Potrzebie
Wednesday, January 26, 2011
I was so much Elder (1921-2008) then; I'm younger than that now. #2
Kickstarter: Chicken Fat
Kickstarter: Chicken Fat
Labels: elder, gaines, hajdu, kurtzman, trump
¶ 8:07 AM 0 comments
Thursday, January 13, 2011
Wood Chips 25: Daniel Clowes, David Hajdu, Gil Ortiz
Gil Ortiz describes the circumstances of this 1978 photo: "I was on my way to Boston, when I stopped off to visit Woody. It was a sunny day outside. In fact the foto of Wally outside with the cup of java is right outside this studio. From what I remember, that was the only door. When we got inside, Wally sat down on his daybed to write something on his typewriter. Observing this, I stood back and took this shot. Woody was not big on idle chit chat. If he had something to say, a lot of times he would type it out and send off a letter or a short note. I remember receiving quite a few 'Words from Wood.'"
At the Strand Bookstore, David Hajdu interviews Daniel Clowes, who talks about Wally Wood and the Gil Ortiz photo taken inside Wood's studio.
Daniel Clowes' Mr. Wonderful.
©2010 Gilbert Ortiz
Gil Ortiz describes the circumstances of this 1978 photo: "I was on my way to Boston, when I stopped off to visit Woody. It was a sunny day outside. In fact the foto of Wally outside with the cup of java is right outside this studio. From what I remember, that was the only door. When we got inside, Wally sat down on his daybed to write something on his typewriter. Observing this, I stood back and took this shot. Woody was not big on idle chit chat. If he had something to say, a lot of times he would type it out and send off a letter or a short note. I remember receiving quite a few 'Words from Wood.'"
At the Strand Bookstore, David Hajdu interviews Daniel Clowes, who talks about Wally Wood and the Gil Ortiz photo taken inside Wood's studio.
Daniel Clowes' Mr. Wonderful.
Labels: clowes, hajdu, ortiz, wood chips
¶ 10:19 PM 0 comments
Sunday, September 26, 2010
Four Color Fear
It seems unfortunate to me that cartoonist Howard Nostrand (1929-1984) was not a contributor to the early Mad comic book. He would have been a comfortable fit, more so than John Severin.
Below is Nostrand's strange, surreal "What's Happening at... 8:30 P.M." from Witches Tales #25 (June 1954). This has just been reprinted in Greg Sadowski and John Benson's noirish, nightmarish Four Color Fear, an anthology of pre-Code 1950s terror tales, coincidentally shipping during Banned Books Week (September 25 to October 2).
When I interviewed Nostrand in 1968, I carried along a copy of Witches Tales #25. I asked him about Harvey Comics, Bob Powell and this story: "Harvey had a sort of chicken attitude about horror stuff. Like it should be horrible but not too horrible. Granted, they get a little ghastly every once in a while, but I suppose they wanted to keep it in fairly good taste. When you look at '8:30 P.M', there's nothing particularly horrible about it. It's a little germ wandering around. And the fact that the germ gets killed, nobody's going to lie awake at night thinking about it."
He also spoke about the Eisner-like title billboard in the splash and achieving atmospherics on the first page: "Powell was a great fan of Hitchcock's, same way that Eisner was. You look at an old Hitchcock movie... the first thing you do is set the scene. This is what I tried to do in a lot of these things. You set a mood for the whole thing. With about the first three shots, you set the mood, and then you go from there... Eisner used to get his titles in the opening panel there. The treatment is strictly Eisner. But then again, the background and all that is EC." Nostrand also commented on the unusual coloring: "It's supposed to be on the inside of a body, and so everything is kind of reddish. The only thing that isn't red is this foreign body."
This analogy between the interior of a city and a human body, linked only by redness, is what makes this story remarkable, actually more imaginative than such movies as Fantastic Voyage (1966) and Innerspace (1987). As I wrote years ago, it has more in common with Samuel Beckett's journey into self-perception, Film (1965), shot in lower Manhattan with a dying Buster Keaton. You can see Film here.
