wars novels published during between 1991 and 2014, some of which showed Force users being able to do… well, just about anything. Not only did those moments never really work for me, George Lucas himself made it abundantly clear in the six films he oversaw that, as powerful as the Jedi and Sith are, in the end, they’re people, not gods.  

All that said, the movie is filled with moments that are touching, funny, charming, heartbreaking, heartwarming, bittersweet, and inspirational. These moments are helped immeasurably by a truly wonderful cast.

The chemistry between Daisy Ridley as Rey, John Boyega as Finn, and Oscar Isaac as Poe Dameron is a joy to watch—we never got to see them function as a trio in the previous two films, and that is corrected here in a big way. 

I’ve said it before and I’ll say it again: Ridley is one of the best performers to ever star in these movies, and she continues her splendid work here. 

Boyega is just so damn likable and believable in his role. And for this movie in particular, Isaac seems to channel Han Solo of the Original Trilogy, revealing little bits and pieces of his history and displaying new levels of mischievousness and charisma, and even a touch of the romantic. I’ll go so far as to say that as an on-screen team, Ridley, Boyega, and Isaac rival the camaraderie that Mark Hamill, Harrison Ford, and Carrie Fisher displayed in spades in the Original Trilogy.

Speaking of Fisher, Abrams and company did a nice job incorporating unused footage of her to give General Leia Organa a substantial role in this final installment of the Skywalker Saga, and a send0ff that it is respectful, heartfelt, and appropriate to both the character and the actress who played her.

Adam Driver completes the character building he began in The Force Awakens, giving us a complex, multi-dimensional portrait of Kylo Ren/Ben Solo that just may change how you feel about him without asking you to forget about his past heinous actions. Driver is a powerful and compelling presence throughout the movie, and every one of his moments with Daisy Ridley sparkles.

Then there’s C-3PO, who gets his best role, with Anthony Daniels delivering his best performance, since The Empire Strikes Back (in which the golden droid was used, in my opinion, to perfection). After Empire, C-3PO was often portrayed as too childlike and too dainty for my tastes. I much prefer him to be more mature, with a bit of an edge, able to credibly stand up to someone like Han Solo and to be mildly critical of humans, but still a consummate coward, still a complete fussbudget, and a source of both comic relief and pathos. That’s pretty much the C-3PO I got in The Rise of Skywalker, and I loved it.      

I also have to say that Billy Dee Williams, returning as Lando Calrissian, seems to be having the absolute time of his life. There’s practically not one moment on screen where he isn’t smiling or laughing or experiencing pure joy. Williams has not lost one bit of the charm and the coolness that he exuded all those years ago. I only wish we got to spend even more time with him in this movie. (Wouldn’t it have been a blast if Lando had turned out to be the Master Codebreaker that Justin Theroux played in The Last Jedi, shown hanging out at the casino surrounded by beautiful women?)     

In terms of other familiar faces, Rose Tico shows up but is basically sidelined, and what appeared to be a budding romance between her and Finn apparently went nowhere. One gets the sense that J.J. Abrams didn’t really know what to do with her (she was, after all introduced in the movie he didn’t work on). Billie Lourd—Carrie Fisher’s daughter—is back in a small role as Lieutenant Connix. Domhnall Gleeson returns as the long-beleaguered General Hux, now having to contend not just with Kylo Ren but another top-ranking First Order officer, General Pryde, played by Richard E. Grant.

As for Ian McDiarmid as the Emperor, he gives it his all, as he’s always done. It’s a meaty role, an important one, and McDiarmid still inhabits it completely. He’s riveting, as effective as he’s ever been, and it’s a lot of fun watching him play this character again after so many years. I just wish the movie had not left so many questions about Palpatine and his shocking return unanswered.

The Rise of Skywalker may not end the first post-Lucas trilogy with as much daring and innovation as it could have, but it does bring a 42-year movie saga to an end in a way that does, overall, feel right and true. I’m glad I got to experience the whole thing from start to finish. And yet, with new Star Wars projects coming along like The Mandalorian, the recently announced Obi-Wan Kenobi mini-series, and all the stuff we don’t even know about yet, I’m pleased to know that there will be many more opportunities to visit that galaxy far, far, away.

© All text copyright Glenn Greenberg, 2019.

REMEMBERING STAN LEE (1922-2018)

The man lived to 95. His passing was going to come sooner rather than later.

