1.
Association of Comics Magazine Publishers
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Very Funny. in the May 29,1948, issue of The Saturday Review of Literature. In 1948, the released their Publishers Code, drawing on the Hollywood Production Code. Sexy, wanton comics were not to be published, and divorce was not to be treated humorously or represented as glamorous or alluring, Comics that complied with the code were offered a Seal of Approval. The code, however, was not a success, ignored by large and small publishers. Some publishers, such as Dell Comics, refused to join the organization, others, such as founding member EC Comics, terminated their participation. Those who continued as members made use of the ACMP seal of approval without any process of review. Describing the situation in 1950, Director Schultz said, The association, I would say, is out of business and so is the code. In 1954, a tide of criticism, including a new book by Wertham and congressional hearings, spurred the formation of the ACMPs successor. The ACMP Publishers Code served as the template for a detailed set of rules enforced by the CMAAs Comics Code Authority. EC comics and Mad magazine publisher, William M, and since I really didn’t think they were, I figured, such a study would exonerate us. So I didn’t join the association, but then I decided to drop all those books anyway and put out the New Direction stuff. I put out the six first issues, six b-imonthlies, and you can’t believe how horrendous the sales were. And I later found out that it was because the word was passed by the wholesalers, “Get ‘im. ”Sexy, wanton comics should not be published. No drawing should show a female indecently or unduly exposed, crime should not be presented in such a way as to throw sympathy against the law and justice or to inspire others with the desire for imitation. No comics shall show the details and methods of a crime committed by a youth, policemen, judges, Government officials, and respected institutions should not be portrayed as stupid, ineffective, or represented in such a way to weaken respect for established authority. No scenes of sadistic torture should be shown, vulgar and obscene language should never be used. Slang should be kept to a minimum and used only when essential to the story, divorce should not be treated humorously or represented as glamorous or alluring. Ridicule or attack on any religious or racial group is never permissible
2.
American comic book
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An American comic book is a thin periodical, typically 32-pages, containing primarily comics content. While the form originated in 1933, American comic books first gained popularity after the 1938 publication of Action Comics and this was followed by a superhero boom that lasted until the end of World War II. After the war, while superheroes were marginalized, the book industry rapidly expanded, and genres such as horror, crime. The 1950s saw a decline, due to a shift away from print media in the wake of television. The late 1950s and the 1960s saw a revival. Since the later 20th century, comic books have gained note as collectable items, Comic shops cater to fans, and particularly valuable issues have fetched in excess of a million dollars. Systems of grading comic books have emerged with plastic sleeves and cardboard backing available to maintain the condition of comic books, standard comics are 6.625 inches ×10.25 inches and about 32 pages long. While comics can be the work of a creator, the labour of making them is frequently divided between a number of specialists. There may be a writer and artist, or there may be separate artists for the characters. The process begins with the coming up with an idea or concept, then working it into a plot and story. After the art production, letters are placed on the page, the creative team, the writers and artists, may work with a comic book publisher for help with marketing, advertising, and other logistics. A distributor like Diamond Comic Distributors, the largest in the U. S. helps to distribute the product to retailers. Another part of the involved in successful comics is the interaction between the readers/fans and the creator. Fan art and letters to the editor were printed in the back of the book until the early 21st century. Comic specialty stores did help encourage several waves of independently-produced comics, the development of the modern American comic book happened in stages. The G. W. Dillingham Company published the first known proto-comic-book magazine in the U. S, the Yellow Kid in McFaddens Flats, in 1897. The 196-page, square-bound, black-and-white publication, which also includes text by E. W. Townsend, measured 5×7 inches. The neologism comic book appears on the back cover, despite the publication of a series of related Hearst comics soon afterward, the first monthly proto-comic book, Embee Distributing Companys Comic Monthly, did not appear until 1922
3.
Fredric Wertham
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His best-known book was Seduction of the Innocent, which suggested that comic books were dangerous to children. Werthams criticisms of comic books helped spark a U. S, congressional inquiry into the comic book industry and the creation of the Comics Code. He called television a school for violence, and said If I should meet an unruly youngster in an alley, I prefer it to be one who has not seen Bonnie. Wertham was born on March 20,1895 in Munich, under the name Friedrich Ignatz Wertheimer and he did not change his name legally to Fredric Wertham until 1927. He studied at Kings College London, at the Universities of Munich and Erlangen and he was very much influenced by Dr. Emil Kraepelin, a professor of psychology at the University of Munich, and worked briefly at the Kraepelin Clinic in Munich in 1922. Kraepelin emphasized the effects of environment and social background on psychological development, around this time Wertham corresponded and visited with Sigmund Freud, who influenced him in his choice of psychiatry as his specialty. In 1922 he accepted an invitation to come to the United States and work under Adolf Meyer at the Phipps Psychiatric Clinic at Johns Hopkins Hospital in Baltimore and he became a United States citizen and married the sculptress Florence Hesketh in 1927. In 1935 he testified for the defense in the trial of Albert Fish, in 1946, Wertham opened the Lafargue Clinic in the basement of St. Philips Church in Harlem, a low-cost psychiatric clinic specializing in black teenagers. The clinic was financed by voluntary contributions, many of his other conjectures, particularly about hidden sexual themes, were met with derision within the comics industry. And yet because he had the name doctor people took what he said seriously, Seduction of the Innocent also analyzed the advertisements that appeared in 1950s comic books and the commercial context in which these publications existed. Wertham objected to not only the violence in the stories but also the fact that air rifles and knives were advertised alongside them. Wertham claimed that retailers who did not want to sell material with which they were uncomfortable, in extensive testimony before the committee, Wertham restated arguments from his book and pointed to comics as a major cause of juvenile crime. Beaty notes Wertham repeated his call, national legislation based on the public health ideal that would prohibit the circulation and display of comic books to children under the age of fifteen. The committees questioning of their witness, EC publisher William Gaines. Werthams original research materials for Seduction of the Innocent became available in 2010, Carol Tilley, Assistant Professor at the Graduate School of Library and Information Science at the University of Illinois, investigated his research and found his conclusions to be largely baseless. Wertham manipulated, overstated, compromised, and fabricated evidence—especially that evidence he attributed to personal clinical research with young people—for rhetorical gain, Werthams views on mass media have largely overshadowed his broader concerns with violence and with overprotecting children from psychological harm. To promote this book Wertham made two appearances on the Mike Douglas Show where he ended up debating his theories with the co-hosts, Barbara Feldon. Much to Werthams frustration, no publishers were interested in publishing it and this led to an invitation for Wertham to address the New York Comic Art Convention
4.
Seduction of the Innocent
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The book was taken seriously at the time, and was a minor bestseller that created alarm in parents and galvanized them to campaign for censorship. Congressional inquiry was launched into the book industry. Subsequent to the publication of Seduction of the Innocent, the Comics Code Authority was voluntarily established by publishers to self-censor their titles, the book asserted that reading this material encouraged similar behavior in children. Many of his other conjectures, particularly about hidden sexual themes, Wertham also claimed that Superman was both un-American and a fascist. Wertham critiqued the environment of comic book publishing and retailing, objecting to air rifles and knives advertised alongside violent stories. Wertham sympathized with retailers who did not want to sell horror comics, Seduction of the Innocent was illustrated with comic-book panels offered as evidence, each accompanied by a line of Werthams sardonic commentary. Early complete editions of Seduction of the Innocent often sell for high figures among book, beginning in 1948, Wertham wrote and spoke widely, arguing about the detrimental effects that comics reading had on young people. Consequently, Seduction of the Innocent serves as an expression of his sentiments about comics and presents augmented examples and arguments. Werthams concerns were not limited to impact on boys, He also expressed a concern for the effect of impossibly proportioned female characters on girl readers. In extensive testimony before the committee, Wertham restated arguments from his book, the committees questioning of their next witness, EC publisher William Gaines, focused on violent scenes of the type Wertham had decried. Though the committees report did not blame comics for crime. Possibly taking this as a threat of potential censorship, publishers developed the Comics Code Authority to censor their own content. The new code not only banned violent images, but entire words and concepts and this destroyed most EC-style titles, leaving a sanitized subset of superhero comics as the chief remaining genre. Wertham nevertheless considered the Comics Code inadequate to protect youth, Seduction of the Innocent is one of the few non-illustrative works to be listed in the Overstreet Comic Book Price Guide as a collectible in its own right. Wertham manipulated, overstated, compromised, and fabricated evidence in support of the contentions expressed in Seduction of the Innocent and he intentionally mis-projected both the sample size and substance of his research, making it out to be more objective and less anecdotal than it truly was. He generally did not adhere to standards worthy of scientific research, Wertham used New York City adolescents from troubled backgrounds with previous evidence of behavior disorders as his primary sample population. He also used children with severe psychiatric disorders which required hospitalization at Bellevue Hospital Center, Kings County Hospital Center. Conclusions drawn from flawed sample populations cannot be extrapolated to society at large, statements from Werthams subjects were sometimes altered, combined, or excerpted so as to be misleading
5.
Censorship
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Governments, private organizations and individuals may engage in censorship. When an individual such as an author or other creator engages in censorship of their own works or speech, Censorship could be direct or indirect, in which case it is referred to as soft censorship. Direct censorship may or may not be legal, depending on the type, location, there are no laws against self-censorship. In 399 BC, Greek philosopher, Socrates, defied attempts by the Greek state to censor his philosophical teachings and was sentenced to death by drinking a poison, hemlock. Socrates student, Plato, is said to have advocated censorship in his essay on The Republic, in contrast to Plato, Greek playwright Euripides defended the true liberty of freeborn men, including the right to speak freely. In 1766, Sweden became the first country to abolish censorship by law, the rationale for censorship is different for various types of information censored, Moral censorship is the removal of materials that are obscene or otherwise considered morally questionable. Pornography, for example, is often censored under this rationale, especially child pornography, Military censorship is the process of keeping military intelligence and tactics confidential and away from the enemy. This is used to counter espionage, which is the process of gleaning military information, political censorship occurs when governments hold back information from their citizens. This is often done to control over the populace and prevent free expression that might foment rebellion. Religious censorship is the means by which any material considered objectionable by a religion is removed. This often involves a dominant religion forcing limitations on less prevalent ones, alternatively, one religion may shun the works of another when they believe the content is not appropriate for their religion. Strict censorship existed in the Eastern Bloc, throughout the bloc, the various ministries of culture held a tight rein on their writers. Cultural products there reflected the needs of the state. Party-approved censors exercised strict control in the early years, in the Stalinist period, even the weather forecasts were changed if they suggested that the sun might not shine on May Day. Under Nicolae Ceauşescu in Romania, weather reports were doctored so that the temperatures were not seen to rise above or fall below the levels which dictated that work must stop. Independent journalism did not exist in the Soviet Union until Mikhail Gorbachev became its leader, pravda, the predominant newspaper in the Soviet Union, had a monopoly. Foreign newspapers were available if they were published by Communist Parties sympathetic to the Soviet Union. Possession and use of copying machines was tightly controlled in order to hinder production and distribution of samizdat, illegal self-published books, possession of even a single samizdat manuscript such as a book by Andrei Sinyavsky was a serious crime which might involve a visit from the KGB
6.
Marvel Comics
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Marvel Comics is the common name and primary imprint of Marvel Worldwide Inc. formerly Marvel Publishing, Inc. and Marvel Comics Group, an American publisher of comic books and related media. In 2009, The Walt Disney Company acquired Marvel Entertainment, Marvel Worldwides parent company, Marvel started in 1939 as Timely Publications, and by the early 1950s had generally become known as Atlas Comics. Marvels modern incarnation dates from 1961, the year that the company launched The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko and many others. Most of Marvels fictional characters operate in a reality known as the Marvel Universe. Martin Goodman founded the later known as Marvel Comics under the name Timely Publications in 1939. Martin Goodman, a magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. The issue was a success, with it and a second printing the following month selling, combined. While its contents came from an outside packager, Funnies, Inc, Timely had its own staff in place by the following year. It, too, proved a hit, with sales of one million. Goodman formed Timely Comics, Inc. beginning with comics cover-dated April 1941 or Spring 1941, Goodman hired his wifes cousin, Stanley Lieber, as a general office assistant in 1939. Lee wrote extensively for Timely, contributing to a number of different titles, Goodmans business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55. As well, some covers, such as All Surprise Comics #12, were labeled A Marvel Magazine many years before Goodman would formally adopt the name in 1961. The post-war American comic market saw superheroes falling out of fashion and this globe branding united a line put out by the same publisher, staff and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications. Atlas also published a plethora of childrens and teen humor titles, including Dan DeCarlos Homer the Happy Ghost, Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch, the Sub-Mariner, and Captain America. Atlas did not achieve any hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply. During this time, the Comic Code Authority made its debut in September 1954, Wertham published the book Seduction of the Innocent in order to force people to see that comics were impacting American youth. He believed violent comics were causing children to be reckless and were turning them into delinquents, in September 1954, comic book publishers got together to set up their own self-censorship organization—the Comics Magazine Association of America—in order to appease audiences
7.
