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Show The Salt Lake Tribune ENTERTAINMENT Monday. May29, 1995 ‘Dilbert’ Creator Engineers a Phenomenon By Fred Tasker “Everybody has somebody in charge of them that they don’t like. ... Sixth-graders write that the bureaucracyin Dilbert’s office is just like their school.”’ KNIGHT-RIDDER NEWSSERVICE Once every decade or so, America is gifted with an angst-ridden anti-hero, a Nietzschean nebbish, an us-against-the-universe Everyperson around whom our insecurities collect like iron shavings to a mance. Helives the part: working in the soul-stifling, nose-high cubicle next to ours in a sea of others in a missionless office with corridors that reach outof sight over the horizon. Heis getting our attention. Syndicated only since 1989, the “‘Dilbert” comic strip now reaches 30 million readers daily in 450 newspapers worldwide. With the pass- ing of “The Far Side,” “Dilbert” is probably the mostclipped, photocopied, telefaxed, taped-to- computers comic strip in the u His feckless philosophy, born ofthe office yet universal, is ours: That the more time our bosses spend describing our next project, the stupiderit is. That it is better for our careers to do nothing than to do somethingandattract criticism. That, just as we suspected, all of our co-workers are fools. Dilbertis the Robin Hoodofreengineering — stealing from the venal to give to the vanquished, capable of understandingthelat- eo est company enthusiasm about “employee empowerment” in Baeoer country. terms of the looming unemploymentline. Heis our secret selves: smart enoughto recognize the idiocy of our bosses and co-workers, too lacking in gumption to do anything about it. Bespectacled Engineer: What semi-subversive psyche created Dilbert? It was Scott Adams, the 37-year-old, bespectacled applications engineer in cubicle No. 4S700R,one of 6,240 partitioned work spaces on a quarter-mile corridor in the future-shocked San Ramon, Calif., office of Pacific Bell. “Dilbert and I are more like each other every day, like married people,” Adams says. To be sure, Adamshasa chin, wears no tie, tends to sweaters that preclude pocket protectors, and has fairly normalhair. “Nobodyhashairlike Dilbert,” he reasons. Adamsattributes Dilbert’s universal appeal, in part, to the fact that he is plugged in — thefirst eomic strip on the Internet. Adams begs for ideas from the 30,000 fans who subscribeto his electronic newsletter. “T get hundreds of e-mail letters a day,”’ he says. Fans’ suggestions usually center on the office, but that doesn’t stifle Dilbert’s universality. ‘Everybody has somebody in charge of them that they don’t like,” Adamssays. “Universities are a big market for me. Sixthgraders write that the bureaucracy in Dilbert’s office is just like their school.” Eternal Conflict: But a deeper keyto Dilbert’s appeal is that he adds a subtle, modern twist to the eternal boss-employee conflict. As recently as the early 20th century, when Charlie Chaplin was a hapless cog in the machine of America’s industrial revolution in the movie “Modern Times,” bosses tendedto be innovative entrepreneurs — often moreintelli- gent than their employees, who were usually low-skilled laborers. Post-industrial, high-tech corporate America has wroughta reversal. Bosses are no longer charismatic owners, but more often merely professional people managers. Workers in complicated electronics fields are master’s-degreed, Ph.D.'d wizards — often smarter than their bosses. Corporate re-engineering guru Mike Hammer makes that very pointin his newbook, The Reengineering Revolution (Harper Busi- ness, $15) — andillustratesit with “Dilbert” comicstrips. In one, Dilbert’s boss proposes a “mission statement” for the company: “We enhance stockholder value through strategic business initiatives by empow- ered employees working in a new team paradigm.” In the next frame, Dilbert replies: “Do you ever just marvel that we get paid to do this?” Writes Hammer:“It is a touching affirmation of management's belief in the power of clichés to modify employee behavior.” Subversive Dog: