Monday, April 14, 2008

And Then There Were None: Ollie Johnston, 1912 - 2008

Ollie Johnston, the last of Walt Disney's legendary animators dubbed "The Nine Old Men", died today at the age of ninety-six. His work has inspired legions of animators, cartoonists and fans alike.

Condolences to his friends and family.

UPDATE: If you'd like to read Charles Solomon's New York Times obituary for Mr. Johnston, click here.

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Tuesday, March 11, 2008

Dave Stevens, 1955-2008

NEWSFROMME.COM: Dave Stevens, R.I.P.
by Mark Evanier
Tuesday, March 11, 2008 - 11:25 AM

Illustrator Dave Stevens, best known for his "good girl" art and The Rocketeer, died yesterday following a long, wrenching battle with Leukemia. Dave was born July 29, 1955 in Lynwood, California. He was raised in Portland, Oregon, then his family relocated to San Diego, where he attended San Diego City College and became involved in the early days of the San Diego Comic Book Convention, now known as the Comic-Con International. His skills as an artist were instantly evident to all, and he was encouraged by darn near every professional artist who attended the early cons, but especially by Jack Kirby and Russ Manning. In 1975, when Manning began editing a line of Tarzan comic books to be published in Europe, Dave got his first professional assignment, working on those comics and also assisting Russ with the Tarzan newspaper strip. Soon after, he worked on a few projects for Marvel (including the Star Wars comic book) and a number of underground comics. Later, he also worked with Russ on the Star Wars newspaper strip.

In 1977, Dave went to work for Hanna-Barbera where he drew storyboards and layouts, many of them for the Super Friends and Godzilla cartoon shows and bonded with veteran artist Doug Wildey, who produced the latter. Wildey and Stevens became close friends and in 1982, when Dave created his popular character, The Rocketeer, he modelled the character's sidekick, Peevy, on photos of Doug. Dave himself was Cliff Secord, who donned the mask of The Rocketeer, and other friends appeared in other guises.

The Rocketeer made Dave's reputation and also spawned a resurgence of interest in fifties' figure model Bettie Page, whose likeness Dave used for the strip's heroine. But the strip was not profitable for Dave, who was among the least prolific talents to ever attempt comic books. It wasn't so much that he was slow, as his friends joked, but that he was almost obsessively meticulous, doing days of study and sketching to create one panel, and doing many of them over and over. Even then, he was usually dissatisfied with what he produced and fiercely critical of the reproduction. Friends occasionally pitched in to help with the coloring but some begged off because they knew it was humanly impossible for anyone, including Dave himself, to produce coloring that he'd like. Eventually, he sold most of the rights to Disney for a Rocketeer movie that was produced in 1991. Dave served as a co-producer of the film and did a brief cameo, but the endeavor was not as lucrative for him as he'd hoped, and it pretty much ended Dave's interest in continuing the character.

Most of what Dave did after that fell into the general category of "glamour art," including portfolios and private commissions. Many of these were illustrations of Bettie Page who, though once thought deceased, turned out to be alive and living not all that far from Dave. They met and Dave became her friend and, though he was not wealthy, benefactor. Deciding that too many others had callously exploited her likeness, Dave voluntarily aided Ms. Page financially and even took to helping her in neighborly ways. One time, he told me — and without the slightest hint of resentment — "It's amazing. After years of fantasizing about this woman, I'm now driving her to cash her Social Security checks."

Dave was truly one of the nicest people I have ever met in my life...and was certainly among the most gifted. Our first encounter was at Jack Kirby's house around 1971 when he came to visit and show Jack some of his work. As I said, Kirby was very encouraging and he urged Dave not to try and draw like anyone else but to follow his own passions. This was advice Dave took to heart, which probably explains why he took so long with every drawing. They were rarely just jobs to Dave. Most of the time, what emerged from his drawing board or easel was a deeply personal effort. He was truly in love with every beautiful woman he drew, at least insofar as the paper versions were concerned. (Dave was married once...for six months to the prolific movie actress, Brinke Stevens, and she retained his last name after they divorced.)

Dave's illness these last few years was a poorly-kept secret among his friends, but he insisted that it be kept quiet, and struggled to make occasional public appearances. We tried to get together for dinner every month or so but it wound up being more like every six months. The last time, he joked that it was lucky he had such a reputation for slow production. Now that he was unable to work for weeks at a time, no one noticed that his output had declined. His main efforts went towards an "Art of Dave Stevens" book he was struggling to assemble. Mostly though that evening, we talked about comics and comic artists. Dave was a fan in the very best sense.

I don't really know how to end this and maybe I don't want to...because it will mean another level of loss regarding one of my closest friends. As long as I can keep writing about him, I feel he's still with me in some manner. And the thought of losing a great guy like Dave Stevens is just too, too sad. He was truly loved and admired by all who knew him. I'll post information about a memorial service, if and when I hear about that kind of thing.

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Monday, February 11, 2008

Another Hero Gone: Steve Gerber, 1947 - 2008

NEWSFROMME.COM: Steve Gerber, R.I.P.
By Mark Evanier - Monday, February 11, 2008

You know, some of these are easy to write and some of them are excrutiating. Welcome to the excrutiating kind.

Steve Gerber died last night in Las Vegas after a long, painful illness. For the last year or so, he was in and out of hospitals there and had just become a "candidate" for a lung transplant. He had pulmonary fibrosis, a condition that literally turns the lungs to scar tissue and steadily reduces their ability to function. Steve insisted that his affliction had nothing to do with his lifelong, incessant consumption of tobacco — an addiction he only recently quit for reasons of medical necessity. None of his friends believed that but Steve did.

I mention that because in the thirty or so years I knew him, that was the only time I ever saw Steve perhaps divorced from reality. He was a sharp, brilliant human being with a keen understanding of people. In much that he wrote, he chose to depart from reality or (more often) to warp it in those extreme ways that make us understand it better. But he always did so from his underlying premise as a smart, decent guy. I like almost everyone I've ever met in the comic book industry but I really liked Steve.

Stephen Ross Gerber was born in St. Louis on September 20, 1947. A longtime fan of comic books, he was involved in the ditto/mimeo days of fanzine publishing in the sixties, publishing one called Headline at age 14. He had a by-mail friendship with Roy Thomas, who was responsible for the most noteworthy fanzine of that era, Alter Ego. Years later when Roy was the editor at Marvel Comics, he rescued Steve from a crippling career writing advertising copy, bringing him into Marvel as a writer and assistant editor. Steve soon distinguished himself as one of the firm's best writers, handling many of their major titles at one time or another but especially shining on The Defenders, Man-Thing, Omega the Unknown, Morbius the Living Vampire, a special publication about the rock group Kiss...and of course, Howard the Duck.

Howard, born in Steve's amazing mind and obviously autobiographical to a large degree, took the industry by storm. The creation was in many ways a mixed blessing to his creator. It led to an ugly and costly legal battle over ownership, which Steve settled out of court. It led to the occasional pains when he occasionally returned to the character and, due to reasons external and internal, found that he could not go home again. It also led to the sheer annoyance of watching the 1986 motion picture of Howard (produced with minimal involvement on Steve's part) open to withering reviews and dreadful business. Still, the issues he did are widely regarded as classics...and Howard is often cited as a character who only Steve could make work.

After he left Marvel under unpleasant circumstances in the mid-seventies, Steve worked with me for a time at Hanna-Barbera writing comic books, many of which were published by Marvel. An editor at the company had loudly vowed that the work of Steve Gerber would never again appear in anything published by Marvel. Just to be ornery, we immediately had Steve write a story for one of the H-B comics I was editing and it was published by Marvel with a writer credit for "Reg Everbest," which was Steve's name spelled inside-out.

About this time, Steve began to get work in the animation field, starting with a script for the Plastic Man cartoon series produced by Ruby-Spears. This led to a brief but mutually beneficial association with the studio, especially when Steve launched and story-edited one of the best adventure cartoons done for Saturday morning TV, Thundarr the Barbarian. Later, he worked for other houses on other shows, including G.I. Joe and Dungeons & Dragons.

Then there were other comic books, including occasional returns to Marvel and even to Howard. For DC, he did The Phantom Zone and later, A. Bizarro, Nevada and Hard Time. Last week in the hospital, he was working on a new Doctor Fate series for them. His other many credits in comics — which include Foolkiller for Marvel and books for Malibu and Image — are well known to readers of the last few decades.