DC Comics
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DC Comics, Inc. is an American comic book publisher. It is the unit of DC Entertainment, a subsidiary of Warner Bros. Entertainment, Inc. a division of Time Warner, the company has also published non-DC Universe-related material, including Watchmen, V for Vendetta and many titles under their alternative imprint Vertigo. The initials DC came from the popular series Detective Comics. Random House distributes DC Comics books to the market, while Diamond Comic Distributors supplies the comics shop specialty market. DC Comics and its major, longtime competitor Marvel Comics together shared 70% of the American comic book market in 2016, entrepreneur Major Malcolm Wheeler-Nicholson founded National Allied Publications in autumn 1934. The company debuted with the tabloid-sized New Fun, The Big Comic Magazine #1 with a date of February 1935. That title evolved into Adventure Comics, which continued through issue #503 in 1983, in 2009 DC revived Adventure Comics with its original numbering. In 1935, Jerry Siegel and Joe Shuster, the creators of Superman, created Doctor Occult. Wheeler-Nicholsons third and final title, Detective Comics, advertised with a cover illustration dated December 1936, the themed anthology series would become a sensation with the introduction of Batman in issue #27. By then, however, Wheeler-Nicholson had gone, Detective Comics, Inc. was formed, with Wheeler-Nicholson and Jack S. Liebowitz, Donenfelds accountant, listed as owners. Major Wheeler-Nicholson remained for a year, but cash-flow problems continued, shortly afterward, Detective Comics, Inc. purchased the remains of National Allied, also known as Nicholson Publishing, at a bankruptcy auction. Detective Comics, Inc. soon launched a fourth title, Action Comics, Action Comics #1, the first comic book to feature the new character archetype—soon known as superheroes—proved a sales hit. The company quickly introduced such popular characters as the Sandman and Batman. That year, Gaines let Liebowitz buy him out, and kept only Picture Stories from the Bible as the foundation of his own new company, at that point, Liebowitz promptly orchestrated the merger of All-American and Detective Comics into National Comics. Next he took charge of organizing National Comics, Independent News, National Periodical Publications became publicly traded on the stock market in 1961. The company began to move aggressively against what it saw as copyright-violating imitations from other companies, such as Fox Comics Wonder Man and this extended to DC suing Fawcett Comics over Captain Marvel, at the time comics top-selling character. Despite the fact that parallels between Captain Marvel and Superman seemed more tenuous, the courts ruled that substantial and deliberate copying of copyrighted material had occurred, faced with declining sales and the prospect of bankruptcy if it lost, Fawcett capitulated in 1955 and ceased comics publication
8.
Archie Comics
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Archie Comic Publications, Inc. is an American comic book publisher headquartered in Pelham, New York. The company is known for its many titles featuring fictional teenagers including Archie Andrews, Jughead Jones, Betty Cooper, Veronica Lodge, Sabrina Spellman, and Josie, the company began in 1939 as MLJ Comics, which primarily published superhero comics. The initial Archie characters were created in 1941 by publisher John L. Goldwater and artist Bob Montana and they first appeared in Pep Comics #22. With the creation of Archie, publisher John Goldwater hoped to appeal to fans of the Andy Hardy movies starring Mickey Rooney, Archie Comics was also the title of the companys longest-running publication, the first issue appearing with a cover date of Winter 1942. Starting with issue #114, the title was shortened to simply Archie, the flagship series was relaunched from issue #1 in July 2015 with a new look and design suited for a new generation of readers. Archie Comics characters and concepts have also appeared in films, television programs, cartoons. Maurice Coyne, Louis Silberkleit, and John L. Goldwater formed MLJ Magazines, the company name was derived from the initials of the partners first names. Coyne served as MLJs bookkeeper and chief financial officer, Coyne and Silberkleit had been partners in Columbia Publications, a pulp company that published its last pulp in the late 1950s. Silberkleit had a degree from St. Johns University, was a licensed and registered pharmacist. His efforts were focused on the business, printing, separating, distribution, Goldwater was one of the founders of the Comics Magazine Association of America, and he served as its president for 25 years. Goldwater was also a commissioner of the Anti-Defamation League. MLJs first comic book, published in November 1939, was Blue Ribbon Comics, with the first half of the book in full color, top Notch Comics was launched in December 1939. In January 1940, Pep Comics debuted with the Shield, the first USA patriotic comic book hero, created by writer and managing editor Harry Shorten, the Shield was a forerunner of Joe Simons and Jack Kirbys Captain America, being published 14 months earlier. Until March 1944, the feature of Pep was the Shield. The Andy Hardy movies were an inspiration for Goldwater to have a book about a relatable normal person. Teenaged Archibald Chick Andrews debuted with Betty Cooper and Jughead Jones in Pep Comics #22, in a story by writer Vic Bloom, Archie soon became MLJ Magazines headliner, which led to the company changing its name to Archie Comic Publications. Siberkleit and Coyne discontinued Columbia Publications in 1960, in the late 1950s, Archie Publishing launched its Archie Adventure Series line with a new version of the Shield and two new characters. Publisher Jim Warren received a letter on December 6,1961, accusing Help. of copyright infringement, Warren was unable to recall the magazine, but he agreed to settle out of court rather than risk an expensive lawsuit
9.
Bongo Comics Group
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Bongo Comics Group is a comic book publishing company founded in 1993 by Matt Groening along with Steve & Cindy Vance and Bill Morrison. It publishes comics related to the television series The Simpsons and Futurama, as well as the SpongeBob SquarePants comic. It was named after Bongo, a character in Groenings comic strip Life in Hell. Zongo Comics, also created by Groening, was Bongo Comics counterpart geared towards older audiences, I guess I just thought there was room out there for funny comic books. The company launched four titles, the bi-monthly Simpsons Comics and Radioactive Man Vol.1, Groening hoped that the new company would revitalise the industry, and held discussions to publish cross-overs with characters from other publishing companies. The company launched Futurama Comics, based on the series of the same name in 2000. 2012 saw the company change their logo, and a new director was unveiled. Simpsons Comics 237 Issues Bartman 6 Issues Itchy & Scratchy Comics 4 Issues Radioactive Man Vol, Radioactive Man #711 Promotional comic available only at 7-Eleven. Futurama Returns A2007 San Diego Comic-Con exclusive, delivery-Boy Man A2010 San Diego Comic-Con exclusive. The Simpsons Best Superhero Stories Ever, the Collectors Edition A San Diego Comic-Con exclusive. Ralph Wiggum Comics First issue of the One-Shot Wonder series, bart Simpsons Pal, Milhouse Second issue of the One-Shot Wonder series. Lil Homer Comics Third issue of the One-Shot Wonder series, maggie Fourth issue of the One-Shot Wonder series. Professor Frinks Fantastic Science Fictions Fifth issue of the One-Shot Wonder series, the Malevolent Mr. Burns Sixth issue of the One-Shot Wonder series. The Wonderful World of Lisa Simpson Seventh issue of the One-Shot Wonder series, duffman Adventures Eighth issue of the One-Shot Wonder series. Two One-Shot Wonders in One A2013 San Diego Comic-Con exclusive and it contains The Malevolent Mr. Burns and Professor Frinks Fantastic Science Fictions. The Greatest Bartman Stories Ever Told, a 2014 San Diego Comic-Con exclusive containing an assortment of previously published Bartman stories. Bongo Comics Official Site Guide to Bongo Comics at snpp. com
10.
Juvenile delinquency
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Juvenile delinquency, also known as juvenile offending, is participation in illegal behavior by minors. Most legal systems prescribe specific procedures for dealing with juveniles, such as detention centers. A juvenile delinquent in the United States is a person who is typically below 18 years of age, depending on the type and severity of the offense committed, it is possible for people under 18 to be charged and treated as adults. Juvenile crimes can range from status offenses, to property crimes, however, juvenile offending can be considered normative adolescent behavior. This is because most teens tend to offend by committing non-violent crimes, only once or a few times, repeated and/or violent offending is likely to lead to later and more violent offenses. When this happens, the offender often displayed antisocial behavior even before reaching adolescence, according to the developmental research of Moffitt, there are two different types of offenders that emerge in adolescence. Juvenile delinquency occurrences by males are largely disproportionate to the rate of occurrences by females and this great gap between the crimes reinforce the connotations of traditional masculinity to be the center of violence, aggression, and competition. This is largely based on the notion that as males, it is their duty to take what they feel they deserve through these means to define themselves and play the role of provider and independent figure. Because aggression is not a characteristic, it has caused more commotion when females perform crimes that are often attributed to males. The acts of delinquency begin with the expectations of their perceived roles through the direction of adults of both genders. Sandra Lee Bartky expresses these claims thoroughly in her work Foucault, Femininity, and the Modernization of Patriarchal Power by examining close observation of diction, action, and decorum. Boys learn to take as much space as possible when sitting, dress appropriately to stand out, thus, delinquent behavior is expressed as an outlet especially to those of lower socioeconomic backgrounds that cannot gain precedence through conventional means. Gender role for females is to become more unnoticeable, a follower that does not need to stand out, because of their condition to be more docile and dependent, the instinctive need to gain precedence is not as highly valued. Even respect comes in the form of different terms, as it is through how appropriately she conducts herself that seems innocent and this is also influenced by fellow peers such as mothers and other female figures apart from the authoritative male figure. In this instance, there is no need to urge to commit delinquency as the female is expected to rely on the male for his role as provider. It is through the act of needing to become dependent that enforces the feminine characteristics to seem as an alternative to delinquency, in fact, it has been largely stated that while masculinity induces such violent behavior, femininity is seen as the antithesis to delinquency. The answers were predominantly that males were to provide through aggressive terms, while females should be the more docile, the bipolarity assumption suggests that masculinity and femininity are opposites, and the assumption of unidimensionality implies that gender differences form a single scale. Interestingly, the impact of feminism has because the formation of a new trend as female delinquency has gone up
11.
Motion Picture Production Code
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The Motion Picture Production Code was the set of industry moral guidelines that was applied to most United States motion pictures released by major studios from 1930 to 1968. It is also known as the Hays Code, after Will H. Hays. Under Hays leadership, the MPPDA, later known as the Motion Picture Association of America, adopted the Production Code in 1930, the Production Code spelled out what was acceptable and what was unacceptable content for motion pictures produced for a public audience in the United States. From 1934 to 1954, the code was identified with Joseph Breen. In 1968, after years of minimal enforcement, the Production Code was replaced by the MPAA film rating system. In 1922, after several films and a series of off-screen scandals involving Hollywood stars. Many felt the industry had always been morally questionable. Political pressure was increasing, with legislators in 37 states introducing almost one hundred movie censorship bills in 1921, Hays was paid the then-lavish sum of $100,000 a year. Hays, Postmaster General under Warren G, Virginia followed suit the following year, with eight individual states having a board by the advent of sound film, but many of these were ineffectual. By the 1920s, the New York stage—a frequent source of subsequent screen material—had topless shows, performances filled with words, mature subject matters. Early in the sound system conversion process, it became apparent that what might be acceptable in New York would not be so in Kansas. Moviemakers were looking at the possibility that many states and cities would adopt their own codes of censorship, in 1927, Hays suggested to studio executives that they form a committee to discuss film censorship. This list consisted of eleven subjects best avoided and twenty-six to be handled very carefully, the list was approved by the Federal Trade Commission, and Hays created the Studio Relations Committee to oversee its implementation, however, there was still no way to enforce tenets. The controversy surrounding film standards came to a head in 1929, the Code enumerated a number of key points known as the Donts and Be Carefuls, In 1929, a Catholic layman, Martin Quigley and the Jesuit priest Father Daniel A. Lord created a code of standards and submitted it to the studios, Lord was particularly concerned with the effects of sound film on children, whom he considered especially susceptible to their allure. In February 1930, several studio heads—including Irving Thalberg of Metro-Goldwyn-Mayer —met with Lord, after some revisions, they agreed to the stipulations of the Code. One of the motivating factors in adopting the Code was to avoid direct government intervention. It was the responsibility of the SRC to supervise film production, on March 31, the MPPDA agreed it would abide by the Code
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Violence
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This definition involves intentionality with the committing of the act itself, irrespective of the outcome it produces. However, generally, anything that is excited in an injurious or damaging way may be described as violent even if not meant to be violence. Globally, violence resulted in the deaths of an estimated 1.28 million people in 2013 up from 1.13 million in 1990. Of the deaths in 2013, roughly 842,000 were attributed to self-harm,405,000 to interpersonal violence, in Africa, out of every 100,000 people, each year an estimated 60.9 die a violent death. Corlin, past president of the American Medical Association said, The United States leads the world—in the rate at which its children die from firearms and he concluded, Gun violence is a threat to the public health of our country. For each single death due to violence, there are dozens of hospitalizations, hundreds of emergency department visits, furthermore, violence often has lifelong consequences for physical and mental health and social functioning and can slow economic and social development. In 2013, assault by firearm was the cause of death due to interpersonal violence. The same year, assault by sharp object resulted in roughly 114,000 deaths, Violence in many forms is preventable. Strategies addressing the causes of violence can be effective in preventing violence. These three broad categories are divided further to reflect more specific types of violence. Violence is primarily classified as either instrumental or reactive / hostile, self-directed violence is subdivided into suicidal behaviour and self-abuse. The former includes suicidal thoughts, attempted suicides – also called para suicide or deliberate self-injury in some countries –, self-abuse, in contrast, includes acts such as self-mutilation. Collective violence is subdivided into structural violence and economic violence, unlike the other two broad categories, the subcategories of collective violence suggest possible motives for violence committed by larger groups of individuals or by states. Collective violence that is committed to advance a particular social agenda includes, for example, crimes of hate committed by organized groups, terrorist acts, political violence includes war and related violent conflicts, state violence and similar acts carried out by larger groups. Clearly, acts committed by larger groups can have multiple motives, however, in both research and practice, the dividing lines between the different types of violence are not always so clear. It is the most extreme form of collective violence and we know also ideological, religious and revolutionary wars. Since the Industrial Revolution, the lethality of modern warfare has grown, World War I casualties were over 40 million and World War II casualties were over 70 million. Violence includes those acts that result from a relationship, including threats and intimidation
13.