Strange synchronicity when I wrote about this story in the early 1980s for The Comics Journal: I wanted to compare it with Film and wished I had a copy of the obscure book about the Beckett movie published years earlier by Evergreen Books. I shlepped up the hill toward the usual Saturday afternoon yard sale. There was a table with only about 20 books. One of them was the very book I needed. Stunned, I gave someone 35 cents for the book, walked back down the hill and continued typing.
I feel lucky Four Color Fear: Forgotten Horror Comics of the 1950s (Fantagraphics, distributed by W.W. Norton) made it here. One side of the W.W. Norton cardboard mailer was ripped open with the book poking out. The mailer was too big, causing the unwrapped book to slide around inside. Someone at the Post Office put it in a plastic bag, and it was delivered hanging on the mailbox where it stayed overnight. You would think a company like W.W. Norton would have figured out how to package books for mailing by now.
Greg Sadowski and John Benson did a superb job on this collection of early 1950s horror stories, including Wood's "The Thing from the Sea" from Eerie #2 (August-September 1951) and Joe Kubert's beautifully drawn "Cat's Death" from Strange Terrors #7 (March 1963). Also included: Fred Kida, Everett Raymond Kinstler, Basil Wolverton, Al Williamson, Frank Frazetta, George Evans, Sid Check, Jack Cole, Bob Powell and others. There's a spectacular section of 32 front covers, full bleed on slick paper, including covers by Wood, Frazetta, Lee Elias and Norm Saunders.
In addition to Greg's attractive design throughout, he delivers meticulous, pixel-perfect restorations, quite evident to me when I compared the reprint of "What's Happening at... 8:30 P.M." with the original comic book. In the pages above, scanned directly from the book, one can see Greg's patience and precision in creating flawless restorations. It can also be quite time consuming, as I recall from 1988-89 when I did restoration work on ten volumes of NBM's Wash Tubbs and Captain Easy book series.
There are 25 pages of fascinating, informative notes by both Greg and John. I love that line "Comic Media... featured a rising sales chart as its logo". The book has an interactive aspect as one turns back and forth from stories and covers to the notes. The "Cover Section Key" shows the influence of web design, as each note about a cover is accompanied by a full-color thumbnail of the cover.
In an attempt to nail down which issues are "true horror comics", John Benson lists 1,371 pre-Code issues representing 110 titles from 30 companies. He also contributes a full article analyzing the work of scripter-editor Ruth Roche, noting, "Many 1950s horror comics featured violence, gore and menace for their own sake, but in Roche's world they were often only suggested, for they were merely manifestations of her real subject: the unbridled evil and chaos that was always lurking just beneath the surface, waiting to escape into the world. The innocent died with the guilty in her stories, and sometimes the particular personification of evil would still be at large at the story's end. A chilling variation on the theme of hidden chaos is the discovery that a loved one or trusted figure is actually 'the other' (a theme effectively used in the movie Invasion of the Body Snatchers a few years later). 'Evil Intruder' tellingly develops this theme and is one of the more horrifying stories in the whole genre." The slobbering love-starved creature in this outré story (from Journey into Fear #12) is totally unlike anything one might see in fantasy films or TV.
I don't like to read an article reversed into black, but even so, the inside front cover, title pages, contents page and intro, unified by the black background surrounding colorful typographic devices, all demonstrate Greg's skill as an inventive designer.
The only real flaw is the Adam Grano cover design. I always disliked the idea of enlarging panels to show halftone dots. Maybe this was clever 40 years ago, but now it's just annoying. Greg could have easily designed a much better cover, possibly by combining his logo-like title page creation with the Frank Frazetta/Sid Check cover of Beware #10 (July 1954), showing the undead about to toss a gravity-defying girl into an open grave.
This book is like time-traveling, a document of an era. Some of these stories and covers I barely recall, some are familiar and others are new to me. This will stand as an important reference work that should be shelved alongside David Hajdu's The Ten-Cent Plague. Where Hajdu detailed the behind-the-scenes political machinations and wild witchhunts of the 1950s anti-comics crusade, Four Color Fear shows what was actually available on newsstands at the time.