Still, Dilbert's subordination is subtle. Overtrebellionis left to Dilbert’s anthropomorphic dog, the bespectacled, Orphan-Annie-eyed, football-shaped Dogbert. What, exactly, is Dogbert? He's too involved to be merely a Greek chorus, too sarcastic for a second banana Dogbert plans to take over the world, convinced by the dithering of Dilbert and his ilk that mankind is too dim to stop him. He declares himself “the patron saint of technology,” and wavesa scepter “to drive out the demons of stupidity.” He can only be understood as Dilbert’s darker side. The yin to Dilbert’s yang. The transcendental ‘“‘to-MAH-to” to his “‘to-MAY-to.” “Whata piece of overanalysis,” Adamsmarvels. He goeson: “I describe Dogbert as the part of my personality that’s the tape recorder running in my head while you interview HiresBigH Kaysville 2teRe ALL SEATS $2.00 ae baie) ‘* BRAVEHEART (R) 1:00 4:30 8:15 " POWNTOWN % DIE HARD Ill (R) 4:50 4:25 7:00 9:35 * Tee erecance ata iata WHILE Y 90Jor He says the cats remind him of personnel managers “They look cute and harmless, and they don't careif youlive or die.”” Adams’ first attempt to become a famous cartoonist was premature. Living in Windham, N.Y., he applied for the Famous Artist School at 11, only to learn thatits minimum age was 12 So he grew up, moved to California and, working at Crocker National Bank, went to college at night to earn an MBAfrom the University of California at Berkeley. Only after coming across a publie-TV show about cartooning in 1986 did he return to his first love. And after manyrejections, he sold his strip to United Media At first, Dilbert tended to get Adamsin trouble at work. He was nearly fired after one strip, in which a fatuous memo from Dil- -+ SECRET OF 0 ROAN INISH 15. Heldover to Thursday ity|HUNTER 2> 15 9.30 IMPORTANEE925 KA LITTLE PRINCESS (@) 12:00-2:00-4:00-6:00 KFRENCH KISS (PG13) 8:00-10:10 WHILE YOU WERE SLEEEWA(90) 12:08-2:25-4:45-1:15-0: } “IFYOU SEEONE MOVIE THs WEEKEND, ‘WHILE YOU WERE SLEEPING’ IS THEONE TO SEE!” WEST VALLEY. ove Sal,(OMA BENITA T WILLIS WITH A VENGEANCE JEREMY IRONS Secla, 1 4:30 5:00 8:30 576-8) James Blond: Apt. 007 in The Spy Above Me,’ Off Broadway The: comic strip, no matter how ham- handed the reference I've become kind of a folk hero locally,’ Adams says. “It would belike shooting your mother to fire me now Besides, he adds, he’s not after anybody's boss's blood. Not all of it, anyway My basictheoryis that everybody’s an idiot. including me. The world is so complicatedthat we're all in over our heads. In business. you're overwhelmed. You don't know what your employees are doing, what your customers want what the problems are. You make decisions without training or knowledge. Soall of us — lordandlackey satrap andserf, officer and grunt — are in the sameboat All at sea. In onestrip, Dilbert boasts to his boss: ‘I proactively found excellence in the midst of chaos. I re-engineered my core ses and embracedchange. [ ou Dilbert — the perfect employee! Wary Boss: “Was that 6 A 266-0258 Closed Sunday Chris O'Donnell “CIRCLE OF FRIENDS” Classics Rent HYPNOTIST VANDERMEIDE Sat. 9.00 & 14:00 PM Dilbert: ‘To be honest, sar. I don’t know either.” BTodoy’s“Dilbert C8 GNATMANForevermore The BATMANSatire © LIVE ON STAGE 266-7600 © 4861 $ STATE VALLEY. VU orive-m eukee BARGAIN MATINEE Aveo FORGETPARIS (re-13) : . : fo4ce)te CSURam aag CO-HIT Be FRENCH KISS (pc-13) Deaa eC on 4:30 4:45 7:45 2ati NO PASSES, NO DI WHILE YOU WERE SLEEPING (P) La 8 4:30 4:15 7:00 9:45 (STEREO) >cainson TIDE(2) ‘4 100 7:00 10:00 (DIGITAL) ___NO DISCOUNT TICKETS DIE HARD 3 in 42:00 2:45 6:00 8:45 (STEREO) NO PASSES, NO DISCOUNTTICKETS emo 4 4 Mia eeOe HEART (2) fod 3 oe TAS (STEREO) DISCOUNT TICKETS, NO Pi CeeeC) Pata Mcctcoaa NO PASSES, NO DISCOUNT TICKETS BRAVEHEART 1p) 12:00 3:20 7:45 12:00 3:20 7:45 {STEREO} NO PASSES, NO DISCOUNT TICK BRA\ 00 4:30 6:00mals (STEREO) buco eis Hexrs_ WHILEYOU WERE SLEEPING ir; (STEREO) NO PASSES, NO DISCOUNT TICKETS REET MAD LOVE (pc-13) 2:00 4:30 7:00 9:30 (STEREO) NO PASSES,ome.4 NO JOHNNY MNEMONIC2 2.00 4:30 7.009:30 (STE ONTTCKETS 7:009:30. (STEREO) NO PASSES, NO DISCOUNT TICKETS img 41:00 4:30 Sara ~ sro) EMG 230750 950 ILE YOU WEI * aeEPING var waeHONG(2 ‘OLYMPUS 2 272:\227 : 3900 SO. WASATCH BLVD. seae DehANCDes,431, [£100 |A, GOOF 3:00 5:00WOME 7:00 9: ‘GANDY MALL 6 4.00 800 E. 9400 $0. 