Crime comics
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Crime comics is a genre of American comic books and format of crime fiction. The genre was popular in the late 1940s and early 1950s and is marked by a moralistic editorial tone and graphic depictions of violence. Crime comics began in 1942 with the publication of Crime Does Not Pay published by Lev Gleason Publications and edited by Charles Biro. This code placed limits on the degree and kind of activity that could be depicted in American comic books, effectively sounding the death knell for crime comics. The comic strip Dick Tracy was perhaps the first to focus on the character, chester Goulds strip, begun in 1931, made effective use of grotesque villains, actual police methods, and shocking depictions of violence. As edited and mostly written by Charles Biro, Crime Does Not Pay was a 64-page anthology comic published by Lev Gleason Publications beginning in 1942. Each issue of the series featured stories about the lives of actual criminals taken from newspaper accounts, history books. Beginning in 1947, publishers began issuing new titles in the comics genre, sometimes changing the direction of existing series. Many of these titles were direct imitations of the format and content of Crime Does Not Pay, in May,1947, Arthur Bernhards Magazine Village company published True Crime Comics, designed and edited by Jack Cole. The first issue featured Coles Murder, Morphine, and Me, later in 1947, the team of Joe Simon and Jack Kirby began packaging a pair of crime comics for the Prize Comics line. Headline Comics was transformed from adventure to a crime theme, at the same time, Simon and Kirby revitalized Real Clue Comics for Hillman Comics, giving the title a true-crime veneer and transforming it from a serial character-driven mystery title. EC Comics began publishing Crime SuspenStories in 1950 and Shock SuspenStories in 1952, both titles featured, in the manner of the EC horror comics, fictional noir-style stories of murder and revenge with stunning art and tightly plotted twist-endings. In the late 1940s, the book industry became the target of mounting public criticism for their content. In some communities, children piled their comic books in schoolyards and set ablaze after being egged-on by moralizing parents, teachers. The same year, after two articles by Dr. Fredric Wertham put comic books through the wringer, a trade group. Crime comics can be ordered forfeited by the provincial courts, in 1954, Wertham once again brought his wrath to bear upon comic books. In Seduction of the Innocent, he warned that crime comics were a cause of juvenile delinquency, citing overt or covert depictions of violence, sex, drug use. Wertham asserted, largely based on undocumented anecdotes, that reading this material encouraged similar behavior in children, Many of his other conjectures, particularly about hidden sexual themes, were met with derision within the comics industry
14.
Horror fiction
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Horror is a genre of fiction which is intended to, or has the capacity to frighten, scare, disgust, or startle their readers or viewers by inducing feelings of horror and terror. Literary historian J. A. Cuddon has defined the horror story as a piece of fiction in prose of variable length, which shocks or even frightens the reader, or perhaps induces a feeling of repulsion or loathing. It creates an eerie and frightening atmosphere, Horror is frequently supernatural, though it can be non-supernatural. Often the central menace of a work of fiction can be interpreted as a metaphor for the larger fears of a society. The genre of horror has ancient origins with roots in folklore and religious traditions, focusing on death, the afterlife, evil, the demonic and these were manifested in stories of beings such as witches, vampires, werewolves and ghosts. 18th century Gothic horror drew on these sources with the seminal and controversial The Castle of Otranto by Horace Walpole and this marked the first incorporated elements of the supernatural instead of pure realism. In fact, the first edition was published disguised as a medieval romance from Italy discovered and republished by a fictitious translator. Once revealed as contemporary, many found it anachronistic, reactionary, or simply in poor taste — but it proved to be immediately popular. That first novel of Gothic horror inspired such works as Vathek by William Beckford, A Sicilian Romance, The Mysteries of Udolpho and The Italian by Ann Radcliffe and The Monk by Matthew Lewis. A significant amount of fiction of this era was written by women and marketed at a female audience. The Gothic tradition blossomed into the modern readers call horror literature in the 19th century. Each of these novels and novellas created an icon of horror seen in modern re-imaginings on the stage. The proliferation of periodicals, as early as the turn of the century. One writer who specialized in fiction for mainstream pulps such as All-Story Magazine was Tod Robbins, whose fiction dealt with themes of madness. Later, specialist publications emerged to give horror writers an outlet, including Weird Tales, influential horror writers of the early 20th century made inroads in these mediums. Early cinema was inspired by aspects of horror literature, and early horror cinema started a strong tradition of horror films. This imagery made these comics controversial, and as a consequence they were frequently censored, many modern novels claim an early description of the living dead in a precursor to the modern zombie tale, including Dennis Wheatleys Strange Conflict, H. P. Lovecraft stories such as Cool Air, In The Vault, richard Mathesons novel I Am Legend would also influence an entire genre of apocalyptic zombie fiction emblematic of the films of George A. Romero
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Innuendo
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An innuendo is a hint, insinuation or intimation about a person or thing, especially of a denigrating or a derogatory nature. It can also be a remark or question, typically disparaging, in the latter sense the intention is often to insult or accuse someone in such a way that ones words, taken literally, are innocent. The term sexual innuendo has acquired a meaning, namely that of a risqué double entendre by playing on a possibly sexual interpretation of an otherwise innocent uttering. For example, We need to go deeper can be seen as either a request for further inquiry, or a request to go deeper into an intimate part. In the context of law, an innuendo meaning is one which is not directly contained in the words complained of. British sitcoms and comedy shows such as Are You Being Served. mild sexual innuendo is a staple of British pantomime. The figure on the right or above shows a male cat paying a call on a female cat, numerous television programs targeted at child audiences often use innuendos in attempt to entertain adolescent/adult audiences without exceeding their networks censorship policies. Many American primetime shows use an extensive amount of innuendo to the point that it is rated TV-PG/14 D for dialogue. Shows such as The Simpsons, Futurama, Son of the Beach, The Office, Friends, The Big Bang Theory, King of the Hill, House, Beavis and Butt-head, Everybody Hates Chris, George Lopez, American Dad. Tosh.0,30 Rock, and especially Family Guy, South Park, also, many radio shows, including the Bobby Bones Show, the Rick and Bubba Show, The Gallo Radio Show, and most of the songs played on Southern Crossroads are notable for this. A character in the American sitcom Scrubs, The Todd, is known for his constant innuendo, even shown waiting around corners for set ups, opportunities to make innuendos. On The Scott Mills Show on BBC Radio 1, listeners are asked to send in clips from radio and TV with innuendos in a humorous context, a feature known as Innuendo Bingo. Presenters and special guests fill their mouths with water and listen to the clips, roman à clef Blind item Doublespeak Euphemism
16.
Good girl art
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Good girl art is artwork featuring attractive women in comic books, comic strips, and pulp magazines. Richard A. Lupoff defined good girl art as, A cover illustration depicting a young woman, usually in skimpy or form-fitting clothing. The term does not apply to the morality of the good girl, the term Good Girl Art was coined by the American Comic Book Company in its mail order catalogs. It was during this era that the terms Good Girl Art, the artwork sometimes involves bondage or damsel-in-distress situations. Today, Bakers rendition of Phantom Lady is considered a collectors item, during this period, GGA also found its way into newspaper comic strips. One of the examples of good girl art was Russell Stamms Invisible Scarlet ONeil. Two of the creators of GGA for science fiction magazine covers were Earle Bergey. In the 70s pulp fiction, Hector Garrido drew the GGA book covers of The Baroness spy thriller series by Paul Kenyon and The Destroyer mens adventure pulp novels by Warren Murphy and Richard Sapir. Since 1990, AC Comics has published 19 issues of Pearsons Good Girl Art Quarterly, featuring a mix of photos, bad girl art Fan service Pin-up girl Portrayal of women in comics Beaulieu, Dennis. Interview with artist Richard Bassford on Wally Wood and Good Girl Art, cFA-APA40, publication of the Comic & Fantasy Art Amateur Press Association
17.
Oklahoma City
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Oklahoma City is the capital and largest city of the U. S. state of Oklahoma. The county seat of Oklahoma County, the city ranks 27th among United States cities in population, the population grew following the 2010 Census, with the population estimated to have increased to 631,346 as of July 2015. Oklahoma Citys city limits extend into Canadian, Cleveland, and Pottawatomie counties, the city ranks as the eighth-largest city in the United States by land area. Oklahoma City has the largest municipal population of any city in the Great Plains region of the central United States as well as all neighboring states to Oklahoma, excluding Texas, lying in the Great Plains region, Oklahoma City features one of the largest livestock markets in the world. Oil, natural gas, petroleum products and related industries are the largest sector of the local economy, the city is situated in the middle of an active oil field and oil derricks dot the capitol grounds. The federal government employs large numbers of workers at Tinker Air Force Base, Oklahoma City is on the I-35 Corridor, which is one of the primary travel corridors south into neighboring Texas and Mexico and north towards Wichita and Kansas City. Located in the Frontier Country region of the state, the citys northeast section lies in a region known as the Cross Timbers. The city was founded during the Land Run of 1889, the city was the scene of the April 19,1995 bombing of the Alfred P. Murrah Federal Building, in which 168 people died. It was the deadliest terror attack in the history of the United States until the attacks of September 11,2001, and remains the deadliest act of domestic terrorism in U. S. history. Oklahoma City was settled on April 22,1889, when the known as the Unassigned Lands was opened for settlement in an event known as The Land Run. Some 10,000 homesteaders settled the area that would become the capital of Oklahoma, the town grew quickly, the population doubled between 1890 and 1900. Early leaders of the development of the city included Anton Classen, John Shartel, Henry Overholser, by the time Oklahoma was admitted to the Union in 1907, Oklahoma City had surpassed Guthrie, the territorial capital, as the population center and commercial hub of the new state. Soon after, the capital was moved from Guthrie to Oklahoma City, before World War II, Oklahoma City developed major stockyards, attracting jobs and revenue formerly in Chicago and Omaha, Nebraska. With the 1928 discovery of oil within the city limits, Oklahoma City became a center of oil production. Post-war growth accompanied the construction of the Interstate Highway System, which made Oklahoma City a major interchange as the convergence of I-35, I-40 and it was also aided by federal development of Tinker Air Force Base. In 1950, the Census Bureau reported citys population as 8. 6% black and 90. 7% white, patience Latting was elected Mayor of Oklahoma City in 1971, becoming the citys first female mayor. Latting was also the first woman to serve as mayor of a U. S. city with over 350,000 residents. As with many other American cities, center city population declined in the 1970s and 1980s as families followed newly constructed highways to move to housing in nearby suburbs
18.