One minor error: The 1931-38 horror-fantasy radio series which inspired Gaines was The Witch's Tale, not The Old Witch's Tale. The host-narrator of the series was not the Old Witch, but Old Nancy, the Witch of Salem. Miriam Wolfe, who died in 2000, was 13 years old when she began portraying the cackling Old Nancy. The program's creator, Alonzo Deen Cole, provided the meows of Old Nancy's coal black cat Satan. To hear The Witch's Tale, go here.
For PDF preview of Four Color Fear with four complete stories, go here.
Below is Nostrand's strange, surreal "What's Happening at... 8:30 P.M." from Witches Tales #25 (June 1954). This has just been reprinted in Greg Sadowski and John Benson's noirish, nightmarish Four Color Fear, an anthology of pre-Code 1950s terror tales, coincidentally shipping during Banned Books Week (September 25 to October 2).
When I interviewed Nostrand in 1968, I carried along a copy of Witches Tales #25. I asked him about Harvey Comics, Bob Powell and this story: "Harvey had a sort of chicken attitude about horror stuff. Like it should be horrible but not too horrible. Granted, they get a little ghastly every once in a while, but I suppose they wanted to keep it in fairly good taste. When you look at '8:30 P.M', there's nothing particularly horrible about it. It's a little germ wandering around. And the fact that the germ gets killed, nobody's going to lie awake at night thinking about it."
He also spoke about the Eisner-like title billboard in the splash and achieving atmospherics on the first page: "Powell was a great fan of Hitchcock's, same way that Eisner was. You look at an old Hitchcock movie... the first thing you do is set the scene. This is what I tried to do in a lot of these things. You set a mood for the whole thing. With about the first three shots, you set the mood, and then you go from there... Eisner used to get his titles in the opening panel there. The treatment is strictly Eisner. But then again, the background and all that is EC." Nostrand also commented on the unusual coloring: "It's supposed to be on the inside of a body, and so everything is kind of reddish. The only thing that isn't red is this foreign body."
This analogy between the interior of a city and a human body, linked only by redness, is what makes this story remarkable, actually more imaginative than such movies as Fantastic Voyage (1966) and Innerspace (1987). As I wrote years ago, it has more in common with Samuel Beckett's journey into self-perception, Film (1965), shot in lower Manhattan with a dying Buster Keaton. You can see Film here.
Strange synchronicity when I wrote about this story in the early 1980s for The Comics Journal: I wanted to compare it with Film and wished I had a copy of the obscure book about the Beckett movie published years earlier by Evergreen Books. I shlepped up the hill toward the usual Saturday afternoon yard sale. There was a table with only about 20 books. One of them was the very book I needed. Stunned, I gave someone 35 cents for the book, walked back down the hill and continued typing.
The stories in Four Color Fear are public domain, but the
specific restored images and design are ©2010 Fantagraphics Books.
specific restored images and design are ©2010 Fantagraphics Books.
I feel lucky Four Color Fear: Forgotten Horror Comics of the 1950s (Fantagraphics, distributed by W.W. Norton) made it here. One side of the W.W. Norton cardboard mailer was ripped open with the book poking out. The mailer was too big, causing the unwrapped book to slide around inside. Someone at the Post Office put it in a plastic bag, and it was delivered hanging on the mailbox where it stayed overnight. You would think a company like W.W. Norton would have figured out how to package books for mailing by now.
Greg Sadowski and John Benson did a superb job on this collection of early 1950s horror stories, including Wood's "The Thing from the Sea" from Eerie #2 (August-September 1951) and Joe Kubert's beautifully drawn "Cat's Death" from Strange Terrors #7 (March 1963). Also included: Fred Kida, Everett Raymond Kinstler, Basil Wolverton, Al Williamson, Frank Frazetta, George Evans, Sid Check, Jack Cole, Bob Powell and others. There's a spectacular section of 32 front covers, full bleed on slick paper, including covers by Wood, Frazetta, Lee Elias and Norm Saunders.