What I feel the need to tell you is just what a great guy he was. In the seventies, when New York comic professionals were banding together to find ways to elevate the stature of the field and the living standards of its practitioners, Steve was at the nexus of so many of those efforts. When Steve was involved in his lawsuit with Marvel, many fellow professionals rallied around him with loans and gifts of cash and some of us put together a benefit comic book, Destroyer Duck, to raise money. People did that because they knew, first of all, that Steve was fighting not just for his own financial reasons but for matters of principle relating to how the comic book industry treated its creators. That some of the more pernicious business practices soon went away had a lot to do with Steve taking the stand he did. Also, those who knew Steve knew that when you were in need, he would do anything to help. He was, in every sense of the word, a friend.

He was one of my best friends and even though I knew this was coming — and even though part of me thinks it may be for the better, given what he stood to go through just to keep on breathing a few more years — it's a real blow. If you knew Steve Gerber, no further explanation is necessary. If you didn't, no further explanation can ever quite explain why.

Details of memorials and such will be forthcoming. I am now about to attempt a hostile takeover of Steve's weblog. I've been given permission to see if I can get in and take care of it but I won't delete anything, at least not for a long time. You might want to trundle over there and read some of this recent postings and especially some of the love and respect shown by his commenters.

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What sad news.

I loved “Howard The Duck” when I was a kid - if Spider-Man was an outsider, Howard was the apotheosis of the fish-out-of-water, an outsider’s outsider. He was literally from another planet - he wasn’t even the same species as everyone else. I ate it up as often as my local drugstore’s sporadic delivery schedule (and my anemic pocket money) would allow.

Howard was out of sync, beset upon by an increasingly hostile world, and I identified big time. It was bizarre and surreal, and to this day, there’s never been anything like those thirty-odd issues.

My affection for them never dimmed. I chatted online with Steve for a short time (after discovering his blog) quite some time ago, and commissioned a drawing from Gene Colan which hangs in my home. There wasn’t much for me to say once I got past the usual fannish drivel, so I let him be. But I still have the entire “Howard” run, and I think I always will.

Rest in peace, Steve. And thanks again. Thanks so much.

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Here's a couple of other nicely-written pieces on Mr. Gerber, one from thestranger.com, and another from The Comics Reporter.

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Friday, January 18, 2008

Richard Knerr, 1926 - 2008

ASSOCIATED PRESS: Richard Knerr, who gave the world Hula Hoop, Frisbee, dies at 82
By JOHN ROGERS - Associated Press Writer

LOS ANGELES (AP) — Richard “Rich” Knerr is being remembered this week for creating a multimillion-dollar company out of slingshots, flying saucers and spinning hoops. But he did much more than that.

Knerr and his partner, Wham-O co-founder Arthur “Spud” Melin, specialized in fun with products like the Hula Hoop, the Slip ’N Slide, Silly String and the Super Ball, entertaining countless people from one end of the world to the other. They showed dogs a pretty good time, too, with another iconic Wham-O product, the Frisbee.

Knerr, who retired from the toy marketing business when he and Melin sold Wham-O in 1982, died Monday after suffering a stroke at his home in suburban Arcadia. He was 82. Melin, his partner and lifelong friend, died in 2002.

“The company motto was ’Our Business is Fun,’ and that really describes both Dad and Spud,” Knerr’s son, Chuck Knerr, told The Associated Press on Thursday. “They were two boys who just loved to have fun.”

They let the whole country in on the fun in 1958 when they began selling round, plastic hoops at 98 cents apiece. People snapped them up by the millions, as seemingly everyone in America that summer attempted to spin the things around their waists, hips, necks or knees.

“No sensation has ever swept the country like the Hula Hoop,” Richard A. Johnson wrote in his 1985 book “American Fads.”

Just as quickly, however, the fad ended.

“By the time September rolled around you couldn’t give them away because every household in America had two and they lasted forever,” Chuck Knerr recalled his father telling him.

It didn’t matter because not long after that the Frisbee, which had been introduced the year before, began to catch on — and not just with people. Dogs loved to play with it too. One such animal, Ashley Whippet, became a celebrity in the 1970s because of his astounding ability to chase and catch the things.

Because dogs tended to chew up Frisbees and people tended to lose them, they proved a much more lucrative product for Wham-O than Hula Hoops had.

Knerr and Melin went into business for themselves in 1948, making $2 a day selling slingshots they made out of old orange crates in Knerr’s garage. They named their fledgling company after the sound Melin liked to make every time he fired a slingshot.

The pair met by chance as teenagers outside a Pasadena movie theater. They went into business together because Melin raised falcons and they used homemade slingshots to fire meatballs at young birds to teach them to dive for prey. Their slingshots proved so popular that their barber suggested they place an ad in a magazine and start selling them by mail order.

“It sounds strange to say it now but at the time nobody ever made and sold a slingshot,” Chuck Knerr said. “They were always homemade.” Soon the boys were bringing home orders from the post office by the sack full, allowing them to pay off the bandsaw they had bought at a Sears store for $7 down.

Knerr would say years later that he discovered the Hula Hoop while at a sporting goods trade show in Chicago. An Australian man, during a conversation in the men’s room, told him of a fitness craze sweeping his country and agreed to send him a few of the exercise tools.

Knerr and Melin were at the beach one day when they saw a former Air Force pilot named Fred Morrison playing with the flying disc he’d made. They bought the rights to it, modified it and changed its name from Pluto Platter to Frisbee, naming it after a comic strip character Knerr liked.

Wham-O introduced the Slip ’N Slide in 1961, the Limbo Game in 1962 and the Super Ball in 1966. Silly String came along in 1972 and the introduction of the Hacky Sack in 1983 created another craze.

As the years passed and Wham-O became a brand recognized the world over, its founders continued to operate it as a small business based in the suburban San Gabriel Valley. They sold it to Kransco Group Companies in 1982. Mattel bought the company from Kransco in 1994 and sold it to a group of investors in 1997. It is now based in Emeryville.

In addition to his son, Knerr is survived by his wife, Dorothy, daughters Melody Marquez and Lori Gregory, stepchildren Richard Enright and Jeanne Stokes and eight grandchildren.

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Tuesday, October 02, 2007

Good-Bye, Miss Moneypenny

AFP.GOOGLE.COM: Miss Moneypenny actor Lois Maxwell exits stage

SYDNEY (AFP)
— On screen, Lois Maxwell played the woman James Bond never seduced, Miss Moneypenny. In real life, she was more than his match -- an adventurous traveller, an entertainer, and a flirt to the end.

Her death on Saturday at Fremantle Hospital, in Western Australia, from a combination of lung and vascular disease, followed several weeks of treatment there. She was 80.

The Canadian-born actress, a constant in 14 James Bond movies as the starring role changed hands, took on the Miss Moneypenny role in 1962 alongside Sean Connery in "Dr No."

And she continued to play the secretary to spy chief M, constantly flirting with her 007 agent, until 1985's "A View To A Kill" with Roger Moore.

In a 2005 interview, Maxwell said she insisted when she took on the role that she be allowed to give Moneypenny a "background" and that Bond director Terence Young not "put my hair in a bun and horn-rimmed glasses on me."

The "background" was an unexplained sexual tension between Moneypenny and Bond and the chemistry worked.

"She was my lucky token," Moore told the British broadcaster Sky News after her death.

"(People) who remember the Bond films with Moneypenny will remember her with great affection. She certainly will be missed by me and I'm sure by millions of fans around the world."

Born Lois Ruth Hooker on February 14, 1927 in Ontario, Canada, Maxwell ran away from home at 16 to join the Canadian Army Show.

She ended up in London, where she met Roger Moore at the Royal Academy of Dramatic Arts, beginning what was to be a life-long friendship.

She changed her name in Hollywood, won a Golden Globe award and worked with Ronald Reagan on "Bedtime For Bonzo."

When the first Bond movie came along, Maxwell was an experienced actor in need of an income after her husband, British television executive Peter Marriott, developed a heart problem.

"I had a husband who was desperately ill, with two small children and no money, so I called producers I had worked with before and said 'help me,'" she told the Australian Broadcasting Corporation in 2005.

Maxwell's life was as colourful as that of her screen sweetheart -- she gained her pilot's licence, went on safaris, travelled widely and sailed across the South China Sea on an armed boat in case of pirates.

She was in Fremantle, near the Western Australian capital of Perth, to visit her son and his family five years ago when she collapsed while out shopping as a result of a blood clot on her elbow.

Maxwell required emergency surgery to save her arm and was so relieved at waking up from the operation and finding her limb intact, she became a fundraiser for Fremantle Hospital and a strong supporter of vascular surgeon Professor Paul Norman.

"We used to joke that he became her new leading man. She used to flirt shamelessly with him," former hospital worker and friend to the Maxwell family Penny Young told AFP.