Oklahoma
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Oklahoma is a state located in the South Central United States. Oklahoma is the 20th-most extensive and the 28th-most populous of the 50 United States, the states name is derived from the Choctaw words okla and humma, meaning red people. The name was settled upon statehood, Oklahoma Territory and Indian Territory were merged, on November 16,1907, Oklahoma became the 46th state to enter the union. Its residents are known as Oklahomans, or informally Okies, and its capital, a major producer of natural gas, oil, and agricultural products, Oklahoma relies on an economic base of aviation, energy, telecommunications, and biotechnology. In 2007, it had one of the economies in the United States, ranking among the top states in per capita income growth. Oklahoma City and Tulsa serve as Oklahomas primary economic anchors, with nearly two-thirds of Oklahomans living within their metropolitan statistical areas. With small mountain ranges, prairie, mesas, and eastern forests, most of Oklahoma lies in the Great Plains, Cross Timbers, interior Highlands—a region especially prone to severe weather. The name Oklahoma comes from the Choctaw phrase okla humma, literally meaning red people, equivalent to the English word Indian, okla humma was a phrase in the Choctaw language used to describe Native American people as a whole. Oklahoma later became the de facto name for Oklahoma Territory, and it was approved in 1890. Oklahoma is the 20th-largest state in the United States, covering an area of 69,898 square miles and it is one of six states on the Frontier Strip and lies partly in the Great Plains near the geographical center of the 48 contiguous states. It is bounded on the east by Arkansas and Missouri, on the north by Kansas, on the northwest by Colorado, on the far west by New Mexico, much of its border with Texas lies along the Southern Oklahoma Aulacogen, a failed continental rift. The geologic figure defines the placement of the Red River, the Oklahoma panhandles Western edge is out of alignment with its Texas border. The Oklahoma/New Mexico border is actually 2.1 to 2.2 miles east of the Texas line, the border between Texas and New Mexico was set first as a result of a survey by Spain in 1819. It was then set along the 103rd Meridian, in the 1890s, when Oklahoma was formally surveyed using more accurate surveying equipment and techniques, it was discovered the Texas line was not set along the 103rd Meridian. Surveying techniques were not as accurate in 1819, and the actual 103rd Meridian was approximately 2.2 miles to the east and it was much easier to leave the mistake than for Texas to cede land to New Mexico to correct the surveying error. The placement of the Oklahoma/New Mexico border represents the true 103rd Meridian, cimarron County in Oklahomas panhandle is the only county in the United States that touches four other states, New Mexico, Texas, Colorado and Kansas. Its highest and lowest points follow this trend, with its highest peak, Black Mesa, at 4,973 feet above sea level, situated near its far northwest corner in the Oklahoma Panhandle. The states lowest point is on the Little River near its far southeastern boundary near the town of Idabel, Oklahoma, which dips to 289 feet above sea level
19.
Houston
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Houston is the most populous city in the state of Texas and the fourth-most populous city in the United States. With a census-estimated 2014 population of 2.239 million within an area of 667 square miles, it also is the largest city in the southern United States and the seat of Harris County. Located in Southeast Texas near the Gulf of Mexico, it is the city of Houston–The Woodlands–Sugar Land. Houston was founded on August 28,1836, near the banks of Buffalo Bayou and incorporated as a city on June 5,1837. The city was named after former General Sam Houston, who was president of the Republic of Texas and had commanded, the burgeoning port and railroad industry, combined with oil discovery in 1901, has induced continual surges in the citys population. Houstons economy has an industrial base in energy, manufacturing, aeronautics. Leading in health care sectors and building equipment, Houston has more Fortune 500 headquarters within its city limits than any city except for New York City. The Port of Houston ranks first in the United States in international waterborne tonnage handled, the city has a population from various ethnic and religious backgrounds and a large and growing international community. Houston is the most diverse city in Texas and has described as the most diverse in the United States. It is home to cultural institutions and exhibits, which attract more than 7 million visitors a year to the Museum District. Houston has a visual and performing arts scene in the Theater District. In August 1836, two real estate entrepreneurs from New York, Augustus Chapman Allen and John Kirby Allen, purchased 6,642 acres of land along Buffalo Bayou with the intent of founding a city. The Allen brothers decided to name the city after Sam Houston, the general at the Battle of San Jacinto. The great majority of slaves in Texas came with their owners from the slave states. Sizable numbers, however, came through the slave trade. New Orleans was the center of trade in the Deep South. Thousands of enslaved African Americans lived near the city before the Civil War, many of them near the city worked on sugar and cotton plantations, while most of those in the city limits had domestic and artisan jobs. Houston was granted incorporation on June 5,1837, with James S. Holman becoming its first mayor, in the same year, Houston became the county seat of Harrisburg County and the temporary capital of the Republic of Texas
20.
Texas
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Texas is the second largest state in the United States by both area and population. Other major cities include Austin, the second most populous state capital in the U. S. Texas is nicknamed the Lone Star State to signify its former status as an independent republic, and as a reminder of the states struggle for independence from Mexico. The Lone Star can be found on the Texan state flag, the origin of Texass name is from the word Tejas, which means friends in the Caddo language. Due to its size and geologic features such as the Balcones Fault, although Texas is popularly associated with the U. S. southwestern deserts, less than 10 percent of Texas land area is desert. Most of the centers are located in areas of former prairies, grasslands, forests. Traveling from east to west, one can observe terrain that ranges from coastal swamps and piney woods, to rolling plains and rugged hills, the term six flags over Texas refers to several nations that have ruled over the territory. Spain was the first European country to claim the area of Texas, Mexico controlled the territory until 1836 when Texas won its independence, becoming an independent Republic. In 1845, Texas joined the United States as the 28th state, the states annexation set off a chain of events that caused the Mexican–American War in 1846. A slave state before the American Civil War, Texas declared its secession from the U. S. in early 1861, after the Civil War and the restoration of its representation in the federal government, Texas entered a long period of economic stagnation. One Texan industry that thrived after the Civil War was cattle, due to its long history as a center of the industry, Texas is associated with the image of the cowboy. The states economic fortunes changed in the early 20th century, when oil discoveries initiated a boom in the state. With strong investments in universities, Texas developed a diversified economy, as of 2010 it shares the top of the list of the most Fortune 500 companies with California at 57. With a growing base of industry, the leads in many industries, including agriculture, petrochemicals, energy, computers and electronics, aerospace. Texas has led the nation in export revenue since 2002 and has the second-highest gross state product. The name Texas, based on the Caddo word tejas meaning friends or allies, was applied by the Spanish to the Caddo themselves, during Spanish colonial rule, the area was officially known as the Nuevo Reino de Filipinas, La Provincia de Texas. Texas is the second largest U. S. state, behind Alaska, though 10 percent larger than France and almost twice as large as Germany or Japan, it ranks only 27th worldwide amongst country subdivisions by size. If it were an independent country, Texas would be the 40th largest behind Chile, Texas is in the south central part of the United States of America. Three of its borders are defined by rivers, the Rio Grande forms a natural border with the Mexican states of Chihuahua, Coahuila, Nuevo León, and Tamaulipas to the south
21.
Los Angeles County, California
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Los Angeles County, officially the County of Los Angeles, is the most populous county in both the United States and the state of California, the countrys most populous state. Its population is larger than that of 42 individual U. S. states and it has 88 incorporated cities and many unincorporated areas and at 4,083 square miles, it is larger than the combined areas of the U. S. states of Delaware and Rhode Island. The county is home to more than one-quarter of California residents and is one of the most ethnically diverse counties in the U. S and its county seat, the City of Los Angeles, is also its most populous city at about four million. Los Angeles County is one of the counties of California. The county originally included parts of what are now Kern, San Bernardino, Riverside, as the population increased, sections were split off to organize San Bernardino County in 1853, Kern County in 1866, and Orange County in 1889. According to the U. S. Census Bureau, the county has an area of 4,751 square miles, Los Angeles County borders 70 miles of coast on the Pacific Ocean and encompasses mountain ranges, valleys, forests, islands, lakes, rivers, and desert. The western extent of the Mojave Desert begins in the Antelope Valley, most of the population of Los Angeles County is located in the south and southwest, with major population centers in the Los Angeles Basin, San Fernando Valley and San Gabriel Valley. Other population centers are found in the Santa Clarita Valley, Pomona Valley, Crescenta Valley, the county is divided west-to-east by the San Gabriel Mountains, which are part of the Transverse Ranges of southern California, and are contained mostly within the Angeles National Forest. Los Angeles County includes San Clemente Island and Santa Catalina Island, non-Hispanic whites numbered 2,728,321, or 28% of the population. Hispanic or Latino residents of any race numbered 4,687,889, 36% of Los Angeles Countys population was of Mexican ancestry,3. 7% Salvadoran, and 2. 2% Guatemalan heritage. The largest Asian groups of the 1,346,865 Asians in Los Angeles County are 4. 0% Chinese,3. 3% Filipino,2. 2% Korean,1. 0% Japanese,0. 9% Vietnamese,0. 8% Indian, and 0. 3% Cambodian. The racial makeup of the county is 48. 7% White,11. 0% African American,0. 8% Native American,10. 0% Asian,0. 3% Pacific Islander,23. 5% from other races, and 4. 9% from two or more races. 44. 6% of the population are Hispanic or Latino of any race, the largest European-American ancestry groups are German, Irish, English and Italian. 45. 9% of the population reported speaking only English at home,37. 9% spoke Spanish,2. 22% Tagalog,2. 0% Chinese,1. 9% Korean,1. 87% Armenian,0. 5% Arabic, and 0. 2% Hindi. At the census of 2000, there were 9,519,338 people,3,133,774 households, the population density was 2,344 people per square mile. There were 3,270,909 housing units at a density of 806 per square mile. 25% of all households were made up of individuals and 7% had someone living alone who was 65 years of age or older, the average household size was 2.98 and the average family size was 3.61. In the county, the population was out with 28% under the age of 18, 10% from 18 to 24, 33% from 25 to 44, 19% from 45 to 64
22.
California
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California is the most populous state in the United States and the third most extensive by area. Located on the western coast of the U. S, California is bordered by the other U. S. states of Oregon, Nevada, and Arizona and shares an international border with the Mexican state of Baja California. Los Angeles is Californias most populous city, and the second largest after New York City. The Los Angeles Area and the San Francisco Bay Area are the nations second- and fifth-most populous urban regions, California also has the nations most populous county, Los Angeles County, and its largest county by area, San Bernardino County. The Central Valley, an agricultural area, dominates the states center. What is now California was first settled by various Native American tribes before being explored by a number of European expeditions during the 16th and 17th centuries, the Spanish Empire then claimed it as part of Alta California in their New Spain colony. The area became a part of Mexico in 1821 following its war for independence. The western portion of Alta California then was organized as the State of California, the California Gold Rush starting in 1848 led to dramatic social and demographic changes, with large-scale emigration from the east and abroad with an accompanying economic boom. If it were a country, California would be the 6th largest economy in the world, fifty-eight percent of the states economy is centered on finance, government, real estate services, technology, and professional, scientific and technical business services. Although it accounts for only 1.5 percent of the states economy, the story of Calafia is recorded in a 1510 work The Adventures of Esplandián, written as a sequel to Amadis de Gaula by Spanish adventure writer Garci Rodríguez de Montalvo. The kingdom of Queen Calafia, according to Montalvo, was said to be a land inhabited by griffins and other strange beasts. This conventional wisdom that California was an island, with maps drawn to reflect this belief, shortened forms of the states name include CA, Cal. Calif. and US-CA. Settled by successive waves of arrivals during the last 10,000 years, various estimates of the native population range from 100,000 to 300,000. The Indigenous peoples of California included more than 70 distinct groups of Native Americans, ranging from large, settled populations living on the coast to groups in the interior. California groups also were diverse in their organization with bands, tribes, villages. Trade, intermarriage and military alliances fostered many social and economic relationships among the diverse groups, the first European effort to explore the coast as far north as the Russian River was a Spanish sailing expedition, led by Portuguese captain Juan Rodríguez Cabrillo, in 1542. Some 37 years later English explorer Francis Drake also explored and claimed a portion of the California coast in 1579. Spanish traders made unintended visits with the Manila galleons on their trips from the Philippines beginning in 1565
23.