There are 25 pages of fascinating, informative notes by both Greg and John. I love that line "Comic Media... featured a rising sales chart as its logo". The book has an interactive aspect as one turns back and forth from stories and covers to the notes. The "Cover Section Key" shows the influence of web design, as each note about a cover is accompanied by a full-color thumbnail of the cover.
In an attempt to nail down which issues are "true horror comics", John Benson lists 1,371 pre-Code issues representing 110 titles from 30 companies. He also contributes a full article analyzing the work of scripter-editor Ruth Roche, noting, "Many 1950s horror comics featured violence, gore and menace for their own sake, but in Roche's world they were often only suggested, for they were merely manifestations of her real subject: the unbridled evil and chaos that was always lurking just beneath the surface, waiting to escape into the world. The innocent died with the guilty in her stories, and sometimes the particular personification of evil would still be at large at the story's end. A chilling variation on the theme of hidden chaos is the discovery that a loved one or trusted figure is actually 'the other' (a theme effectively used in the movie Invasion of the Body Snatchers a few years later). 'Evil Intruder' tellingly develops this theme and is one of the more horrifying stories in the whole genre." The slobbering love-starved creature in this outré story (from Journey into Fear #12) is totally unlike anything one might see in fantasy films or TV.
The only real flaw is the Adam Grano cover design. I always disliked the idea of enlarging panels to show halftone dots. Maybe this was clever 40 years ago, but now it's just annoying. Greg could have easily designed a much better cover, possibly by combining his logo-like title page creation with the Frank Frazetta/Sid Check cover of Beware #10 (July 1954), showing the undead about to toss a gravity-defying girl into an open grave.
This book is like time-traveling, a document of an era. Some of these stories and covers I barely recall, some are familiar and others are new to me. This will stand as an important reference work that should be shelved alongside David Hajdu's The Ten-Cent Plague. Where Hajdu detailed the behind-the-scenes political machinations and wild witchhunts of the 1950s anti-comics crusade, Four Color Fear shows what was actually available on newsstands at the time.
One minor error: The 1931-38 horror-fantasy radio series which inspired Gaines was The Witch's Tale, not The Old Witch's Tale. The host-narrator of the series was not the Old Witch, but Old Nancy, the Witch of Salem. Miriam Wolfe, who died in 2000, was 13 years old when she began portraying the cackling Old Nancy. The program's creator, Alonzo Deen Cole, provided the meows of Old Nancy's coal black cat Satan. To hear The Witch's Tale, go here.
For PDF preview of Four Color Fear with four complete stories, go here.
Labels: beckett, benson, eisner, gaines, hajdu, kurtzman, mad, nostrand, sadowski, severin, wolfe
¶ 4:33 PM 4 comments
Saturday, April 03, 2010
Joe Kubert and Norman Maurer put it to you, the home audience
From Tor #5 (October, 1954):
Labels: hajdu, kubert, maurer, tor, wertham
¶ 3:03 PM 0 comments
Monday, March 22, 2010
The Gorbals Vampire
On September 23, 1954, strange things were happening in Glasgow as hundreds of children raced through a local cemetery, the Southern Necropolis, with stakes, sticks, stones and knives seeking to vanquish a vampire with iron teeth.
Hy Fleishman's "The Vampire with the Iron Teeth" appeared in Dark Mysteries #15 (December 1953). To read Fleishman's full story, go to The Horrors of It All. Also see Monsters with Iron Teeth (Sheffield Academic Press, 1988) by Gillian Bennett and Paul Smith. Numerous books on urban legends mention the Gorbals Vampire of 1954 and the 1879 poem "Jenny wi' Airn Teeth".
On Tuesday, March 30, BBC Radio 4 will broadcast a documentary on the connection between the Gorbals Vampire and EC and other horror comics, exploring how this incident triggered censorship of comic books in the UK. The Gorbals Vampire event was previously described in Martin Barker's A Haunt of Fears: The Strange History of the British Horror Comics Campaign, published by London's Pluto Press in 1983. This book is still available from the University Press of Mississippi which reprinted it in 1992. To read what Barker wrote about the Gorbals Vampire, go here.