Young said despite failing health, Maxwell had rallied in recent days.

"The thing about Lois for the family, she was such a strong fighter and in the past she would never give up," she said.

"She had that that attitude of, 'Damn, my heart will continue beating until I'm ready for it to stop.'"

"She was just adorable, and cheeky and fun."

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Saturday, September 29, 2007

Marcel Marceau, 1923 - 2007

NY TIMES: Marcel Marceau, Renowned Mime, Dies at 84
By JAMES F. CLARITY and ERIC PACE
Published: September 24, 2007


Marcel Marceau, the wiry French mime who mostly performed as the chalk-faced Bip and did much to revive the art of pantomime, died Saturday in France. He was 84.

He died in the southwestern French town of Cahors, where he had moved after retiring from the stage in 2005, said Alexander Neander, a former student and personal assistant.

Since 1946, when he began his silent career, Mr. Marceau had performed an average of 200 shows a year, most of them abroad, where he was more highly praised than in his native France. His repertory changed little over the decades, but he played to full houses in the United States, Germany and other European countries, Australia and Japan, where he was deemed “a national treasure.”

“At a time when two generations of younger mime artists have rebelled against his brand of classical mime,” Anna Kisselgoff wrote in The New York Times in 1999, “Mr. Marceau remains a model, not a fossil. Anyone who has never seen the staples of the repertory with which Mr. Marceau has toured the United States since 1955 should beat a path” to his performances.

His acts included “Creation,” in which the start of the world began with a fluttering of his long fingers as fish and birds, and ended with Adam and Eve skulking out of Eden. In “Youth, Maturity, Old Age and Death,” he depicted in four minutes the joy and pathos of life more succinctly and dramatically than many novelists and playwrights were able to do in hundreds of pages. He began folded into himself, an embryo, then strutted boldly, then crumpled and knotted himself into shrunken death.

“The Tribunal” cast him as the accused, judge, jury and executioner. In another sketch, one of his hands played evil, the other good, twisting and struggling until they combined in prayer. In other staple sketches, he conjured an invisible wind to struggle against and an invisible cage to hold him in as he fought to escape.

It was during the New York theater season of 1955-6 that Mr. Marceau became, in a phrase he disliked, an international success. After a tour of Canada, he appeared in a program titled “An Evening of Pantomime” that opened Off Broadway, at the Phoenix Theater. The critics raved. Walter Kerr, writing in The New York Herald Tribune, said Mr. Marceau “should be snared with one of his own imaginary butterfly nets and trapped inside the proscenium of an American theater for the entire season, and perhaps for the rest of his natural life.”

The show was such a hit that it moved to a Broadway theater, the Ethel Barrymore, and went on to tour the country. Mr. Marceau would return to the United States every year for most of his career.

In 1970 the French government named him a Chevalier de la Légion d’Honneur for cultural affairs. And in 1978 Jacques Chirac, then the mayor of Paris, established a subsidy for Mr. Marceau’s school for mimes, which went on to produce hundreds of performers.

Yesterday President Nicolas Sarkozy of France said of Mr. Marceau’s death, “France loses one of its most eminent ambassadors.”

Mr. Marceau, who could be voluble in interviews, once said of his pantomime: “Mostly I think of human situations for my work, not local mannerisms. There is no French way of laughing and no American way of crying. My subjects try to reveal the fundamental essences of humanity.”

A slender man who was 5 feet 9 inches tall, Mr. Marceau had just started out in mime when he invented Bip, the character who wore a stovepipe hat with a red flower. He was inspired in part by Italian commedia dell’arte, with the name playing off Pip in Dickens’s “Great Expectations.”

“This character Bip is a funny, sad fellow,” Mr. Marceau once observed, “and things are always happening to him that could happen to anybody. Because he speaks with the gestures and the movement of the body, everyone knows what is happening to him, and he is popular everywhere — Scandinavia, Germany, Holland, Belgium, Italy, Austria, wherever he has traveled.”

Mr. Marceau also painted; sketched lithographs, many of Bip; and wrote children’s books. He appeared in several movies, including “Barbarella” with Jane Fonda. He spoke just once in his performing career, in Mel Brooks’s “Silent Movie.” He said, “No.”

Marcel Marceau was born Marcel Mangel, of Jewish parents in Strasbourg, France, on March 22, 1923. His father, a butcher, was deported to a concentration camp by the Germans in 1944 and never returned. Marcel moved to Paris, with a new surname and false identification papers. Until the liberation of Paris, he worked in the Resistance, hiding Jewish children from the Gestapo and the French police, who helped round up Jews for deportation.

In 1944 he joined the French army, and the next year, while stationed in Germany, he gave his first public performance as a mime for an audience of some 3,000 American soldiers.

After the war Mr. Marceau attended the acting school run by Charles Dullin at the School of Dramatic Art in the Sarah Bernhardt Theater in Paris. He planned to become a speaking actor, but he studied under Etienne Decroux, a master of miming, who had taught the noted mime Jean-Louis Barrault. Mr. Barrault invited Mr. Marceau to join his theater company, and the rest was silence.

Success followed quickly. In 1949 Mr. Marceau formed his own company, and his reputation grew around Europe. His relationship with French audiences was more complicated. In 1955 at the prestigious Olympia Theater in Paris, performing on a bill between the young crooner Charles Aznavour and the jazz saxophonist Sidney Bechet, he received “the most caustic reception of his career,” according to the newspaper Liberation. The audience chatted during his performance. “He never understood the relative coldness of the French toward him,” the paper said.

But that year he toured North America and was lionized, giving rise to his worldwide popularity and even leading to a greater degree of esteem in his native France. In Hollywood he played to acclaim for six weeks and was proud that Charles Laughton, Marlon Brando, Gary Cooper and the Marx Brothers came to see him. Harpo Marx, also a silent performer, became a friend.

Mr. Marceau, who once compared himself to Picasso as an artist of enduring vitality, would continue touring internationally into his 80s, missing few performances and spending his off time with his family in a 300-year-old house outside Paris. He had two sons, Michel and Baptiste, by his first marriage, to Huguette Mallet, which ended in divorce. His second marriage, to Ella Jaroszewicz, also ended in divorce. He had two daughters, Camille and Aurélia, by his third wife, Anne Sicco, whom he later divorced. All four children survive him.

Up until his retirement in 2005, he continued to defend his art form and his contribution to it.

“Of course, I have had many imitators,” he said in a 1999 interview with The South China Morning Post. “And I am aware of the jokes about mime. But if you love your art, you just do it. Time will judge me.”

Katrin Bennhold contributed reporting from Paris and Campbell Robertson from New York. James F. Clarity, a longtime reporter for The Times, died last week.

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Best posthumous comment (origin unknown): "I wonder what his last gesture was."

Monsieur Marceau appeared right here in California some time ago, and even in his seventies, his performance was as vivid and assured as I'm sure it was fifty years earlier.

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Friday, September 28, 2007

So Long, Joe Riley

I got word from Ken Mitchroney today that his friend Joe Riley died on Thursday of a heart attack. The doctors managed to regain a heartbeat for a while, but he never woke back up. He was forty-three, just a year older than I am.

I never got to meet Joe in person, but I'll bet we'd have gotten along great. Joe had a neat blog called men-oo-she-a, which was loaded with all kinds of great pop culture junk. His artwork was really cool, and I was especially envious of how he could build model kits so that they looked better than they did on the box. Way, way better!!

Take care, Joe - I know Kenny'll miss you terribly.

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Tuesday, August 14, 2007

Comic Artist Mike Wieringo Dies At 44

NEWSARAMA.COM: MIKE WIERINGO PASSES AWAY

The comics industry lost a luminary this weekend - Mike Wieringo passed away Sunday of a sudden heart attack. Details are still sketchy as of this time, but according to close sources, the acclaimed artist had chest pains at some point during the day and called 911, but the responders did not make it in time.

Wieringo was 44 years old. He was a vegetarian, and "one of the healthiest ones of us in the bunch," as his longtime friend and collaborator Todd Dezago described him. Currently, there are no details about services or a funeral.

Wieringo worked every day, updating his blog and website with a constant stream of sketches at MikeWieringo.com. His last sketch was posted on Friday.