Kidnapping
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In criminal law, kidnapping is the abduction or unlawful transportation of a person, usually to hold the person against his or her will. This may be done for ransom, wikipedia. org/wiki/Stockholm_syndrome Kidnapping that does not result in a homicide is an offence that comes with a maximum possible penalty of life imprisonment. A murder that results from kidnapping is classified as 1st-degree, with a sentence of imprisonment that results from conviction. Part 1 allows sentencing kidnappers to maximum imprisonment of 8 years or a fine of the fifth category, part 2 allows maximum imprisonment of 9 years or a fine of the fifth category if there are serious injuries. Part 3 allows maximum imprisonment of 12 years or a fine of the fifth if the victim has been killed. Part 4 allows sentencing people that collaborate with kidnapping, part 1,2 and 3 will apply also to them. Kidnapping is an offence under the law of England and Wales. In R v D, Lord Brandon said, First, the nature of the offence is an attack on, and infringement of and this is the case regardless of the age of the child. A very small child will not have the understanding or intelligence to consent and this means that absence of consent will be a necessary inference from the age of the child. It is a question of fact for the jury whether a child has sufficient understanding. Lord Brandon said, I should not expect a jury to find at all frequently that a child under fourteen had sufficient understanding and intelligence to give its consent. If, on the hand, the child did not consent. Mode of trial Kidnapping is an indictable-only offence, sentence Kidnapping is punishable with imprisonment or fine at the discretion of the court. There is no limit on the fine or the term of imprisonment that may be imposed provided the sentence is not inordinate. The use of force to take and detain will also be regarded as an assault, law in the United States follows from English common law. The fact that a victim may have been taken across state lines brings the crime within the ambit of federal criminal law. Most states recognize different types of kidnapping and punish accordingly, New York bases its definition of first-degree kidnapping on the duration and purpose. There are several deterrents to kidnapping in the United States of America, among these are, The extreme logistical challenges involved in successfully exchanging the money for the return of the victim without being apprehended or surveiled
24.
Concealed carry
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Concealed carry, or CCW, refers to the practice of carrying a handgun or other weapon in public in a concealed or hidden manner, either on ones person or in close proximity. While most law enforcement officers carry their duty pistol in a holster, some officers, such as plainclothes detectives or undercover agents. In some countries and jurisdictions, some civilians are legally able or obliged to carry concealed handguns, the practice of CCW is generally prohibited in Canada. Section 90 of the Criminal Code prohibits carrying a concealed weapon unless authorized under the Firearms Act, section 20 of the Firearms Act allows issuance of an Authorization to Carry in limited circumstances. Concealment of the firearm is permitted if it is specifically stipulated in the conditions of the ATC. Provincial chief firearm officers may issue an authorization in accordance with the regulations. Specifically, SOR 98-207 section 2 requires, for an ATC for protection of life, for an individual to be in imminent danger, as such, if the relevant police agency determines its protection is sufficient, the CFO would have difficulty in issuing the ATC over police objections. For issuance of an ATC under 98-207 for lawful occupations, provision is made for armored car personnel under subsection a), for protection and trapping under subsections b). Unless hunting or other activity is occupational, it would not be possible to issue an ATC under the section, as noted, a CFO can exercise some discretion but must follow the law in considering applications for an ATC. To carry a firearm, a person must obtain a D category or an E category gun license, subject to fulfilling the legal requirements, the license is shall issue. Firearms must be carried in concealed manner with the exception of hunters, Open carry may be permitted for special occasions if shooting takes place, such as filming or festivities. 240.000 out of 300.000 gun owners have E type license, concealed-carry licenses are hard to obtain in Mexico. Concealed-carry licenses authorize possession of pistols of up to.380 Automatic Colt Pistol caliber, in the face of rising crime, private citizens arm themselves despite the difficulty of obtaining a proper permit. Concealed carry is legal in most jurisdictions of the United States, a handful of states and jurisdictions severely restrict or ban it, but all jurisdictions make provision for legal concealed carry via a permit or license, or via constitutional carry. Illinois was the last state to pass a law allowing for concealed carry, most states that require a permit have shall-issue statutes, and if a person meets the requirements to obtain a permit, the issuing authority must issue one, with no discretionary power given. However, in Massachusetts, New York, and California, the issuance of the permit is dependent on county, States with may-issue statutes typically allow authorities to issue permits based upon a demonstrated need, such as a job requiring the transport of large sums of money. Retired police officers, judges, and federal agents also may cite a need based on personal security, in practice, the subjective element means that rural jurisdictions typically award many more carry permits than urban ones, including states such as Illinois and California. Further complicating the status of concealed carry is recognition of state permits under the laws of other states
25.
Vampire
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A vampire is a being from folklore who subsists by feeding on the life essence of the living. In European folklore, vampires were undead beings that often visited loved ones and they wore shrouds and were often described as bloated and of ruddy or dark countenance, markedly different from todays gaunt, pale vampire which dates from the early 19th century. This increased level of vampire superstition in Europe led to mass hysteria and in some cases resulted in corpses actually being staked and people being accused of vampirism. In modern times, however, the vampire is generally held to be a fictitious entity, porphyria was also linked with legends of vampirism in 1985 and received much media exposure, but has since been largely discredited. However, it is Bram Stokers 1897 novel Dracula which is remembered as the vampire novel. The success of this book spawned a distinctive vampire genre, still popular in the 21st century, with books, films, the vampire has since become a dominant figure in the horror genre. Vampires had already discussed in French and German literature. After Austria gained control of northern Serbia and Oltenia with the Treaty of Passarowitz in 1718, officials noted the practice of exhuming bodies. These reports, prepared between 1725 and 1732, received widespread publicity, among the proposed proto-Slavic forms are *ǫpyrь and *ǫpirь. Another, less widespread theory, is that the Slavic languages have borrowed the word from a Turkic term for witch. Czech linguist Václav Machek proposes Slovak verb vrepiť sa, or its hypothetical anagram vperiť sa as an etymological background, and thus translates upír as someone who thrusts, bites. An early use of the Old Russian word is in the anti-pagan treatise Word of Saint Grigoriy, dated variously to the 11th–13th centuries, the notion of vampirism has existed for millennia. Cultures such as the Mesopotamians, Hebrews, Ancient Greeks, and Romans had tales of demons and spirits which are considered precursors to modern vampires. In most cases, vampires are revenants of evil beings, suicide victims, or witches, belief in such legends became so pervasive that in some areas it caused mass hysteria and even public executions of people believed to be vampires. It is difficult to make a single, definitive description of the folkloric vampire, vampires were usually reported as bloated in appearance, and ruddy, purplish, or dark in colour, these characteristics were often attributed to the recent drinking of blood. Indeed, blood was often seen seeping from the mouth and nose when one was seen in its shroud or coffin and its left eye was often open. It would be clad in the linen shroud it was buried in, and its teeth, hair, although vampires were generally described as undead, some folktales spoke of them as living beings. The causes of vampiric generation were many and varied in original folklore, in Slavic and Chinese traditions, any corpse that was jumped over by an animal, particularly a dog or a cat, was feared to become one of the undead
26.
Werewolf
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Early sources for belief in lycanthropy are Petronius and Gervase of Tilbury. From the early period, werewolf beliefs also spread to the New World with colonialism. Belief in werewolves developed in parallel to the belief in witches, in the course of the Late Middle Ages, during the early period, accusations of lycanthropy were mixed with accusations of wolf-riding or wolf-charming. The case of Peter Stumpp led to a significant peak in both interest in and persecution of supposed werewolves, primarily in French-speaking and German-speaking Europe, the trappings of horror literature in the 20th century became part of the horror and fantasy genre of modern pop culture. The word werewolf continues a late Old English werwulf, a compound of were man, the only Old High German testimony is in the form of a given name, Weriuuolf, although an early Middle High German werwolf is found in Burchard of Worms and Berthold of Regensburg. The word or concept does not occur in medieval German poetry or fiction, Middle Latin gerulphus Anglo-Norman garwalf, Old Frankish *wariwulf. Old Norse had the cognate varúlfur, but because of the importance of werewolves in Norse mythology. In modern Scandinavian also kveldulf evening-wolf, presumably after the name of Kveldulf Bjalfason, use of lycanthropy for supposed shape-shifting is much later, introduced ca. Slavic uses the term vlko-dlak, literally wolf-skin, paralleling the Old Norse ulfhéðinn, however, the word is not attested in the medieval period. The Slavic term was loaned into modern Greek as Vrykolakas, baltic has related terms, Lithuanian vilkolakis and vilkatas, Latvian vilkatis and vilkacis. The name vurdalak for the Slavic vampire is a due to Alexander Pushkin. Tolstoy in his novella The Family of the Vourdalak, Greek λυκάνθρωπος and Germanic werewulf are parallel inasmuch as the concept of a shapeshifter becoming a wolf is expressed by means of a compound wolf-man or man-wolf. Their underlying common origin can be traced back to Proto-Indo-European mythology and this is reflected in Iron Age Europe in the Tierkrieger depictions from the Germanic sphere, among others. The standard comparative overview of this aspect of Indo-European mythology is McCone, such transformations of men into wolves in pagan cult were associated with the devil from the early medieval perspective. In his Man into Wolf, Robert Eisler tried to cast the Indo-European tribal names meaning wolf or wolf-men in terms of the European transition from fruit gathering to predatory hunting, a few references to men changing into wolves are found in Ancient Greek literature and mythology. In the second century BC, the Greek geographer Pausanias related the story of Lycaon, in accounts by the Bibliotheca and Ovid, Lycaon serves human flesh to Zeus, wanting to know if he is really a god. Lycaons transformation, therefore, is punishment for a crime, considered variously as murder, cannibalism, Ovid also relates stories of men who roamed the woods of Arcadia in the form of wolves. In addition to Ovid, other Roman writers also mentioned lycanthropy, virgil wrote of human beings transforming into wolves
27.
Ghoul
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A ghoul is a monster or evil spirit in Arabic mythology, associated with graveyards and consuming human flesh. It is also related to a Wendigo. The term was first used in English literature in 1786, in William Beckfords Orientalist novel Vathek, in modern fiction, the term has often been used for a certain kind of undead monster. Ghoul is from the Arabic and غول ghūl, from غال ghala, the word is etymologically related to the word galla, the name of a class of Underworld demons from Sumerian and Akkadian mythology. In ancient Arabian folklore, the ghūl dwells in burial grounds, the ghul is a fiendish type of jinni believed to be sired by Iblis. A ghoul is also a desert-dwelling, shapeshifting, demon that can assume the guise of an animal and it lures unwary people into the desert wastes or abandoned places to slay and devour them. The creature also preys on children, drinks blood, steals coins. In the Arabic language, the form is given as ghoulah. In colloquial Arabic, the term is used to describe a greedy or gluttonous individual. It was not until Antoine Galland translated Arabian Nights into French that the idea of Ghoul was introduced. Galland depicted the Ghoul as a creature that dwelled in cemeteries. This definition of the Ghoul has persisted until modern times, with Ghouls appearing in literature, television and film, aswang Evil spirit Ghola Jinn Revenant Vampire Wendigo Zombie
28.
Zombie
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A zombie is a fictional undead being created through the reanimation of a human corpse. Zombies are most commonly found in horror and fantasy genre works, the term comes from Haitian folklore, where a zombie is a dead body reanimated through various methods, most commonly magic. Modern depictions of zombies do not necessarily involve magic but often invoke science fictional methods such as carriers, radiation, mental diseases, vectors, viruses, scientific accidents, etc. The English word zombie is first recorded in 1819, in a history of Brazil by the poet Robert Southey, the Oxford English Dictionary gives the origin of the word as West African, and compares it to the Kongo words nzambi and zumbi. One of the first books to expose Western culture to the concept of the zombie was The Magic Island by W. B. This is the account of a narrator who encounters voodoo cults in Haiti. Time claimed that the book introduced zombi into U. S. speech, Zombies have a complex literary heritage, with antecedents ranging from Richard Matheson and H. P. Lovecraft to Mary Shelleys Frankenstein drawing on European folklore of the undead. In 1932, Victor Halperin directed White Zombie, a film starring Bela Lugosi. Here zombies are depicted as mindless, unthinking henchmen under the spell of an evil magician, a new version of the zombie, distinct from that described in Haitian folklore, has also emerged in popular culture during the latter half of the twentieth century. This zombie is taken largely from George A. Romeros seminal film Night of the Living Dead, the word zombie is not used in Night of the Living Dead but was applied later by fans. The zombie apocalypse concept, in which the world is brought low by a global zombie infestation. The Oxford English Dictionary gives the origin of the word as West African, in Haitian folklore, a zombie is an animated corpse raised by magical means, such as witchcraft. The concept has been associated with the religion of voodoo. How the creatures in contemporary zombie films came to be called zombies is not fully clear, the film Night of the Living Dead made no spoken reference to its undead antagonists as zombies, describing them instead as ghouls. Although George Romero used the term ghoul in his original scripts, the word zombie is used exclusively by Romero in his 1978 script for his sequel Dawn of the Dead, including once in dialog. According to George Romero, film critics were influential in associating the term zombie to his creatures and he eventually accepted this linkage even though he remained convinced at the time that zombies corresponded to the undead slaves of Haitian voodoo as depicted in Bela Lugosis White Zombie. Zombies are featured widely in Haitian rural folklore as dead persons physically revived by the act of necromancy of a bokor, the bokor is opposed by the houngan or priest and the mambo or priestess of the formal voodoo religion. A zombie remains under the control of the bokor as a personal slave, the Haitian tradition also includes an incorporeal type of zombie, the zombie astral, which is a part of the human soul
29.