Here's a link to the BBC News story and a 1989 Scottish Herald article. Thanks to Trevor M., Pappy and Karswell for the tips. (See comments.) For a memorable film set in the towering Glasgow projects, see Andrea Arnold's Red Road (2007).
And here's the BBC press release:
The Gorbals Vampire
Tuesday 30 March 11:00-11:30pm BBC Radio 4
Novelist Louise Welsh investigates how a comic-book vampire brought horror to Glasgow's south side and its impact on Britain's censorship laws. Glasgow's Southern Necropolis is an eerie place at the best of times but when two local policemen answered a call in September 1954 they encountered a bizarre sight. Hundreds of local children, ranging in ages from four to 14, were crammed inside, roaming between the crypts, armed with sharpened sticks, knives stolen from home and stakes. They said they were hunting down "a vampire with iron teeth" that had kidnapped and eaten two local boys. The policemen dispersed the crowd, but they came back at sundown the next night and the next. The local press got hold of the story and it soon went national. There were no missing boys in Glasgow at that time, and press and politicians cast around for an explanation. They soon found one in the wave of American horror comics with names like Astounding Stories and Tales From The Crypt, which had recently flooded into the West of Scotland.
Academics pointed out that none of the comics featured a vampire with iron teeth, though there was a monster with iron teeth in the Bible (Daniel 7.7) and in a poem taught in local schools. Their voices were drowned out in a full-blown moral panic about the effect that terrifying comics were having on children. Soon the case of the Gorbals Vampire was international news. The British Press raged against the "terrifying, corrupt" comics and, after a heated debate in the House of Commons where the case of Gorbals Vampire was cited, Britain passed the Children and Young Persons (Harmful Publications) Act 1955 which, for the first time, specifically banned the sale of magazines and comics portraying "incidents of a repulsive or horrible nature" to minors. This programme explores how the Gorbals Vampire helped bring the censorship of comic books onto the statute books.
Presenter/Louise Welsh, Producer/David Stenhouse
BBC Radio 4 Publicity
Jenny wi' the Airn Teeth
WHAT a plague is this o' mine,
Winna steek his e'e,
Though I hap him ow'r the head
As cosie as can be.
Sleep! an' let me to my wark,
A' thae claes to airn;
Jenny wi' the airn teeth,
Come an' tak' the bairn:
Tak' him to your ain den,
Where the bowgie bides,
But first put baith your big teeth
In his wee plump sides;
Gie your auld grey pow a shake,
Rive him frae my grup—
Tak' him where nae kiss is gaun
When he waukens up.
Jenny wi' the airn teeth,
The bairn has aff his claes,
Sleepin' safe an' soun', I think—
Dinna touch his taes;
Sleepin' weans are no for you;
Ye may turn about
An' tak' awa' wee Tam next door—
I hear him screichin' oot.
Dump, dump, awa' she gangs
Back the road she cam';
I hear her at the ither door,
Speirin' after Tam.
He's a crabbit, greetin' thing,
The warst in a' the toon;
Little like my ain wee wean—
Losh, he's sleepin' soun'.
Mithers hae an awfu' wark
Wi' their bairns at nicht—
Chappin' on the chair wi' tangs
To gi'e the rogues a fricht.
Aulder weans are fley'd wi' less,
Weel aneuch we ken—
Bigger bowgies, bigger Jennies,
Frichten muckle men.
-Alexander Anderson, 1879
Hy Fleishman's "The Vampire with the Iron Teeth" appeared in Dark Mysteries #15 (December 1953). To read Fleishman's full story, go to The Horrors of It All. Also see Monsters with Iron Teeth (Sheffield Academic Press, 1988) by Gillian Bennett and Paul Smith. Numerous books on urban legends mention the Gorbals Vampire of 1954 and the 1879 poem "Jenny wi' Airn Teeth".