I had to keep the sketch pretty quick today if I was going to get it done and posted at all. I spent the morning with an electrical contractor here at the house. I’ve been having trouble with my heating and air conditioning unit switching its breaker off during the height of the heat of the day the past few afternoons (and for those of you in the southeast dealing with these 100-plus degree days, you know just how sweltering and oppressive this week has been). As it turns out, my entire wiring setup outside is horribly old and doesn’t meet code. It also contains quite a bit of aluminum wiring– which the contractor tells me is very dangerous and not in use anymore. So I got the great news that it’s going to cost me thousands of dollars to bring everything back up to code…. and not have the danger of causing a fire at any point as well. Ah, the joys of being a homeowner….!

I’ve had several folks inquire about my 2007 sketchbook and whether it would be for sale here on the site. Steven Gettis has set up a store link in the PERSONAL section of the column at the right for selling the sketchbook and prints I’ve produced. So anyone interested in the things offered there, I’ve got a PayPal account set up to handle the sales that way.

OK… have a great weekend, everyone.

This is Entry 412.

Mike

Wieringo was born June 24th, 1963 in Venice, Italy, and first caught the attention of comic book fans when he joined writer Mark Waid on DC's The Flash with issue #80 in 1993. Together, the two co-created the character Impulse, the future speedster brought back to the present. Wieringo (or, 'Ringo as he was better known by then) moved on to Robin at DC, and then moved to Marvel, where he settled in on Sensational Spider-Man with writer Todd DeZago.

The pairing with DeZago was something of fate, as the two co-created and launched their creator-owned property Tellos, which saw several projects and miniseries published over the years. Ringo moved back to DC for a run on Adventures of Superman, and then, in 2002, reunited with Waid for a run on Fantastic Four that was perhaps best known for fan outcry when Marvel announced that they were going to replace the team. Marvel quickly reversed their decision, and the two completed their run on the series.

Ringo then moved to Friendly Neighborhood Spider-Man with writer Peter David, and most recently, completed a Spider-Man and the Fantastic Four miniseries written by Jeff Parker. His next project had not been announced, although, as readers of his blog knew, he was very excited at the prospect of doing more Tellos work, with an eye on being able to debut something at next month's Baltimore Comic-Con.
Mike was a regular face at East Coast conventions for years, and was known to both fans and pros as one of the friendliest, and most approachable guys in comics. Heck, he was, I think, the first "pro" I ever met, back when he had just started drawing Flash. I remember asking him for a sketch at a small convention in High Point, North Carolina, he said, "Sure - what of?" And I told him it had to be the Flash - but not with the mask on, with the mask pulled back, showing Wally West. Mike looked thoughtful for a few minutes, gave me a look, and got to drawing. A few minutes later, he gave me the sketch (still framed and in my office) and I thanked him. It wasn't until later that my wife pointed out that he'd drawn me in the mask, instead of Wally. That's the kind of cool guy Mike was. And with the North Carolina comics community being pretty tight-knit, Mike and I got to be pretty good friends after that. He was a great friend, and a friend of the site - all too happy to help out years back when Mike Doran and I needed headshots for the then-version of Newsarama. We looked a little dorky, but I think that was Mike making a little joke that included all of us. He loved what he did. -- Matt Brady

ps - I see we're getting some database errors from the traffic with this news. Heh - it was the news of Mark and Mike being kicked off of the Fantastic Four that melted down our server when it happened a few years back. Mike was the most humble guy you'd ever meet, but I think he's at least getting a smile out of that.

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Sunday, May 20, 2007

My Favorite Fantasy Writer Passes Away

NY TIMES: Lloyd Alexander, Author of Fantasy Novels, Is Dead at 83
By MARGALIT FOX
Published: May 19, 2007

Lloyd Alexander, a National Book Award-winning author of fantasy novels for young people whose work was noted for its romantic locales, complex characters and barely concealed allegorical depictions of the struggle against tyranny, died on Thursday at his home in Drexel Hill, Pa. He was 83.

The cause was cancer, according to Mr. Alexander’s literary agency, Brandt & Hochman, which announced the death.

The author of more than 40 books, Mr. Alexander was best known for the five novels collectively called “The Prydain Chronicles,” published by Holt, Rinehart & Winston between 1964 and 1968. Set in a kingdom inspired by traditional Welsh mythology, the novels tell the story of Taran, a youth so humble he is not even a pig keeper but merely an assistant pig keeper. (The pig, it should be pointed out, is an oracular pig.)

Writing in The New York Times Book Review in 1966, the noted children’s author Jean Fritz reviewed the first three Prydain novels — “The Book of Three (1964), “The Black Cauldron” (1965) and “The Castle of Llyr” (1966) — together, calling them “fantasy in the great tradition.” She added: “Each of the books is a complete chronicle in its own right — exciting, highly imaginative and sometimes profound.”

Mr. Alexander won two National Book Awards. The first was for “The Marvelous Misadventures of Sebastian” (Dutton, 1970), the story of a young man, a princess and their flight from a repressive ruler. The second was for “Westmark” (Dutton, 1981), the first novel in a trilogy of that name, about a printer’s apprentice who falls in with a theatrical troupe.

In 1969, Mr. Alexander received a Newbery Medal from the American Library Association for “The High King” (1968), the final Prydain novel.

Lloyd Chudley Alexander was born on Jan. 30, 1924, in Philadelphia and reared in suburban Drexel Hill. Though neither of his parents cared for books, he had determined to become a writer by the time he was 15, captivated by Dickens and by the Greek and Arthurian legends that would inform his work.

He announced his career choice to his parents, who did not take it well. His father, a stockbroker, had suffered huge setbacks in the crash of 1929, and the prospect of a son scribbling in a garret did not inspire fiscal confidence. So after high school, at his parents’ insistence, Lloyd took a job as a bank messenger. The work proved useful, however, inspiring his first book, “And Let the Credit Go” (Crowell, 1955), a semiautobiographical novel for adults set partly in a bank.

After enlisting in the Army in 1943, Mr. Alexander was sent for training in Wales, where he came under the spell of the country’s brooding romanticism.

“It seemed I recognized faces from all the hero tales of my childhood,” he wrote in a memoir, “My Love Affair With Music” (Crowell, 1960). “Not until years afterwards did I realize I had been given, without my knowing, a glimpse of another enchanted kingdom.”

At war’s end, Mr. Alexander was sent to Paris to work in counterintelligence. There, he studied briefly at the Sorbonne and met his wife, Janine Denni, whom he married in 1946. She died earlier this month. Mr. Alexander is survived by five grandchildren and five great-grandchildren. His wife’s daughter, Madeleine, whom he adopted, also died before him. Information on other survivors could not be immediately confirmed.

In 1947, Mr. Alexander returned with his family to the United States, where he worked variously as a cartoonist, advertising writer, layout artist and magazine editor while publishing several novels for adults. In 1963, with his first children’s novel, “Time Cat” (Holt, Rinehart & Winston), he found his vocation. Mr. Alexander’s other books for children include the Vesper Holly series, about a spirited girl in 1870s Philadelphia.

His last children’s novel, “The Golden Dream of Carlo Chuchio,” is scheduled to be published in August by Henry Holt & Company.

For Mr. Alexander, the uses of enchantment were clear: fantasy, he often said, was a powerful way of talking about real-world injustice.

“In whatever guise — our own daily nightmares of war, intolerance, inhumanity; or the struggles of an Assistant Pig-Keeper against the Lord of Death — the problems are agonizingly familiar,” he said in his Newbery acceptance speech in 1969. “And an openness to compassion, love and mercy is as essential to us here and now as it is to any inhabitant of an imaginary kingdom.”

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A good friend of mine gave me 'The Chronicles of Pyrdain' series when I was a teenager. I didn't get around to reading them until I was in my thirties, but they held up so well, I place them alongside 'The Hobbit' as my favorite fantasy books. Now I can't help but make sure everyone within shouting distance knows about them. They're super cheap at Amazon, so pick them up for your favorite avid reader today!

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Wednesday, May 16, 2007

Jerry Falwell, 1933 - 2007

NY TIMES: Jerry Falwell, Moral Majority Founder, Dies at 73
By PETER APPLEBOME
Published: May 16, 2007

The Rev. Jerry Falwell, the fundamentalist preacher who founded the Moral Majority and brought the language and passions of religious conservatives into the hurly-burly of American politics, died yesterday in Lynchburg, Va. He was 73.

His death was announced by Liberty University, in Lynchburg, where Mr. Falwell, its founder, was chancellor. The university said the cause had not been determined, adding that he died in a hospital after being found unconscious yesterday morning in his university office.

Mr. Falwell went from a Baptist preacher in Lynchburg to a powerful force in electoral politics, at home in both the millennial world of fundamentalist Christianity and the earthly blood sport of the political arena. As much as anyone, he helped create the religious right as a political force, defined the issues that would energize it for decades and cemented its ties to the Republican Party.