Seduction
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Strategies of seduction include, conversation and sexual scripts, paralingual features, non-verbal communication and short term behavioural strategies. The word seduction stems from Latin and means literally leading astray, as a result, the term may have a positive or negative connotation. Famous seducers from history or legend include Lilith, Giacomo Casanova, the emergence of the Internet and technology has supported the availability and the existence of a seduction community, which is based on discourse about seduction. This is predominately by pickup artists, Seduction is also used within marketing to increase compliance and willingness. Seduction is a motif in history and fiction, both as a warning of the social consequences of engaging in the behaviour or becoming its victim. In the Bible, Eve offers the forbidden fruit to Adam, Eve herself was verbally seduced by the serpent, believed in Christianity to be Satan, later, Chapter 7 of Proverbs warns of the pitfalls of seduction. Sirens of Greek mythology lured sailors to their death by singing them to shipwreck, famous male seducers, their names synonymous with sexual allure, range from Genji to James Bond. If her father refuse to give her unto him, he shall pay money according to the dowry of virgins. The Second Book of Samuel in the Old Testament describes King David seducing Bathsheba, King David has sexual relations with this woman, and then sends her husband to the front lines of battle with near certainty of death. Once Uriah is dead, King David takes Bathsheba as his wife, males and females both implement the strategy of seduction as a method of negotiating their sexual relationships. This can often involve manipulation of other individuals and this is primarily based on desire, normally physical, as well as attraction towards them. Popular phrases often used include, ‘the language of love is universal’ and these phrases help to demonstrate the extensively pervasive and ubiquitous strategy use within love and relationships amongst humans. Research has indicated that seduction could substitute or equate to a form of collapsed or condensed courtship, evolutionary psychology suggests that this form of sexual enticement can be used in order to cajole desired individuals to engage in sexual intercourse and ultimately reproduce. This behaviour is also aimed at persuading someone to develop a short-term or long-term sexual relationship with them, males declare that they adopt the strategy of seduction statistically more frequently than females. From an evolutionary perspective this is due to higher parental investment. Females therefore need to be seduced more prior to engaging in sexual intercourse, men more commonly wish to engage in more frequent short-term mating, which may require this strategy of seduction used to access the female for intercourse. However, this finding has been contradicted by non-verbal seduction results which indicate that females have more control within this area, other potential strategies individuals employ to gain access to a mate include courting or having relatives select mates for socioeconomic reasons. Ultimately, both males and females have reported preferring seduction above all other strategies, such as the use power or aggression, Seduction is related to human mate poaching
30.
Sadomasochism
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Sadomasochism is the giving or receiving pleasure from acts involving the receipt or infliction of pain or humiliation. Practitioners of sadomasochism may seek sexual gratification from their acts, while the terms sadist and masochist refer respectively to one who enjoys giving or receiving pain, practitioners of sadomasochism may switch between activity and passivity. The abbreviation S&M is often used for sadomasochism, although practitioners themselves normally remove the ampersand, Sadomasochism is not considered a clinical paraphilia unless such practices lead to clinically significant distress or impairment for a diagnosis. Similarly, sexual sadism within the context of mutual consent, generally known under the heading BDSM, is distinguished from acts of sexual violence or aggression. The term sadomasochism is used in a variety of different ways and it can refer to cruel individuals or those who brought misfortunes onto themselves and psychiatrists define it as pathological. The two words incorporated into this compound, sadism and masochism, were derived from the names of two authors. The term Sadism has its origin in the name of the Marquis de Sade, who not only practiced sexual sadism, Masochism is named after Leopold von Sacher-Masoch, who wrote novels expressing his masochistic fantasies. These terms were first selected to identifying human behavioural phenomena and for the classification of psychological illnesses or deviant behaviour, the German psychiatrist Richard von Krafft-Ebing introduced the terms Sadism and Masochism into medical terminology in his work Neue Forschungen auf dem Gebiet der Psychopathia sexualis in 1890. In 1905, Sigmund Freud described sadism and masochism in his Drei Abhandlungen zur Sexualtheorie as stemming from aberrant psychological development from early childhood and he also laid the groundwork for the widely accepted medical perspective on the subject in the following decades. This led to the first compound usage of the terminology in Sado-Masochism by the Viennese Psychoanalyst Isidor Isaak Sadger in his work Über den sado-masochistischen Komplex in 1913, however, the term BDSM also includes, B&D, D/s, and S&M. The terms bondage and discipline usually refer to the use of physical or psychological restraint or punishment. Both terms were introduced to the field by German psychiatrist Richard von Krafft-Ebing in his 1886 compilation of case studies Psychopathia Sexualis. Pain and physical violence are not essential in Krafft-Ebings conception, and this observation is commonly verified in both literature and practice, many sadists and masochists define themselves as switchable—capable of taking pleasure in either role. However it has also argued that the concurrence of sadism and masochism in Freuds model should not be taken for granted. Freud introduced the terms primary and secondary masochism and this complete rejection is related to the death drive in Freuds psychoanalysis. In a secondary masochism, by contrast, the masochist experiences a less serious, more feigned rejection, secondary masochism, in other words, is the relatively casual version, more akin to a charade, and most commentators are quick to point out its contrivedness. In Things Hidden Since the Foundation of the World, René Girard attempts to resuscitate and reinterpret Freuds distinction of primary and secondary masochism, both Krafft-Ebing and Freud assumed that sadism in men resulted from the distortion of the aggressive component of the male sexual instinct. Masochism in men, however, was seen as a more significant aberration, Freud doubted that masochism in men was ever a primary tendency, and speculated that it may exist only as a transformation of sadism
31.
Katy Keene
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Katy Keene, a character created by Bill Woggon, has appeared in several comic book series published by Archie Comics since 1945. She is a model/actress/singer marketed by the publisher as Americas Queen of Pin-Ups, readers were encouraged to submit original drawings of outfits and accessories for her and her friends to wear, as well as designs for automobiles, homes, interiors, rocket ships, trailers and boats. These designs were used in the comics with credit given to published submissions, many issues featured paper dolls of Katy in various costumes. The character was ranked 57th in Comics Buyers Guides 100 Sexiest Women in Comics list, in the book From Girls to Grrrlz, A History of Womens Comics from Teens to Zines by Trina Robbins Katy Keene is called a Bettie Page look-alike. In 1979, with Archies permission, Katy fan Craig Leavitt published the Katy Keene Fan Magazine, which ran 18 issues until 1983. Having been a fan of the character, John S. Lucass art was instrumental in the revival, as his work was featured in the magazine along with other artists. Several Katy-Kons were held in Santa Barbara, California, and then later in conjunction with the San Diego Comic-Con celebrating Woggon, not long afterward, Archie brought Lucas on as regular Katy artist. During the 1980s, 90s and 2000s, Lucas carried on the Katy tradition with his comics, his annual Katy Keene Christmas Cards and Paper Dolls, in the early 1990s, Katy once again went into retirement, except for a 1994 appearance in Archie Meets the Punisher. Archie re-reintroduced Katy, now a school student and aspiring model. She then appeared in Archie & Friends Comics #101–#110 and these ten stories were then compiled in a trade paperback, Katy Keene Model Behavior, in 2008. Katy has a redheaded, bespectacled younger sister, in the original Woggon 1950s series, Katys sister was a mischievous child around seven years old and known only as Sis, the Candy Kid. In the 1980s, she was drawn as a tween or a teen and received the name Melissa. In the short-lived 2000s series, her name was Mackenzie. No explanation for the change was given, although it may be due to the obscurity of the 1980s name. Regardless, her name is almost never mentioned and to both readers and characters, she is always called Sis. Originally, the 1950s Katy was 21 years old and Sis was about seven years old, in subsequent series, Katy is roughly the same age, but Sis was reimagined as being around 15 and has been so ever since. By this point, Katy had already discovered in college. After going to work as an aspiring Broadway star, she became successful in her modeling and acting career
32.
Dell Comics
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Dell Comics was the comic book publishing arm of Dell Publishing, which got its start in pulp magazines. It published comics from 1929 to 1974, at its peak, it was the most prominent and successful American company in the medium. In 1953 Dell claimed to be the worlds largest comics publisher, the company formed a partnership in 1938 with Western Publishing, in which Dell would finance and distribute publications that Western would produce. Most of the Dell-produced comics done for Western Publishing during this period were under the Whitman Comics banner, notable titles included Crackajack Funnies and Super Comics. Comic book historian Mark Carlson has stated at its peak in the mid-50s while Dell’s total number of book titles only 15% of those published. Dell more million-plus sellers than any company before or since. Dell Comics was best known for its material, most notably the animated characters from Walt Disney Productions. From 1939 to 1968, Dells most notable and prolific title was the anthology Four Color, published several times a month, the title saw more than 1,300 issues published in its 23-year history. It often served as a title and thus the launching pad for many long-running series. In 1948, Dell refused an invitation of membership in the nascent Association of Comics Magazine Publishers, the association had been formed to pre-empt government intervention in the face of mounting public criticism of comic books. Dell in this period even burnished its image by taking out ads in the Saturday Evening Post in late 1952. From mid-1950 to Spring 1959 Dell promoted subscriptions to its non-Disney titles with what it called the Dell Comics Club. Membership was automatic with any one year subscription to such titles, but there are drawings that are sequential which tell stories. His was intended for Huck and Yogi’s adult fans, of which there apparently were more than a few, given the format and high price — $1. While most of the talent who had worked on the Dell line continued at Gold Key, Dell also drew new talent to its fold, such as Frank Springer, Don Arneson, and Lionel Ziprin. Dell Comics continued for another 11 years with licensed television and motion picture adaptations, Dell Comics ceased publication in 1974, with a few of its former titles moving to Gold Key Comics. Writer/artists Walt Kelly and Carl Barks are the most noted talents associated with the company
33.
Gold Key Comics
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Gold Key Comics was an imprint of Western Publishing created for comic books distributed to newsstands. Also known as Whitman Comics, Gold Key operated from 1962 to 1984, within a year they had reverted to using inked panel borders and oval balloons. In 1967, Gold Key reprinted a number of selected issues of their comics under the title Top Comics which were sold in bags containing five comics at gas stations. Like Dell, Gold Key was one of the few major American publishers of comic books never to display the Comics Code Authority seal on its covers. Gold Key featured a number of licensed properties and several titles, including a number of publications that spun off from Dells Four Color series. It was also the first company to publish books based upon Star Trek. Therefore, it simplified the procedure to do the first issue as an adaptation and they couldnt very well complain that a plot taken from the show was inappropriate. The stable of writers and artists built up by Western Publishing during the Dell Comics era mostly continued into the Gold Key era, in the mid-1960s a number of artists were recruited by the newly formed Disney Studio Program and thereafter divided their output between the Disney Program and Western. Writer/artist Russ Manning and editor Chase Craig launched the Magnus, Robot Fighter series in 1963, dan Spiegle worked on Space Family Robinson, The Green Hornet, The Invaders, Korak, Son of Tarzan, Brothers of the Spear, and many of Gold Keys mystery/occult titles. Glut created and wrote several series including The Occult Files of Dr. Spektor, Dagar the Invincible, and Tragg, also in the 1970s, writer Bob Gregory started drawing stories, mostly for Daisy and Donald. Artist/writer Frank Miller had his first published comic book artwork in The Twilight Zone for Gold Key in 1978. Diana Gabaldon began her writing for Gold Key, initially sending a query that stated I’ve been reading your comics for the last 25 years. I’m not sure if I could do better myself, but I’d like to try, editor Del Connell provided a script sample and bought her second submission. Among the comics he wrote for were The Flintstones, Uncle Scrooge, Daffy Duck, Bugs Bunny, The Three Stooges, and Woody Woodpecker. One of Gold Keys editors at the time told Mark Evanier, Leo writes stories and he tells us that if they come out good, they go to us and if they dont, they go to DC. I assume he tells DC the opposite, editor Frank Tedeschi, who left in 1973 for a job in book publishing, helped bring in such new comics professionals as Walt Simonson, Gerry Boudreau, and John David Warner. The comics industry experienced a downswing in the 1970s and Gold Key was among the hardest hit and it is also alleged by Carmine Infantino that in the mid-to-late 1960s DC Comics attempted to pressure Gold Key from the comics business through sheer weight of output. In this period, Gold Key experimented with digests with some success, Western, at one point, also distributed bagged comics from its rival DC Comics under the Whitman logo
34.