On Tuesday, March 30, BBC Radio 4 will broadcast a documentary on the connection between the Gorbals Vampire and EC and other horror comics, exploring how this incident triggered censorship of comic books in the UK. The Gorbals Vampire event was previously described in Martin Barker's A Haunt of Fears: The Strange History of the British Horror Comics Campaign, published by London's Pluto Press in 1983. This book is still available from the University Press of Mississippi which reprinted it in 1992. To read what Barker wrote about the Gorbals Vampire, go here.
Here's a link to the BBC News story and a 1989 Scottish Herald article. Thanks to Trevor M., Pappy and Karswell for the tips. (See comments.) For a memorable film set in the towering Glasgow projects, see Andrea Arnold's Red Road (2007).
And here's the BBC press release:
The Gorbals Vampire
Tuesday 30 March 11:00-11:30pm BBC Radio 4
Novelist Louise Welsh investigates how a comic-book vampire brought horror to Glasgow's south side and its impact on Britain's censorship laws. Glasgow's Southern Necropolis is an eerie place at the best of times but when two local policemen answered a call in September 1954 they encountered a bizarre sight. Hundreds of local children, ranging in ages from four to 14, were crammed inside, roaming between the crypts, armed with sharpened sticks, knives stolen from home and stakes. They said they were hunting down "a vampire with iron teeth" that had kidnapped and eaten two local boys. The policemen dispersed the crowd, but they came back at sundown the next night and the next. The local press got hold of the story and it soon went national. There were no missing boys in Glasgow at that time, and press and politicians cast around for an explanation. They soon found one in the wave of American horror comics with names like Astounding Stories and Tales From The Crypt, which had recently flooded into the West of Scotland.
Presenter/Louise Welsh, Producer/David Stenhouse
BBC Radio 4 Publicity
Jenny wi' the Airn Teeth
WHAT a plague is this o' mine,
Winna steek his e'e,
Though I hap him ow'r the head
As cosie as can be.
Sleep! an' let me to my wark,
A' thae claes to airn;
Jenny wi' the airn teeth,
Come an' tak' the bairn:
Tak' him to your ain den,
Where the bowgie bides,
But first put baith your big teeth
In his wee plump sides;
Gie your auld grey pow a shake,
Rive him frae my grup—
Tak' him where nae kiss is gaun
When he waukens up.
Two views of the gatehouse in the
much-vandalized Southern Necropolis
much-vandalized Southern Necropolis
Whatna noise is that I hear
Comin' doon the street?
Weel I ken the dump-dump
O' her beetle feet.
Mercy me, she's at the door,
Hear her lift the sneck;
Whisht! an' cuddle mammy noo
Closer roun' the neck.
Jenny wi' the airn teeth,
The bairn has aff his claes,
Sleepin' safe an' soun', I think—
Dinna touch his taes;
Sleepin' weans are no for you;
Ye may turn about
An' tak' awa' wee Tam next door—
I hear him screichin' oot.
Dump, dump, awa' she gangs
Back the road she cam';
I hear her at the ither door,
Speirin' after Tam.
He's a crabbit, greetin' thing,
The warst in a' the toon;
Little like my ain wee wean—
Losh, he's sleepin' soun'.
Mithers hae an awfu' wark
Wi' their bairns at nicht—
Chappin' on the chair wi' tangs
To gi'e the rogues a fricht.
Aulder weans are fley'd wi' less,
Weel aneuch we ken—
Bigger bowgies, bigger Jennies,
Frichten muckle men.