He came to prominence first as a religious broadcaster through his “Old-Time Gospel Hour” and then, in 1979, as the leader of the Moral Majority, an organization whose very name drew a vivid line in the sand of American politics. After the organization disbanded a decade later, he remained a familiar and powerful figure, supporting Republicans like George W. Bush, mobilizing conservatives and finding his way into a thicket of controversies. And he built institutions and groomed leaders — including his two sons, who will succeed him in two important positions.

Mr. Falwell grew up in a household that he described as a battleground between the forces of God and the powers of Satan. In his public life he often had to walk a line between the certitudes of fundamentalist religion, in which the word of God was absolute and inviolate, and the ambiguities of mainstream politics, in which a message warmly received at his Thomas Road Baptist Church might not play as well on “NBC Nightly News.”

As a result, he was a lightning rod for controversy and caricature. After the Sept. 11 attacks, for example, he apologized for calling Muhammad a terrorist and for suggesting that the attacks had reflected God’s judgment on a nation spiritually weakened by the American Civil Liberties Union, providers of abortion and supporters of gay rights. He was ridiculed for an article in his National Liberty Journal suggesting that Tinky Winky, a character in the “Teletubbies” children’s show, could be a hidden homosexual signal because the character was purple, had a triangle on his head and carried a handbag.

Behind the controversies was a shrewd, savvy operator with an original vision for effecting political and moral change. He rallied religious conservatives to the political arena at a time when most fundamentalists and other conservative religious leaders were inclined to stay away. And he helped pulled off what had once seemed an impossible task: uniting religious conservatives from many faiths and doctrines by emphasizing what they had in common.

He had many failures as well as successes and always remained a divisive figure, demonized on the left in much the way Senator Edward M. Kennedy, Democrat of Massachusetts, or Jane Fonda were on the right. Even so, political experts agree he was enormously influential.

“Behind the idea of the Moral Majority was this notion that there could be a coalition of these different religious groups that all agree on abortion and homosexuality and other issues even if they never agreed on how to read the Bible or the nature of God,” said John Green, director of the Ray C. Bliss Institute of Applied Politics at the University of Akron and an expert on religious conservatives.

“That was a real innovation,” Mr. Green continued, “And even if that’s an idea that did not completely originate with Falwell, it’s certainly an idea he developed and championed independently of others. It was a very important insight, and it’s had a huge influence on American politics.”

Seeds of Faith

Jerry Falwell was born Aug. 11, 1933, in Lynchburg. His ancestors there dated back to 1669, and his more immediate ones lived as if characters in the pageant of sin and redemption that formed his world view.

His paternal grandfather, Charles W. Falwell, embittered by the death of his wife and a favorite nephew, was a vocal and decisive atheist who refused to go to church and ridiculed those who did.

His father, Carey H. Falwell, was a flamboyant entrepreneur who opened his first grocery store when he was 22. He was soon operating 17 service stations, many with little restaurants and stores attached. He built oil storage tanks and owned an oil company and in 1927 began American Bus Lines, supplying old battery-operated movie projectors to show Charlie Chaplin and Laurel and Hardy movies to riders.

Later, he turned to bootlegging liquor, among other enterprises. His best-known business was the Merry Garden Dance Hall and Dining Room, high on a Virginia hilltop, which became the center of Virginia’s swing society. Carey Falwell, too, had no use for religion. He was left shaken forever by an episode in which he shot his brother to death. He became a heavy drinker and died of liver disease at the age of 55.

On the other hand, Mr. Falwell’s mother, the former Helen Beasley, was deeply religious. Every Sunday when he awoke, Mr. Falwell recalled, Charles Fuller’s “Old-Fashioned Revival Hour” was ringing out from the radio.

“It was my mother who planted the seeds of faith in me from the moment I was born,” Mr. Falwell said in his autobiography, “Strength for the Journey.”

What he saw in his own family, he said, was the battle between God and the Enemy, the malignant force just as real and just as determined to produce evil as God is to create good. It was the Enemy who destroyed his father and grandfather, he said, and God whose grace ennobled his mother.

In his telling, Mr. Falwell chose God on Jan. 20, 1952, when he was 18. It was an experience, he said, not of blinding lights and heavenly voices. “God came quietly into Mom’s kitchen” and answered her prayers, he said.

He declared his acceptance of Christ that night at the Park Avenue Baptist Church in Lynchburg, on an evening in which he also first saw the woman who would become his wife, the church pianist, Macel Pate. The next day he bought a Bible, a Bible dictionary and James Strong’s Exhaustive Concordance of the Bible. Two months later, he decided he wanted to become a minister and spread the word.

He transferred from Lynchburg College, where he had hoped to study mechanical engineering, to Baptist Bible College in Springfield, Mo. Returning home, he decided to start his own church, an experience that melded his mother’s faith with his father’s entrepreneurial instincts. He started the Thomas Road Baptist Church with $1,000 and an initial congregation of 35 adults and their families in an abandoned building that had housed the Donald Duck Bottling Company.

Mr. Falwell began building his church in 1956 much as he would build a political movement. Carrying a yellow legal pad and a Bible, he set out to visit 100 homes a day, knocking on doors to seek members. Soon after the church opened, he began a half-hour daily radio broadcast. Six months later, he broadcast his first televised version of the “Old-Time Gospel Hour.” He was struck by how effective the radio and television broadcasts were in drawing new members.

“Television made me a kind of instant celebrity,” he wrote. “People were fascinated that they could see and hear me preach that same night in person.” On the church’s first anniversary, in 1957, 864 people showed up to worship, and he felt he was on his way. The church grew. Anticipating the megachurches to come, it morphed into a social service dynamo, with a home for alcoholics, a burgeoning Christian Academy, summer camps and worldwide missions.

In 1971, Mr. Falwell established Liberty University, originally Liberty Baptist College, with the intent of making it a national university for fundamentalist Christians. The same year, when the “Old-Time Gospel Hour” began broadcasting nationally from his church’s sanctuary, he gained a national audience at a time when televised evangelism was exploding.

Political Action

There were reversals as well. A lawsuit in July 1973 by the federal Securities and Exchange Commission accused the church of “fraud and deceit” and “gross insolvency” in the selling of $6.6 million worth of bonds for church expansion and services. The charges were dropped a month later after a United States District Court found that there had been no intentional wrongdoing.

As the cultural passions and transformations of the 1960s and ‘70s swept the nation, Mr. Falwell, like many religious leaders, struggled with what role to play. He saw ministers joining the civil rights movement and was unimpressed.

“Preachers are not called to be politicians, but soul winners,” he said in a sermon titled “Ministers and Marchers” in March 1964. “If as much effort could be put into winning people to Jesus across the land as is being exerted in the present civil rights movement, America would be turned upside down for God.”

His position reflected his opposition at the time to the civil rights movement and his loyalty to a long fundamentalist tradition in which the faithful believed their role was to cater to the soul, not to the transitory tides of politics.

But Mr. Falwell said the 1973 Supreme Court ruling legalizing abortion, Roe v. Wade, produced an enormous change in him. Soon he began preaching against the ruling and calling for Christians to become involved in political action.

In 1977, he supported the singer Anita Bryant’s efforts to repeal an ordinance granting equal rights to gay men and lesbians in Dade County, Fla. The next year, he played a similar role in California. He urged churches to register voters and for religious conservatives to campaign for candidates who supported their positions. He organized “I Love America” rallies, blending patriotism and conservative values; students at Liberty University produced their own upbeat presentations around the country.

As he told it, at a meeting of conservatives in his office in 1979, Paul M. Weyrich, the commentator and activist, said to him: “Jerry, there is in America a moral majority that agrees about the basic issues. But they aren’t organized.”

To Mr. Falwell, that suggested a movement encompassing more than just evangelical or fundamentalist Christians. He envisioned one that would also include other Protestants, Catholics, Jews, even atheists, all with a similar agenda on abortion, gay rights, patriotism and moral values.

“I was convinced,” he wrote, “that there was a ‘moral majority’ out there among these more than 200 million Americans sufficient in number to turn back the flood tide of moral permissiveness, family breakdown and general capitulation to evil and to foreign policies such as Marxism-Leninism.”

The movement, he said, would be pro-life, pro-traditional family, pro-moral and pro-American — precisely the kind of broad agenda that could unite conservatives of different faiths and backgrounds. His agenda also included fervent support for Israel, even if his relations with Jews were often rocky; in 1999, for example, he apologized for saying that the Antichrist was probably alive and if so would be in the form of a male Jew.