And when it finally did come, it was not a complete surprise, especially after he lost his beloved wife of nearly 70 years, Joan, last year. I wish his last few years had been easier on him, what with a slew of legal hassles, health problems, and bizarre, disturbing, unproven, headline-making stories about elder abuse—and even sexual harassment. But there’s no denying that it was a full, impressive, remarkable life, full of thrilling accomplishments. 

He was a great, skilled, highly imaginative and engaging writer, and, as far as I’m concerned, the best damn editor the comic-book industry ever had—and ever will have. Without a doubt, Stan Lee has left a legacy of creativity and wonder that will be around for many, many generations to come.

On the evening of his passing, November 12, 2018, I sat down for an hour-long conversation with my friend Zaki Hasan, who hosts the thoroughly entertaining and enlightening podcast, Nostalgia Theater, in which I discussed my personal and professional interactions with Stan before and during my years at Marvel Comics. Pretty much anything that I would have mentioned here on my blog was covered at length during my conversation with Zaki, so I strongly encourage you to check it out. Here it is—you can listen to it now, or you can download it and listen to it at your convenience: 

  

Zaki and I discussed my first interaction with Stan, which occurred in 1991 when I was a senior at Stony Brook University and the Comics Coordinator of the annual I-C0n science-fiction convention. Stan was my Comics Guest of Honor, and I worked with him extensively on the programming that involved him. I already wrote about that interaction—and the key role that Harlan Ellison played in making it happen—earlier this year, in my tribute to Harlan when he passed away.

Zaki and I also discussed at length the pivotal role that Stan played in kicking off what may be the most acclaimed comic-book project I’ve ever worked on: The Incredible Hulk Vs. Superman, a crossover project between Marvel and DC Comics that featured the stunning artwork of Steve Rude. It was during the early stages of this project that I really got to spend some quality—and creative—time with Stan, and I cherish those memories.

During the podcast, I briefly touched upon the fact that Stan would occasionally come back to New York to visit the Marvel offices. But I do have to add here just how accessible he was on those visits. He would also attend our annual holiday parties occasionally, and he even showed up for at least one of the company’s summer picnics. He never tired of posing for pictures with the staff, as you can see here in this photo from the Marvel picnic in 1994, where he indulged this eager young editorial lad. 

At that same picnic, Stan even participated in a softball game, in which, as I recall, he tore a gaping hole in one of his pant legs as he slid into either first base or home plate. He was even bleeding, but just brushed it off as no big deal. The man was around 71 years old at the time.

I couldn’t get enough photos of me with Stan—as you can see here, we had a nice little reunion a year or so later, at the Marvel holiday party.

Another thing we didn’t cover in the podcast: my path crossed Stan’s a few more times after I left Marvel. I interviewed him for Scholastic News in 2012, when the first Avengers movie was coming out, and again in 2014, for TIME For Kids, at the opening of Marvel’s Avengers S.T.A.T.I.O.N. at Discovery Times Square attraction, in New York City. What made that interview particularly special was that my daughter, Maddie, then 11 years old, joined me on the assignment and got to ask Stan most of the questions. She still remembers that day very fondly, as do I. Stan didn’t remember me—I wouldn’t have expected him to—but it was a thrill for me to watch him engage with my daughter.  

I think it’s safe to say that without Stan, and the universe that he co-created with such brilliant collaborators as Jack Kirby and Steve Ditko, my life would be very different. I certainly would not have enjoyed nearly seven years at Marvel, living out a childhood dream by producing comic books for real—and actually getting paid for it! Not to mention making some of the best, dearest friends I’ll ever have—with whom I remain very close to this day.

I certainly would not have met my wife, to whom I was introduced by one of those aforementioned friends I made at Marvel.

I never got the chance to say all that to Stan, but I did get the chance to tell him how much he and his work meant to me.

Early on in my Marvel tenure, Stan visited the New York offices and I went up to him and reintroduced myself. It was the first time I’d seen him since the I-Con convention in 1991.

“I just want to say, working with you on that convention was one of the biggest thrills of my life,” I told him as I shook his hand.

“Well, thank you, that’s very nice of you to say,” Stan replied. “And I’m sorry that you’ve had such an uneventful life!”

Thanks, Stan. For everything.      

© All text copyright Glenn Greenberg, 2018.