-Alexander Anderson, 1879
Labels: barker, censorship, crypt, ec, glasgow, gorbals, hajdu, jack davis, vampire, wertham
¶ 6:42 PM 5 comments
Saturday, March 01, 2008
Ghoulishly Yours
With the recent press release announcement about a forthcoming film biography of Bill Gaines, Ghoulishly Yours, William M. Gaines, one can speculate on the casting of EC staffers and how they will be depicted. In this Wally Wood drawing from "EC Confidential!" (Weird Science 21, September-October 1953), we see (l to r) most of the EC crew: Jack Kamen, Joe Orlando, Johnny Craig, Harvey Kurtzman, Graham Ingels, Al Feldstein, Bill Gaines, Wally Wood, Al Williamson, Jack Davis, Bill Elder, John Severin and George Evans. Missing from the line-up here are Bernard Krigstein, Reed Crandall, Frank Frazetta and Roy Krenkel. EC colorist Marie Severin (sister of John Severin) is seen at far left. The other women who worked in the EC offices were Gloria Orlando (married to Joe Orlando in 1951), Nancy Siegel (married to Gaines in 1955) and receptionist Shirley Norris. Tatjana Weintraub (married to Wally Wood in 1950) was an uncredited artist on some EC pages. Here's the 2/14 press release about the movie:
Feldstein has signed on as the Creative Consultant of Ghoulishly Yours, William M. Gaines. In this photograph from the early 1950s, Gaines and Feldstein take a lunch break after spending the morning at 225 Lafayette Street writing and proofreading EC Comics. Cartoonist Vince Musacchia (see link at right) notes the photo was probably taken inside Patrissy's Restaurant, located in Little Italy at 98 Kenmare Street, just around the corner from 225 Lafayette Street, and indeed, Patrissy's is mentioned in both Frank Jacobs' The Mad World of William M. Gaines (Lyle Stuart, 1972) and Digby Diehl's Tales from the Crypt: The Official Archives (St. Martin's, 1996). "We'd plot in the morning, then go to Patrissy's, the local Italian restaurant," remembered Feldstein. "We'd gorge ourselves on spaghetti and manicotti and bread. I got fat. In a very short time I ballooned from 150 to 180." Feldstein soon chose to have melba toast and cottage cheese at the office instead of scanning the Patrissy's menu daily. Patrissy's opened in 1906, and eight decades later Danny Patrissy sold his restaurant to Arnold Magliaccio in 1995. It became NoLita's (a portmanteau since 1994 from "North of Little Italy") when it was taken over by Nicholas Barnes in 2000. So we are looking at a photo of the restaurant where EC stories were discussed and developed, leading to the question: Will Patrissy's be recreated for the movie?
Frank Jacobs' book was in the hopper for a film adaptation by HBO, as Jacobs recalled in 2006:
Where did people go for fantastic tales before EC Comics? Click heading above to hear five 1948-49 episodes of Wyllis Cooper's Quiet Please.
©WMG
With the recent press release announcement about a forthcoming film biography of Bill Gaines, Ghoulishly Yours, William M. Gaines, one can speculate on the casting of EC staffers and how they will be depicted. In this Wally Wood drawing from "EC Confidential!" (Weird Science 21, September-October 1953), we see (l to r) most of the EC crew: Jack Kamen, Joe Orlando, Johnny Craig, Harvey Kurtzman, Graham Ingels, Al Feldstein, Bill Gaines, Wally Wood, Al Williamson, Jack Davis, Bill Elder, John Severin and George Evans. Missing from the line-up here are Bernard Krigstein, Reed Crandall, Frank Frazetta and Roy Krenkel. EC colorist Marie Severin (sister of John Severin) is seen at far left. The other women who worked in the EC offices were Gloria Orlando (married to Joe Orlando in 1951), Nancy Siegel (married to Gaines in 1955) and receptionist Shirley Norris. Tatjana Weintraub (married to Wally Wood in 1950) was an uncredited artist on some EC pages. Here's the 2/14 press release about the movie:John Landis (National Lampoon's Animal House, The Blues Brothers, Masters of Horror) has been attached to direct the authorized feature biopic, Ghoulishly Yours, William M. Gaines. Landis will develop the project with Joel Eisenberg, who is penning the screenplay based on the life of the titular EC Comics' publisher (Tales from The Crypt, Mad). Pic will revolve around the banding together of an anti-establishment group of artists and writers, led by a reluctant Gaines and cohort Al Feldstein, as they produce their controversial yet hugely popular line of comic books. At the peak of his success Gaines becomes an unwitting First Amendment figurehead, defending his livelihood against the U.S. government amidst accusations of perpetuating juvenile delinquency. Landis most recently helmed Mr. Warmth: The Don Rickles Project for HBO. Eisenberg is a partner in production concern EMO Films, LLC with Tim Owens and Eugene Mandelcorn. Project is authorized by William M. Gaines Agent, Inc.