The Moral Majority, he said, had a basic goal in building its membership: “Get them saved, baptized and registered.” He held up a Bible at political rallies, telling followers: “If a man stands by this book, vote for him. If he doesn’t, don’t.” Within three years of the Moral Majority’s founding, he boasted of a $10 million budget, 100,000 trained clergymen and several million volunteers.

In 1980, the Moral Majority was credited with playing a role in the election of Ronald Reagan and in dozens of Congressional races. The election gave resounding evidence of the potential of religious conservatives in politics. They themselves were electrified by their influence, but many others were alarmed, fearing an intolerant movement of lockstep zealots voting en masse for the preachers’ designated candidates.

A. Bartlett Giamatti, president of Yale University in 1981, accused the Moral Majority and other conservative groups of a “radical assault” on the nation’s political values.

“A self-proclaimed Moral Majority and its satellite of client groups, cunning in the use of a native blend of old intimidation and new technology, threaten the values” of the nation, Mr. Giamatti told Yale’s entering freshman class of 1985. He called the organization “angry at change, rigid in the application of chauvinistic slogans, absolutistic in morality.”

But many of those who defend mixing religion and politics, not all of them conservatives, say it is a form of bigotry to seek to deny religious conservatives their voice in the political process.

Mr. Falwell disbanded the Moral Majority in 1989, saying “our mission is accomplished.” But he remained a lightning rod. While running for the Republican presidential nomination against George W. Bush in 2000, Senator John McCain of Arizona characterized Mr. Falwell and the evangelist Pat Robertson as “forces of evil” and called them “agents of intolerance.” He soon apologized, but the remarks, believed to have alienated the party’s base, were seen as enormously damaging to his candidacy. The two men later reconciled. Last year, Mr. McCain delivered the commencement address at Liberty University.

For all the controversy, Mr. Falwell was often an unconvincing villain. His manner was patient and affable. His sermons had little of the white-hot menace of those of his contemporaries like Jimmy Swaggart. He shared podiums with Senator Kennedy, appeared at hostile college campuses and in 1984 spent an evening before a crowd full of hecklers at Town Hall in New York, probably not changing many minds but nevertheless expressing good will. He seemed “about as menacing as the corner grocer,” the conservative writer Joseph Sobran wrote in National Review in 1980.

Many experts say his role as a direct participant in politics may have peaked with the Moral Majority. Others, like Ralph Reed and Karl Rove, were even more successful in taking Mr. Falwell’s ideas and translating them into lasting political power and influence. But he never left the public eye, whether trying to rescue the foundering PTL ministry in the late 1980s, seeing his libel suit against Larry Flynt go to the Supreme Court or describing President Bill Clinton as an “ungodly liar.”

Culture vs. Politics

It could be argued that he affected electoral politics more than mainstream culture. The Moral Majority, for instance, began a campaign to “clean up” television programs in the 1980s, but no one viewed the initiative as a great success. After President Clinton was acquitted by the Senate in his impeachment trial, Mr. Weyrich wrote his supporters to say that maybe there was not a “moral majority” after all.

For all Mr. Falwell’s influence on the world stage, home always remained Lynchburg and his church. Last year the church moved to grand and vast new quarters in Lynchburg, with a membership of about 22,000.

Besides his wife, Macel, whom he married in 1958, Mr. Falwell is survived by two sons, Jerry Jr., of Goode, Va., who will succeed his father as Liberty University’s chancellor, and the Rev. Jonathan Falwell, of Lynchburg, who will become senior pastor of Thomas Road Baptist Church; a daughter, Jeannie Savas, a surgeon, of Richmond; a fraternal twin brother, Gene, of Rustburg, Va.; and eight grandchildren.

To the end of his life, Mr. Falwell remained active at Liberty University, expanding the campus by buying surrounding land and erecting buildings. And he continued to participate in the political discourse, meeting with prospective Republican candidates for president in the 2008 campaign and inviting them to speak at Liberty.

He preached every Sunday and remained openly political in his sermons, declaring, for example, that the election of Sen. Hillary Rodham Clinton to the presidency would represent a grave threat to the country.

He surprised some critics, who felt his views on some social issues, like gay rights, had moderated over time.

But, at his core, he remained through his career what he was at the beginning: a preacher and moralist, a believer in the Bible’s literal truth, with convictions about religious and social issues rooted in his reading of Scripture.

So there was no distinction at all between his view of the political and the spiritual. “We are born into a war zone where the forces of God do battle with the forces of evil,” he wrote in his autobiography. “Sometimes we get trapped, pinned down in the crossfire. And in the heat of that noisy, distracting battle, two voices call out for us to follow. Satan wants to lead us into death. God wants to lead us into life eternal.”

Margalit Fox contributed reporting.

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Wednesday, April 11, 2007

Johnny Hart, 1932-2007

NY TIMES: Johnny Hart Dies at 76; Cartoonist Created ‘B.C.’
By THE ASSOCIATED PRESS
Published: April 9, 2007

NINEVEH, N.Y., April 8 — The cartoonist Johnny Hart, creator of the award-winning “B.C.” comic strip, died at his home here on Saturday. He was 76.

“He had a stroke,” Mr. Hart’s wife, Bobby, said on Sunday. “He died at his storyboard.”

“B.C.,” populated by prehistoric cavemen and dinosaurs, was created in 1958 and eventually appeared in more than 1,300 newspapers, with an audience of 100 million, according to Creators Syndicate Inc., which distributes it.

After he graduated from Union-Endicott High School, Mr. Hart met Brant Parker, a young cartoonist who became a prime influence and co-creator with Mr. Hart of the “Wizard of Id” comic strip.

Mr. Hart enlisted in the Air Force and began producing cartoons for the Pacific version of Stars and Stripes. He sold his first cartoon to The Saturday Evening Post as a freelancer after his discharge from the military in 1954.

Later in his career, some of Mr. Hart’s cartoons had religious themes, which sometimes led to controversy. A strip published on Easter Sunday in 2001 drew protests from some Jewish groups and led several newspapers to drop the strip. The cartoon depicted a menorah transforming into a cross, with accompanying text quoting some of Jesus Christ’s dying words. Critics of the strip said it implied that Christianity superseded Judaism. Mr. Hart said he intended the cartoon as a tribute to both faiths.

The novelist and cartoonist Mell Lazarus, creator of the “Momma” and “Miss Peach” comic strips, described Mr. Hart as “a very dear friend.”

“He was generally regarded as one of the best cartoonists we’ve ever had,” Mr. Lazarus said from his California home. “He was totally original. ‘B.C.’ broke ground and led the way for a number of imitators, none of which ever came close.”

Mr. Lazarus said Mr. Hart, a born-again Christian, was a generous and civic-minded man who lived quietly with his family in the small town where he grew up.

“Johnny was one of the smartest and funniest persons I’ve ever known,” Mr. Lazarus said. “This is a great loss.”

Richard Newcombe, founder and president of Creators Syndicate in Los Angeles, said of Mr. Hart: “He influenced my life in many ways. He had such an emphasis on kindness, generosity and patience. He had a strong commitment to talent and hard work.”

Mr. Newcombe said Mr. Hart was the first cartoonist to sign on when the syndicate was created 20 years ago. “Traditionally, comic strips were owned by syndicates,” he said. “We were different because we allowed cartoonists to own their own work. It was because of Johnny’s commitment to this idea that made us a success.”

Besides his wife, Mr. Hart is survived by two daughters, Patti and Perri.
Correction: April 12, 2007 An obituary by The Associated Press on Monday about the cartoonist Johnny Hart misidentified his hometown, where he died. It was Nineveh, N.Y., not Endicott, N.Y.

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Kurt Vonnegut, 1924 - 2007

VARIETY: Literary giant Vonnegut dies at 84
Counter-culture guru wrote 'Slaughterhouse'
By WIRE REPORTS

Kurt Vonnegut Jr., writer of dark comic novels including "Slaughterhouse-Five," died Tuesday in Manhattan. He was 84. Vonnegut suffered brain injuries as a result of a fall several weeks ago.

His novels became classics, particularly among young readers in the 1960s and '70s.

His 14 novels included races he invented, impossible sci-fi phenomena and outlandish religions. While several were adapted for films, his vivid imagination sometimes proved difficult to translate to the screen, with George Roy Hill's "Slaughterhouse-Five" one of the more successful attempts. Other adaptations, such as Alan Rudolph's "Breakfast for Champions" and "Slapstick (of Another Kind)" were less successful.

Vonnegut was a prisoner of war in Dresden, Germany when he witnessed the firebombing by Allied forces, a brutal event which left a lasting influence on his work. "Slaughterhouse-Five," published in 1969 during the Vietnam war, was based on his WWII experiences.