William Gaines
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William Maxwell Bill Gaines, was an American publisher and co-editor of EC Comics. Following a shift in ECs direction in 1950, Gaines presided over what became an artistically influential and he published the popular satirical magazine Mad for over 40 years. He was posthumously inducted into the book industrys Will Eisner Comic Book Hall of Fame. In 2012, he was inducted into the Ghastly Awards Hall of Fame, Gaines was the son of Max Gaines, who as publisher of the All-American Comics division of DC Comics was also an influential figure in the history of comics. The elder Gaines tested the idea of packaging and selling comics on newsstands in 1933, in 1941, Max Gaines accepted William Moulton Marstons proposal for the first successful female superhero, Wonder Woman. As World War II began, Bill Gaines was rejected by the United States Army, United States Coast Guard and United States Navy, so he went to his draft board and he trained as an Army Air Corps photographer at Lowry Field in Denver. However, when he was assigned to an Oklahoma City field which did not have a photographic facility, as he explained in 1976 to Bill Craig of Stars and Stripes, Being an eater, this assignment was a real pleasure for me. There were four of us, and we found all the choice bits the cooks had hidden away. Wed be frying up filet mignon and ham steaks every night, I think it was eight hours on and 40 off. Gaines was stationed at DeRidder Army Airfield in Louisiana, at Marshall Field in Kansas, leaving the service in 1946, he returned home to complete his chemistry studies at Brooklyn Polytech, but soon transferred to New York University, intent on obtaining a teaching certificate. In 1947, he was in his year at NYU when his father was killed in a motorboat accident on Lake Placid. Instead of becoming a teacher, Bill Gaines took over the family business. The EC initials stood for both Educational Comics and Entertaining Comics, and the company was at that point best known for its adaptations of Bible stories, Bill Gaines found his niche in publishing horror, science fiction, satire and war comics. His comic books, including Tales from the Crypt, The Vault of Horror, Shock SuspenStories, Weird Science and Two-Fisted Tales, for a complete roster of titles, see the List of Entertaining Comics publications. Begun in 1952, Mad was the companys biggest and longest-lasting success and its popularity inspired dozens of similar publications, including ECs own Panic. EC horror comics were not generic compilations of ghoulish clichés, but subtle, satiric approaches to horror with genuine dilemmas, likewise, ECs science fiction and fantasy titles dealt with adult issues like the meaning of progress. In part because of the higher-quality material, EC soon assembled a stable of artists unparalleled in the industry then, the company treated its illustrators as selling points, profiling them in full-page biographies and permitting them to sign their work, a rarity in 1950s comic books. EC was notable for its lack of a style, as the artists were encouraged to pursue distinctive techniques
35.
Crime SuspenStories
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Crime SuspenStories was a bi-monthly anthology crime comic published by EC Comics in the early 1950s. The title first arrived on newsstands with its October/November 1950 issue and ceased publication with its February/March 1955 issue, years after its demise, the title was reprinted in its entirety, and four stories were adapted for television in the HBOs Tales From The Crypt. Issues three through 16 featured a guest appearance from The Haunt of Fears Old Witch, the predominant writers for the title were publisher William Gaines, Feldstein, and Craig from 1950 to 1953, along with other writers such as Carl Wessler, Otto Binder and Jack Oleck. Craig was the lead artist for this title for the majority of its run, in 1954, Craig became editor of ECs The Vault of Horror. Since Craig was the slowest artist at EC, his new responsibilities forced him to drop his work on Crime SuspenStories, evans, Crandall and Kamen assumed the cover and lead story responsibilities for the rest of the run. This was one of five titles cancelled by Gaines in 1954 due to the controversy surrounding horror and crime comics. James M. Cain, Cornell Woolrich, Jim Thompson and radios Suspense were some of the influences on Crime SuspenStories scripts, specific story influences that have been identified include the following, Murder May Boomerang - Samuel Blas Revenge Poison. They reached an agreement for EC to do authorized versions of Bradburys short fiction and these official adaptations include, The Screaming Woman Touch and Go Crime SuspenStories has been reprinted numerous times over the years. Ballantine Books reprinted selected stories in a series of paperback EC anthologies in 1964-66, the magazine was fully reprinted in a series of five black-and-white hardbacks by publisher Russ Cochran as part of the The Complete EC Library in 1983. Between November 1992 and May 1999, Cochran reprinted the full 27 individual issues and this complete run was later rebound, with covers included, in a series of five softcover EC Annuals. In 2008, Cochran and Gemstone began to publish hardcover, re-colored volumes of Crime SuspenStories as part of the EC Archives series, one volume was published before Gemstones financial troubles left the project in limbo. But the project may soon be revived under a new publisher, four stories were used in HBOs Tales From The Crypt television series, Two for the Show, In the Groove, Thisll Kill Ya and Maniac at Large. Official Overstreet Comic Book Price Guide
36.
The Vault of Horror (comics)
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The Vault of Horror was a bi-monthly horror comic anthology series published by EC Comics in the early 1950s. Along with Tales from the Crypt and The Haunt of Fear, the Vault of Horror hit newsstands with its April/May 1950 issue and ceased publication with its December/January 1955 issue, producing a total of 29 issues. Horror comics emerged as a comic book genre after World War II when young adult males lost interest in caped crimebusters. In 1948, Adventures Into the Unknown became the first regularly published horror title, with issue #12 the War Against Crime title was replaced with The Vault of Horror. The Vault-Keeper became the titles sardonic host and commentator, occasionally sharing duties with the Old Witch, as the Overstreet Comic Book Price Guide explains, #15 printed and blackened out on inside front cover with Vol.1, No.1 printed over it. Evidently, several of No.15 were printed before a decision was not to drop the Vault of Horror. The print run was stopped on No.15 and continued on No.1, all of the No.15 issues were changed as described above. Craig illustrated all the covers for the run and was responsible for the lead story of all but issues #13. He also wrote all his own stories in Vault, something rarely done at EC, Gaines and Feldstein wrote almost every other story until late 1953/early 1954 when outside writers Carl Wessler and Jack Oleck were brought in. P. Lovecrafts In the Vault Terror on the Moors – Clark Ashton Smiths The Nameless Offspring Baby Its Cold Inside – H. P and they reached an agreement for EC to do authorized versions of Bradburys short fiction. These official adaptations include, Lets Play Poison The Lake Although ECs horror stable consisted of three magazines, there was little beyond their titles to distinguish them. Each magazine had its titular host, but the duties for any one issue were typically shared with the hosts of the other two. Thus, an issue of The Vault of Horror would contain two stories told by the Vault-Keeper, one by the Crypt-Keeper and one by the Old Witch. The professional rivalry between these three GhoulLunatics was often played for comic effect, the Vault-Keeper was the primary host of The Vault of Horror. He was introduced to the public in War against Crime #10 and he was a frightening presence in those early issues, an ancient inquisitor, hooded and robed, presiding over the empty dungeon of his bloody past. But he soon evolved into a more comedic horror host, delivering an irreverent, craig also drew the Vault-Keeper in his guest appearances in the other comics, although another artist frequently drew the rest of the story. For the final four issues of The Vault of Horror, The Vault-Keeper was joined by Drusilla, in 1954, Gaines and Feldstein intended to add a fourth book to their horror publications by reactivating an earlier title, The Crypt of Terror. They were stopped dead in their tracks, however, hearings targeted violent comic books—which fared poorly in the proceedings
37.
Tales from the Crypt (comics)
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Tales from the Crypt was a bi-monthly horror comic anthology series published by EC Comics from 1950 to 1955, producing 27 issues. In April and June 1954, highly publicized Congressional subcommittee hearings on the effects of comic books upon children left the industry shaken, all EC titles have been reprinted at various times since their demise, and stories from the horror series have been adapted for television and film. In 1948, Adventures Into the Unknown became the first regularly published horror title, in 1950, EC publisher Gaines and his editor Al Feldstein discovered they shared similar tastes in horror and began experimenting with horror tales in their crime titles. Tales from the Crypt traces its origin to a Feldstein story, issue #16 featured more horror tales than crime stories, and, with issue #17, the title changed from Crime Patrol to The Crypt of Terror. Due to an attempt to save money on second-class postage permits, Tales from the Crypt debuted with issue #20, producing a total of 27 issues, before ceasing publication with its February/March 1955 issue. Early front covers were created by Feldstein, Johnny Craig and Wally Wood, Jack Davis took over the art for the Crypt-Keeper stories with, and continued as the titles lead artist for the rest of the run. Feldstein devised the Crypt-Keepers origin story Lower Berth. which was illustrated by Davis, issue #38 was one of two covers from ECs horror comics censored prior to publication. While The Vault of Horror cover for issue #32 was restored in Russ Cochrans EC Library reprints, kamens Kalamity starred many members of the EC staff, including Gaines, Feldstein and the storys artist, Kamen. Ingels, Davis and Craig also made appearances in the story in single panels which they drew themselves. They reached an agreement for EC to do authorized versions of Bradburys short fiction and these official adaptations include, There Was an Old Woman The Handler Although ECs horror stable consisted of three separate magazines, there was little beyond their titles to distinguish them. Each magazine had its titular host, but the duties for any one issue were typically shared with the hosts of the other two. Thus, an issue of Tales from the Crypt would contain two stories told by the Crypt-Keeper, one by the Vault-Keeper and one by the Old Witch. The professional rivalry among these three GhouLunatics was often played for comic effect, the Crypt-Keeper was the primary host of Tales from the Crypt. He was introduced to the public in Crime Patrol #15, and he continued with that magazine through its changes in title and format. He was a presence in those early issues, a sinister hermit sitting framed in the lightless crypts half-open door, his face all. But he soon evolved into a more comedic horror host, delivering an irreverent, the Crypt-Keepers duties were not limited to hosting. He would occasionally appear as a character as well, and these give the reader a glimpse of his biography. The Lower Berth gives an account of the circumstances surrounding his birth, while the Cats Away conducts a tour of his house above and below ground
38.
EC Comics
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In 1954–55, censorship pressures prompted it to concentrate on the humor magazine Mad, leading to the companys greatest and most enduring success. Initially, EC was privately owned by Maxwell Gaines and specialized in educational, later, during its period of notoriety, it was owned by his son, William Gaines. The firm, first known as Educational Comics, was founded by Max Gaines, when Max Gaines died in 1947 in a boating accident, his son William inherited the comics company. After four years in the Army Air Corps, Gaines had returned home to school at New York University. He never taught but instead took over the family business, in 1949 and 1950, Bill Gaines began a line of new titles featuring horror, suspense, science fiction, military fiction and crime fiction. With input from Gaines, the stories were written by Kurtzman, Feldstein, other writers including Carl Wessler, Jack Oleck and Otto Binder were later brought on board. EC had success with its approach and pioneered in forming relationships with its readers through its letters to the editor and its fan organization. EC published distinct lines of titles under its Entertaining Comics umbrella, most notorious were its horror books, Tales from the Crypt, The Vault of Horror and The Haunt of Fear. These titles reveled in a gruesome joie de vivre, with grimly ironic fates meted out to many of the stories protagonists, the companys war comics Frontline Combat and Two-Fisted Tales often featured weary-eyed, unheroic stories out of step with the jingoistic times. Shock SuspenStories tackled weighty political and social issues such as racism, sex, drug use, EC always claimed to be proudest of our science fiction titles, with Weird Science and Weird Fantasy publishing stories unlike the space opera found in such titles as Fiction Houses Planet Comics. Crime SuspenStories had many parallels with film noir, superior illustrations of stories with surprise endings became ECs trademark. Gaines would generally stay up late and read large amounts of material while seeking springboards for story concepts, the next day he would present each premise until Feldstein found one that he thought he could develop into a story. At ECs peak, Feldstein edited seven titles while Kurtzman handled three, Artists were assigned stories specific to their styles. Davis and Ingels often drew gruesome, supernatural-themed stories, while Kamen, with hundreds of stories written, common themes surfaced. Some of ECs more well-known themes include, An ordinary situation given an ironic and gruesome twist, in Collection Completed a man takes up taxidermy in order to annoy his wife. When he kills and stuffs her beloved cat, the snaps and kills him. In Revulsion, a pilot is bothered by insects due to a past experience when he found one in his food. At the conclusion of the story, a giant alien insect screams in horror at finding the pilot in his salad
39.