Feldstein has signed on as the Creative Consultant of Ghoulishly Yours, William M. Gaines. In this photograph from the early 1950s, Gaines and Feldstein take a lunch break after spending the morning at 225 Lafayette Street writing and proofreading EC Comics. Cartoonist Vince Musacchia (see link at right) notes the photo was probably taken inside Patrissy's Restaurant, located in Little Italy at 98 Kenmare Street, just around the corner from 225 Lafayette Street, and indeed, Patrissy's is mentioned in both Frank Jacobs' The Mad World of William M. Gaines (Lyle Stuart, 1972) and Digby Diehl's Tales from the Crypt: The Official Archives (St. Martin's, 1996). "We'd plot in the morning, then go to Patrissy's, the local Italian restaurant," remembered Feldstein. "We'd gorge ourselves on spaghetti and manicotti and bread. I got fat. In a very short time I ballooned from 150 to 180." Feldstein soon chose to have melba toast and cottage cheese at the office instead of scanning the Patrissy's menu daily. Patrissy's opened in 1906, and eight decades later Danny Patrissy sold his restaurant to Arnold Magliaccio in 1995. It became NoLita's (a portmanteau since 1994 from "North of Little Italy") when it was taken over by Nicholas Barnes in 2000. So we are looking at a photo of the restaurant where EC stories were discussed and developed, leading to the question: Will Patrissy's be recreated for the movie?Frank Jacobs' book was in the hopper for a film adaptation by HBO, as Jacobs recalled in 2006:
My book, The Mad World of William M. Gaines, was optioned six years ago by HBO. They held onto it for five years, then Fox/Searchlight productions, a division of Fox, took over, and now they’re finding that they don’t have enough in their budget for the film we want. So now it looks like Fox is selling the rights to another studio. I don’t know where it’s at right now, but I’m still waiting for the movie to be made. And it (the book) still has a good cult following, which pleases me. I get nice comments about it from time to time. So far as Oliver Platt goes, he seemed the choice early on. It had to be a young actor who was portly, who could pass for Bill Gaines because the script of the movie starts with Bill Gaines coming in knowing nothing, developing EC, and coming up with the horror comics. It covers the whole horror period, and the script ends with Mad becoming a success. It also covers the Harvey Kurtzman incident, you know, when Harvey demanded 51 percent, couldn’t get it, and Feldstein took over.
Patrissy's also figures into David Hajdu's new book, The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, published this month (3/18) by Farrar, Straus and Giroux. With impeccable research, Hajdu covers reactions to comic books in the 1950s, the impact of Fredric Wertham, Gaines' confrontation with the Kefauver committee and other events we might expect to eventually see dramatized in Ghoulishly Yours. To write this detailed, authoritative overview, Hajdu spent six years interviewing over 150 comic book artists, writers, editors and publishers. The bibliographic notes alone fill 62 pages. An appendix includes the names of hundreds of artists, writers and others "who never again worked in comics after the purge of the 1950s." Surpassing past accounts, this is the definitive history of the comic book controversy and all levels of those involved, from censors to readers.
The clip below shows Bill Gaines and Mad writer Dick DeBartolo on To Tell the Truth in 1973. DeBartolo was a writer for Match Game and other game shows. During the early 1960s he invited Match Game guests to go on the roof where they performed in DeBartolo's 8mm films. He once had a showing of these films in a Manhattan hotel ballroom.
Labels: bill gaines, debartolo, ec, feldstein, frank jacobs, hajdu, patrissy's, wertham
¶ 4:06 AM 12 comments