His novels combined fiction and autobiography in a freewheeling style which took liberties with structure and punctuation, yet Graham Greene called him "one of the most able of living American writers."

Born in Indianapolis, his father was an architect who was often out of work during the Depression, while his mother suffered from mental illness and committed suicide. He attended Cornell U., and then studied mechanical engineering while in the Army. He had three children with Jane Marie Cox, his high school sweetheart, and adopted his sister's three children after she died of cancer. He started out working as a police reporter in Chicago, then did public relations for General Electric in New York. He soon sold his first short story to Collier's magazine and began writing short stories while working various jobs. His other novels include "Player Piano," a satire on corporate life; sci-fi novel "The Sirens of Titan," "Mother Night," which became a film starring Nick Nolte; and "Cat's Cradle." After "Slaughterhouse-Five," he suffered a severe depression, and then tried writing for the stage. "Happy Birthday, Wanda June" opened Off Broadway to mixed reviews.

He was divorced and then married photographer Jill Krementz, with whom he had a daughter.

His last novel, "Timequake" in 1997 revisited the his alter-ego character of Kilgore Trout first introduced in "Slaughterhouse-Five," who also figured in "Breakfast of Champions."

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Wednesday, April 04, 2007

Bob Clark, 1941 - 2007

YAHOO! NEWS: 'Christmas Story' director dies in crash
By JEREMIAH MARQUEZ, Associated Press Writer

LOS ANGELES - Film director Robert Clark, best known for the beloved holiday classic "A Christmas Story," was killed with his son Wednesday in a car wreck, the filmmaker's assistant and police said.

Clark, 67, and son Ariel Hanrath-Clark, 22, were killed in the accident in Pacific Palisades, said Lyne Leavy, Clark's personal assistant.

The two men were in an Infiniti that collided head-on with a GMC Yukon around 2:30 a.m. PST, said Lt. Paul Vernon, a police spokesman. The driver of the other car was under the influence of alcohol and was driving without a license, Vernon said.

The driver, Hector Velazquez-Nava, 24, of Los Angeles, remained hospitalized and will be booked for investigation of gross vehicular manslaughter after being treated, Vernon said. A female passenger in his car also was taken to the hospital with minor injuries and released, police said.

In Clark's most famous film, all 9-year-old Ralphie Parker wants for Christmas is an official Red Ryder carbine-action 200-shot range model air rifle.

His mother, teacher and Santa Claus all warn: "You'll shoot your eye out, kid."

A school bully named Scut Farkus, a leg lamp, a freezing flagpole mishap and some four-letter defiance helped the movie become a seasonal fixture with "It's A Wonderful Life" and "Miracle on 34th Street."

Clark specialized in horror movies and thrillers early in his career, directing such 1970s flicks as "Children Shouldn't Play With Dead Things," "Murder by Decree," "Breaking Point" and "Black Christmas," which was remade last year.

His breakout success came with 1981's sex farce "Porky's," a coming-of-age romp that he followed two years later with "Porky's II: The Next Day."

In 1983, "A Christmas Story" marked a career high for Clark. Darrin McGavin, Melinda Dillon and Peter Billingsley starred in the adaptation of Jean Shepard's childhood memoir of a boy in the 1940s.

The film was a modest theatrical success, but critics loved it.

In 1994, Clark directed a forgettable sequel, "It Runs in the Family," featuring Charles Grodin, Mary Steenburgen and Kieran Culkin in a continuation of Shepard's memoirs.

In recent years, Clark made family comedies that were savaged by critics, including "Karate Dog," "Baby Geniuses" and its sequel, "Superbabies: Baby Geniuses 2."

Among Clark's other movies were Sylvester Stallone and Dolly Parton's "Rhinestone," Timothy Hutton's "Turk 182!", and Gene Hackman and Dan Aykroyd's "Loose Cannons."

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Variety has another article about Mr. Clark here, and here's the LA Times article. What a shame that this happened.

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Saturday, March 31, 2007

The Story Of Vincenzo Riccardi

LA TIMES: He died in vast isolation
By Erika Hayasaki, Times Staff Writer
March 31, 2007

Southampton, N.Y. — THE blind man died alone in front of his television in a lounge chair, near a table covered with medicine bottles wrapped in rubber bands and a cereal box stuffed with mail. Each rubber band marked a prescription he recognized by touch. Each envelope contained information he could not read. He never received letters, only bills.

A neighbor called police after she noticed a pipe had burst at his house. His double-door garage was cloaked in a frozen waterfall. Police discovered the man inside, still as the icy water. His television still buzzing, his living room blanketed with dead flies. His electric bills had gone unpaid, but the company for some inexplicable reason had not shut off power. Warm air had preserved his face almost perfectly, like a dried rose.

They found him 13 months after his final breath.

Headlines called him the "Mummified Man." Media as diverse as his hometown weekly newspaper in Southampton and newscasts in India and Japan reported the death of 70-year-old Vincenzo "Ricardo." Hardly anyone got his last name right — it was Riccardi.

Neighbors in this oceanside Suffolk County neighborhood, 85 miles east of Manhattan, couldn't believe a dead man had been inside the brick house with yellow shingles for all that time. Several didn't even know there was a house tucked in the web of trees and shrubs 500 yards from the street. Some only visit their homes here in the summer, and the growing population of year-round residents has not been around long.

Those who have lived here for decades vaguely remembered the man who used to wander the blocks tapping his cane, sometimes roaming onto a neighbor's lawn until someone pointed him in the right direction. Some described him as short and stocky. Others said he was tall and heavyset. Some thought he had gray hair. Others said he was bald.

"I wasn't close to him," said Pete Urchuiolio, who grew up in a house next to Riccardi's, "just neighbors."

Susan Haines can see Riccardi's house from her front lawn and remembers when he built it on the 2.2-acre lot in the 1980s. "My God," she said, "why didn't anybody think about him?"

In Colombia, a man asked his family in America if they had heard about the mummified man and wondered what kind of people forgot about their elderly like that.

In East Quogue, N.Y., a 10-minute drive from Riccardi's house, the sister of the man in Colombia listened to the news and cried. Adriana Molina, 41, may have been the last person who hugged Riccardi. The caretaker used to wash his clothes and bathe him. She knew his hair was gray and his build was tall and strong. She knew he used to stand straight and walk with his chest puffed out. She knew one of his eyes was a puddle of pink and gray, while the other was brown, and she remembered how both always stayed open, looking nowhere.

He wrote a song for her once: "Adriana, Adriana, you are my eyes."

If only she had not given up on him over a year ago, Molina said shortly after Riccardi was found Feb. 15. If she had put up with his violent tantrums longer, maybe the man she called "Mr. Vincent" would not have died alone.



HE told her he would pay her $20 to clean his two-story house, to scrub its grimy kitchen and bathrooms, to clear its fireplace heaped with trash. Twenty dollars — take it or leave it.

Molina had shown up at Riccardi's house one afternoon in 2003 with her daughter after a 91-year-old client told her about the blind, diabetic man who was on his own. The client knew Riccardi from a local senior center. Molina thought she could help.

She had lived in the U.S. for five years and still could not understand why Americans sent their grandparents to nursing homes or let them live alone. In Colombia, she said, families took care of their seniors.

When Molina started her cleaning company, she met elderly people who "just needed company, just to talk." She did more than clean. She took aging clients to the library, the grocery store, the doctor. She gave them music, painted their nails, washed their hair.

Molina's daughter, Kelly, now 21, remembered being at Riccardi's house that first day and giving her mother a look that said, "Don't do it." The man was rude. Twenty dollars, she thought, was not nearly enough.

The kitchen was covered in grease from steaks he'd cooked. Discolored button-down shirts — he mixed colors in the washer — hung all over the place because he had no dryer. He left spoiled food on the lawn, saying it was for the animals.

The upstairs had a separate kitchen and roomfuls of vintage furniture. It was left almost untouched because Riccardi stayed on the first floor to avoid stumbling on the stairs.

Molina told her daughter not to worry about the money or the filth: "The guy needs help."

She read his mail aloud and washed dishes. In between, Molina asked Riccardi about his family. Didn't he have anyone? Could she call someone for him? She knew only of a cousin of his who lived in the neighborhood. He was about Riccardi's age, and he used to come by with gallons of milk. But Riccardi told the cousin to stop.

Molina was struck by Riccardi's independence. He shaved and cooked. He gave himself insulin injections. He kept track of his money by folding the ends of bills differently. He tied ropes around trees down a long gravel and dirt driveway to help guide him through his yard, to the mailbox, to the street.