572.2825 THREAT OUTBREAK : 4:45 4:30 7:00 9:30 THE BRADY BUNCH MAN OF THE HOUSE Ft ALUM WNC WHT UF A HALL (PG) HAS DS SS Te A 48 PS (PG-13) 1:30 3:30 5:30 7.909:30) BULLOCK PULLMAN While You Were Sleeping A story aboutlove at secondsight wcthhese | comm comme caste carro ted) Comoe Sag ree Maer tae ah (PG)100 300700 900 O8TOCAY ONLY ais> WO UTEDOHCOUNTS ABE FOR PASSE FUNNIEST ROMANTIC COMEDY” Pat Coltien, WWOR NEW YORK “kk kk Touching, Funny, Unforgettable’ i Billy Debr: Crystal ‘Win “Romance, Comedy And BillyCrystal As An N.B.A. Ref. A Sure Hit!” carrer Poulan Haein (napsance064-611)) OCU 415 2.30 390 450 715 745 on ee ne "410 42:00| 3:45 4:00 7:35 8:40 (STEREO) NO PASSES, NO SUPERSAVERS 40 310 898740 04 CINEMAS 5 968-7765 2.00 4400 W. $400 SO ALL DAY OROY ic)140 5:40 5:10 JAN DeMARCO (ro-4) BAD BOYS im) 7:15 9:30 320 5:20 7 Ora0 (DTS) NO PASSES, NO DISCOUNT TICKETS 446 sas.s48°)} + DIE HARD WITH A FRENCH Ki Jnssico Tandy/Brcget neg “CAMILLA” (6-13)900 casm? Crokeeon haar ECAR) bf Man Joon Fergven, PREVUE NETWORKS ane Oa colleagues 30 4:45 7:00 9:30 (STEREO) "THE SUMMERS FUN WITH A VENGEANCE!’ and FRENCHKISS (rc-13) 4:45 4:00 7:00 9:45 (STEREO) 4 BRAVEHEART | * CRIMSONTIDE 2] ere Petar THE PLACE Le GO, *® 10020887: renner 918 FORGET PAAIS (PG13) 12:26-2:46-6:16-7:30-0:40 bosses HAPPENING TODAY have learned the knack of failing to recognize themselves in the MAD LOVE (pc-13) GATEWAT 6272.97 $3.50 148 BNTFL $00 $0. EXIT noxsrs Berot #5 pm [DTS) DIGITAL SOUND SYSTEM. Fa eeere. ed Rano LOVE as :20-2:20-4:50-7:00-9:1 * ASIAVENEART im Adams’ aa a rye bul came down a mountain 4:30 4:30 7:45 9:30 (STEREO) Dublin, Calif., with his girlfriend and twocats, Sarah and Freddie bert’s boss soundeda bit too much like a real memofroma bigwig in Adams’ office. He didn’t yell at me. The way it worksis that they talk to your boss, not to you. And then your opportunities becomelimited Nowthat “Dilbert” is famous. THE ENGLISHMAN WHO WENT UF A Hi. BUT CAME DOWN A MOUNTAM{F6) 1:30 430 7:45 9.90 (STEREO) s , NO_DISCOUR SRASPERIPO) On 2 Ser ed 12:45-2:ita10490 Pann And even though “Dilbert” is earning him well up intosix figures, Adamskeeps his $70,000-ayear day job at Pacific Bell. He still drives his 1991 Nissan, having sprung only for a DOGBERT vanity plate. He lives in a sparsely furnished apartment in nearby SLEEPING (PG) RS" s BEFORE ba6P.a. No PASEBS On EOCOUNTS (2 TS 4m crecy. 1255 3008508 18 9:25 SMia Odeon ($7.95) and a computer screen saver (Windows or Mac, $27.95). He has published four books ($7.95 to $8.95) and hasa fifth in the works. He’s negotiating a TV series or movie. Or something We are exploring possibilities,” he says. “I'm sworn to se- NewYork 'H % CASPER (PG)11:30 1:30 3:30 5:30 7:30 9:30 eeune UP! ‘who went up a hill bert/Dogbert T-shirts ($18.50), sweatshirts ($28.50), coffee mugs [Abert ane shnesin thsdelightshfim Sex rerrrry tue WOMEN Ie2 tn shBs TALES 2:25 7: tefon at (PG-13) 4:50 9:05 THENE se y Cottage Industry: Even Adthan he makesDilbert. His electronic newsletter advertises Dil- creator magnet. Charlie Chaplin. Dagwood Bumstead. Charlie Brown. Cathy. NowDilbert. Helooks the part: chinless, bespectacled, hueless Bart Simpson haircut, pen-packed pocket protector, necktie arced nerdily heavenward until that mystical time when he gets lucky in ro- you if I didn’t fear retribution.” ams is more of an entrepreneur SCOTT ADAMS “Dilbert” me. I’m talking to you nicely; he’s saying the things I would say to cS Cnapin ni) MIOVALLEY OL, BRAVEHEART (n) 42:00 3:20 7:45 (STEREO), NO PASSES, NO_ MAD LOVE (pc-13) {220248,$90 720 P48 f (STEREO) mca 1:30 5:00 a Gere) 3092 $ HIGHLANDDRIVE 466.6266 ™. CRIMSON TIDE (2) 4:30 4:45 7:00 9:30 (DIGITAL) NO_DISCOUNT TICKETS enc) 8:30 (STEREO) NO PASSES, NO DISCOUNT TICKETS B25 wet 308 tee 4:00 4:30 8:45 {ULTRA-STEREO) NO PASSES, NO DISCOUNT TICKETS |