Molina knew Riccardi was born in Italy on April 4, 1935. He gave her the information so she could help him refill prescriptions and make doctor's appointments. He talked of missing Italy. Molina remembered Riccardi telling her that he wanted to take her there. She thought of an Italian musician she enjoyed, Andrea Bocelli, and gave Riccardi a CD of his music. Riccardi knew of the artist and told Molina that Bocelli was also blind. He played the song "Vivere," and swaying from side to side, Riccardi danced.

Molina said Riccardi hugged her once — it helped him imagine what she looked like. He spent Father's Day with her family. He went to the mall with Molina and her son, Mateo Torres, now 13, and paid for lunch. He talked baseball with Mateo, who said he thought of him as grandpa.

In time, Riccardi revealed facets of his past to Molina. He used to be a carpenter. He'd had a wife, but she'd moved out several years earlier. Then she died. He'd had a daughter, Maria, who died young. He called her "my little baby."

One day, Riccardi said he missed his son. He gave Molina his son's number and asked her to call him. He refused to tell her why the two were not speaking. Molina left messages: "This is Adriana Molina. I need to talk with you." They never talked.

Molina thought Riccardi must have done something awful for his family to abandon him. But she would not judge him. "I try to not think too much what happened, what bad he did," she said. "I think in that moment he needs me, and God put me there for some reason."

She thought of her own father. When she was growing up, he was an alcoholic and he physically abused her mother. She can remember the fear she felt when he was around. But he is 64 now, and she has forgiven him. Her father was not a good person, she said, "but no matter, if he needs me, I'm there."

Molina said she believes that when people grow older they feel guilty about their past, and they become afraid of dying. That is why she could not understand, no matter what Riccardi had done, why he had been left to fend for himself.

Riccardi's son has not spoken publicly about his father. Other family members said his son asked them not to speak to the media, and some said it was not their place to comment. Reached by phone, Riccardi's sister-in-law, Dina Fayad, said, "I don't know how he was living. I hadn't talked to him in years."



IN October 2005, Molina showed up at Riccardi's house, and no one was home. She returned a few days later. Still no answer. The mail had piled up, so she thought something must be wrong. She left a business card on his door, first writing on the back: "If somebody knows something about Vincent please let me know." She notified police. Two days later, an officer called to tell her Riccardi was in a psychiatric hospital.

Molina went to pick him up. Riccardi told her he was trying to open a can when he accidentally sliced his neck. He called 911, but when officers arrived they thought he had tried to kill himself. Molina never found out whether it was an accident.

She remembered that Riccardi asked hospital staff to return the rosary beads he kept in his left pocket and a gold Virgin Mary medallion that he wore around his neck.

She asked why the necklace was so important to him.

"My mom gave it to me," she recalled Riccardi saying, "and I want to have it with me when I die."

Molina's daughter had warmed up to Riccardi and welcomed him to their home for Thanksgiving in 2005. Riccardi arrived wearing the leather jacket he put on for special occasions. He drank one glass of scotch. He gave Kelly and Mateo $10 bills.

Before Kelly moved to California to attend college, she gave Riccardi a radio she had bought because she didn't need it anymore, and she knew Riccardi liked music. Soon after, Riccardi called Molina, screaming that her daughter had given him a stolen radio. He wanted her to take it back immediately before police came to his house and put him in jail.

Molina cried. How could he accuse Kelly of stealing something to get him in trouble? Kelly had given it to Riccardi as a gift. How could he say such a mean thing?

When Riccardi heard Molina's sobs, he apologized.

But his outbursts and paranoid behavior got worse. Once, after Molina cooked for him, she recalled, Riccardi accused her of putting scissors in his soup. He screamed, "You're trying to kill me!"

He became irritable with others too. Pam Giacoia, director of Southampton Town's senior services, remembered that a van picked him up for lunch every once in a while. But Riccardi started accusing staff of poisoning his cookies.

Winter came, and Riccardi stopped shaving. Molina said he complained about problems with his dentures, that it was hard to eat the steaks he enjoyed. He lost weight. He stopped visiting the senior center for lunch. He talked of how hard his life was, Molina said, how hopeless it seemed.

Molina grew tired of trying to calm him down. She needed to spend more time with her husband and children. She was caring for three other elderly clients who needed her too. Riccardi called at all hours, asking her to come around every day. Molina said that when she could not be there, he asked her to close her eyes for five minutes, and "try to live."

She would obey, imagining life in the dark and feeling guilty for not doing enough.

"I was so tired. I swear to God," Molina said. "I let him treat me bad sometimes. God knows, I tried hard."

Molina's daughter saw her mother's stress. Kelly said every time Molina tried to take a break from Riccardi, he persuaded her to come back. Kelly told her mother she had done enough for him.

In December 2005, Molina was at Riccardi's home, she said, when out of nowhere he accused her of trying to kill him again. He started swinging his cane, trying to hit her. Swoosh. He hated everybody. Swoosh. "Nobody loves me!"

"Calm down," Molina said. "I love you."

He flung his cane a few more times as Molina dodged each swing. "Get out of here!" Molina recalled him yelling. Riccardi told her he did not need her help anymore. He was getting a nurse to care for him instead.

"Good for you," she said. "Good luck."

She went to the driveway, sat in her car and cried. "God," she remembered saying, "I'm sorry, but I can't."

Three weeks after police discovered Riccardi, his house remained much like Molina had seen it on that December day more than a year ago when she said goodbye.

Molina went back after hearing the news. A rusted beige Pontiac was parked in the driveway, second-floor blinds parted slightly, weeds and bushes neglected and brown. Through a window, she saw an orange juice box, a pair of his sneakers, the dead flies, the television, the medicine bottles wrapped in rubber bands.

She saw the radio Kelly had given him, tipped over on the floor.

Molina couldn't bear to think of him dying this way. She blamed herself. "Why didn't I have more patience?"

She never found out why his family never came, or how Riccardi came to be alienated from them. She didn't want to know. "I just know the time we spent together was special," she said, "and I know his heart was good."

A few days later, Kelly told her mother about a poem someone had anonymously posted about him online:

Vincenzo Ricardo lived all alone

Diabetic, and blind — left all on his own.

For a year, no one saw him

For a year no one cared


So a man sat dead, while his TV blared….


Out of sight, out of mind,


As the days moved forward


Just a crabby old man


Whom the neighbors ignored….


He was just an old man


Who needed a friend,


No one deserves


This lonely an end.



-----------------------
erika.hayasaki@latimes.com

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Tuesday, March 20, 2007

Freddie Francis, 1917 - 2007

VARIETY: Cinematographer Francis dies at 89
Filmmaker won Oscars for 'Sons and Lovers,' 'Glory'
By ADAM DAWTREY
Posted: Tue., Mar. 20, 2007, 9:15am PT

LONDON -- Freddie Francis, the legendary British cinematographer who won Academy Awards for "Sons and Lovers" in 1961 and "Glory" in 1989, died March 17 in west London. He was 89 years old.

Although he received his greatest acclaim as a cinematographer, with numerous nominations and prizes for his work on films such as "The Straight Story," "Elephant Man," "The French Lieutenant's Woman" and "Cape Fear," he also had a successful career as a director of horror movies in the 1960s and 1970s for cult British studios Hammer and Amicus.

Francis was born Dec. 22, 1917 in Islington, London. Starting out as a stills photographer, he entered the film business as a clapper boy, camera loader and focus puller. After the Second World War, when he gained experienced with army film units, he worked as a camera operator on classic British films including "The Elusive Pimpernel," "The Small Back Room," "Gone to Earth," "Tales of Hoffmann," "Beat the Devil" and "Moby Dick."

He made his debut as a cinematographer with "A Hill in Korea" in 1956, moving on to shoot the new wave of realist working-class dramas, such as "Room at the Top" and "Saturday Night and Sunday Morning."

He stopped working as a cinematographer in the mid-60s when his directing career started to take off with genre pics such as "Nightmare," "Hysteria," "The Evil of Frankenstein" and "Dracula Has Risen from the Grave." He returned to cinematography in 1980 with David Lynch's "The Elephant Man," working subsequently with Lynch on "Dune" in 1984 and "Straight Story" in 1999, his last ever movie. His last film as a director was "The Dark Tower" in 1986.

He won the lifetime achievement award from the British Society of Cinematographers in 1997, and the International Award from the American Society of Cinematographers in 1998. He was nominated for four BAFTAs but never won.

He had just completed his autobiography, co-written by Tony Dalton, when he fell ill with a stroke late in 2006.

He is survived by h