Mad (magazine)
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Mad is an American humor magazine founded in 1952 by editor Harvey Kurtzman and publisher William Gaines, launched as a comic book before it became a magazine. As of January 2017, Mad has published 544 regular issues, as well as hundreds of reprint Specials, original material paperbacks, compilation books and other print projects. The magazine is the last surviving title from the EC Comics line, offering satire on all aspects of life and popular culture, politics, entertainment and its format is divided into a number of recurring segments such as TV and movie parodies, as well as freeform articles. Mads mascot, Alfred E. Neuman, is typically the point of the magazines cover. Mad began as a book published by EC, debuting in August 1952. In the early 1960s, the Mad office moved to 485 Madison Avenue, the title is trademarked in capitals as MAD. The first issue was written almost entirely by Harvey Kurtzman, and featured illustrations by Kurtzman, along with Wally Wood, Will Elder, Jack Davis, Wood, Elder, and Davis were the three main illustrators throughout the 23-issue run of the comic book. To retain Kurtzman as its editor, the comic book converted to magazine format as of issue #24, the switchover only induced Kurtzman to remain for one more year, but crucially, the move had removed Mad from the strictures of the Comics Code Authority. The magazines circulation more than quadrupled during Feldsteins tenure, peaking at 2,132,655 in 1974, when Feldstein retired in 1984, he was replaced by the team of Nick Meglin and John Ficarra, who co-edited Mad for the next two decades. Since Meglins retirement in 2004, Ficarra has continued to edit the magazine, Gaines sold his company in the early 1960s to the Kinney Parking Company, which also acquired National Periodicals and Warner Bros. by the end of that decade. Gaines was named a Kinney board member, and was permitted to run Mad as he saw fit without corporate interference. Following Gaines death, Mad became more ingrained within the Time Warner corporate structure, eventually, the magazine was obliged to abandon its long-time home at 485 Madison Avenue, and in the mid-1990s it moved into DC Comics offices at the same time that DC relocated to 1700 Broadway. In 2001, the magazine broke its long-standing taboo and began running paid advertising, the outside revenue allowed the introduction of color printing and improved paper stock. In its earliest incarnation, new issues of the magazine appeared erratically, by the end of 1958, Mad had settled on an unusual eight-times-a-year schedule, which lasted almost four decades. Gaines felt the timing was necessary to maintain the magazines level of quality. Mad then began producing additional issues, until it reached a monthly schedule with the January 1997 issue. With its 500th issue, amid company-wide cutbacks at Time Warner, though there are antecedents to Mads style of humor in print, radio and film, Mad became a pioneering example of it. Bob and Ray, Kovacs and Freberg all became contributors to Mad, Mads consciousness of itself, as trash, as comic book, as enemy of parents and teachers, even as money-making enterprise, thrilled kids
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Scott McCloud
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Scott McCloud is an American cartoonist and comics theorist. He is best known for his books about comics, Understanding Comics, Reinventing Comics. McCloud was born in 1960 in Boston, Massachusetts, the son of Willard Wise and Patricia Beatrice McLeod and he decided he wanted to be a comics artist in 1975, during his junior year in high school. Syracuse Universitys Illustration program was closest to his career goals and he selected that school and major, and graduated with a Bachelor of Fine Arts degree in 1982. McCloud created the light-hearted science fiction/superhero comic book series Zot. in 1984 and his other print comics include Destroy. The graphic novel The New Adventures of Abraham Lincoln,12 issues writing DC Comics Superman Adventures, the limited series Superman, Strength. He followed in 2000 with Reinventing Comics, in which he outlined twelve revolutions that he argued would be keys to the growth and success of comics as a popular, finally, in 2006, he released Making Comics. Following publication, he went on a tour with his family that included all 50 U. S. states and he was one of the earliest vocal supporters of micropayments. McCloud maintains an online presence on his web site where he publishes many of his ongoing experiments with comics produced specifically for the web. He created a book that formed the press release introducing Googles web browser, Google Chrome. In 2009, McCloud was featured in The Cartoonist, a film on the life and work of Jeff Smith. The group that adopted the Bill also included artists Kevin Eastman, Dave Sim, in 1990, McCloud coined the idea of a 24-hour comic, a complete 24-page comic created by a single cartoonist in 24 consecutive hours. It was a challenge with cartoonist Steve Bissette, intended to compel creative output with a minimum of self-restraining contemplation. McCloud lives in Newbury Park, California and he has been married to Ivy Ratafia since 1988, and they have two daughters, Sky and Winter. McCloud has been called the Marshall McLuhan of comics, harvey, excerpted from The Comics Journal #179 The Comics Journal Interview with Hillary Chute, The Believer, April 2007 Still Thinking, By Charles Hatfield The Comics Journal
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Weird Fantasy
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Weird Fantasy is a science fiction anthology comic that was part of the EC Comics line in the early 1950s. The companion comic for Weird Fantasy was Weird Science, over a four-year span, Weird Fantasy ran for 22 issues, ending with the November–December 1953 issue. The bi-monthly science-fiction comic, published by Bill Gaines and edited by Al Feldstein, replaced romance comic A Moon, romance with the May/June 1950 issue. Although the title and format change took effect with issue 13, Gaines, the Post Office took note, and starting with issue #6, all the issues were numbered correctly. Because of this, Weird Fantasy #13 could refer to either the May/June 1950 issue or the actual 13th issue of the title, the same confusion exists for issues #14–17, #17 being the last issue published before EC reset the numbering. Artist/writer Harry Harrison claims credit for originally turning Gaines on to the idea of publishing science fiction, Harrison has stated that he and fellow artist Wally Wood were interested in science fiction and supplied Gaines with a lot of science fiction material to read. Harrison had no control over the contents of the comic aside from his own stories. Cover illustrations were by Feldstein with the exception of two by Joe Orlando, one collaboration by Feldstein and Al Williamson, plus another collaboration by Williamson with Frank Frazetta, writers in the early issues included Feldstein, Gaines, Kurtzman, Harrison and Gardner Fox. Gaines and Feldstein wrote nearly all stories from 1951–53, creators Gaines and Feldstein made cameos in the stories Cosmic Ray Bomb Explosion,7 Year Old Genius and The Expert and The Ad. Issues 14 and 15 in 1952 ran EC Quickies, a format featuring two similarly themed stories, each three or four pages, in the space devoted to a seven or eight-page story. In Weird Fantasy 17, Al Williamson illustrated The Aliens, three aliens head for Earth to prevent a nuclear war, but they arrive too late. Amid the devastation they find a copy of Weird Fantasy 17, when they read The Aliens, they see that it had predicted their arrival. On the last page they see a picture of themselves looking at a book with a picture of themselves looking at. Quite possibly the comics most controversial story was published in issue 18 in 1953, judgment Day featured an astronaut who comes to a planet populated by orange and blue robots who hope to join the Galactic Republic. Tarlton decides that because of this, the planet will not be allowed in the Galactic Republic, in the final panel Tarlton removes his helmet, revealing that he is black. This story was chosen for reprinting approximately three years later in Incredible Science Fiction, which resulted in an argument that caused Gaines to quit comics altogether. Specific story influences that have been identified include the following, Martian Infiltration – Martin Pearsons The Embassy The Last City – Arthur L. Zagats The Lanson Screen Deadlock and they reached an agreement for EC to do authorized versions of Bradburys short fiction. Historian Digby Diehl wondered whether having host characters like ECs horror comics would have helped the comics be more commercially successful, when the poor sales became too much to handle, Weird Fantasy combined with companion comic Weird Science in 1954 to become Weird Science-Fantasy
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Incredible Science Fiction
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Incredible Science Fiction was an American science fiction anthology comic published by EC Comics in 1955 and 1956, lasting a total of four issues. Incredible Science Fiction was a version of the comic Weird Science-Fantasy. The comic changed its title with issue 30, but due to attempts to save money on postage, Incredible Science Fiction ran for four issues, boasting a number of skilled artists including Jack Davis, Wally Wood, Bernard Krigstein, Joe Orlando and Roy Krenkel. Three of its covers were done by Davis, with the issues cover by Wood. This comic is notable for having Jack Davis only science fiction work for EC, Roy Krenkel also provided his only solo story for EC with issue 31s Time to Leave. The story Food For Thought from issue 32 was awarded best artwork for a science fiction story at the 1972 EC Fan-Addict Convention. Eventually the Comics Code would spell the end of not only this comic, when a story in issue 33 did not meet the standards of the Code, publisher Bill Gaines and editor Al Feldstein decided to reprint the story Judgment Day. A powerful anti-racism story, Judgment Day. was also rejected because Judge Charles Murphy, Gaines refused and threatened to take the matter to the Supreme Court. The Comics Code backed down, and Gaines then printed the story without any changes, but Gaines had seen the writing on the wall, and he left the comic book industry soon after. Incredible Science Fiction #33 was the last comic book he would publish, Incredible Science Fiction has been reprinted by EC-fan and publisher Russ Cochran on a couple of occasions. It formed part of his Complete EC Library, published as a slipcased hardcover two-volume set alongside Weird Science-Fantasy and it was also reprinted issue-by-issue between August 1994 and May 1995 by Cochran. This complete run was later rebound, again alongside Weird Science-Fantasy, with covers included, the title resurfaced in a 1974 fantasy story, Present Perfect, by Thomas F. Monteleone. The story focuses on William Rutherford, who is the editor of a fiction magazine titled Incredible Science Fiction. After rejecting one story after another, he picks up a manuscript which is Monteleones Present Perfect and this tale was published in Fantastic. Such recursive plotting was employed several times by EC, including The Aliens, the Worlds of Science Fiction Comics by Steve Stiles The Weird Fantasy Homepage
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Black people
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As such, the meaning of the expression varies widely both between and within societies, and depends significantly on context. For many other individuals, communities and countries, black is also perceived as a derogatory, outdated, reductive or otherwise unrepresentative label, different societies apply differing criteria regarding who is classified as black, and these social constructs have also changed over time. In a number of countries, societal variables affect classification as much as skin color, in the United Kingdom, black was historically equivalent with person of color, a general term for non-European peoples. In South Africa and Latin America, mixed-race people are not classified as black. In other regions such as Australasia, settlers applied the term black or it was used by local populations with different histories and ancestral backgrounds. The Romans interacted with and later conquered parts of Mauretania, a state that covered modern Morocco, western Algeria. The people of the region were noted in Classical literature as Mauri, numerous communities of dark-skinned peoples are present in North Africa, some dating from prehistoric communities. In the 18th century, the Moroccan Sultan Moulay Ismail the Bloodthirsty raised a corps of 150,000 black slaves, called his Black Guard and he claims that black-looking Arabs, much like black-looking Latin Americans, consider themselves white because they have some distant white ancestry. Egyptian President Anwar Sadat had a mother who was a dark-skinned Nubian Sudanese woman, in response to an advertisement for an acting position, as a young man he said, I am not white but I am not exactly black either. My blackness is tending to reddish, due to the patriarchal nature of Arab society, Arab men, including during the slave trade in North Africa, enslaved more black women than men. They used more black female slaves in domestic service and agriculture than males, the men interpreted the Quran to permit sexual relations between a male master and his female slave outside of marriage, leading to many mixed-race children. When an enslaved woman became pregnant with her Arab masters child, she was considered as umm walad or mother of a child, the child was given rights of inheritance to the fathers property, so mixed-race children could share in any wealth of the father. Because the society was patrilineal, the children took their fathers social status at birth and were born free, some succeeded their fathers as rulers, such as Sultan Ahmad al-Mansur, who ruled Morocco from 1578 to 1608. He was not technically considered as a child of a slave, his mother was Fulani. Such tolerance for black persons, even when technically free, was not so common in Morocco, the long association of sub-Saharan peoples as slaves is shown in the term abd, it is still frequently used in the Arabic-speaking world as a term for black people. In early 1991, non-Arabs of the Zaghawa tribe of Sudan attested that they were victims of an intensifying Arab apartheid campaign, Sudanese Arabs, who controlled the government, were widely referred to as practicing apartheid against Sudans non-Arab citizens. The government was accused of deftly manipulat Arab solidarity to carry out policies of apartheid, American University economist George Ayittey accused the Arab government of Sudan of practicing acts of racism against black citizens. The Arabs monopolized power and excluded blacks – Arab apartheid, many African commentators joined Ayittey in accusing Sudan of practising Arab apartheid
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Al Feldstein
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Albert Bernard Al Feldstein was an American writer, editor, and artist, best known for his work at EC Comics and, from 1956 to 1985, as the editor of the satirical magazine Mad. After retiring from Mad, Feldstein concentrated on American paintings of Western wildlife, Al Feldstein was born October 24,1925, in Brooklyn, New York, the son of Max, who made dental molds, and Beatrice Feldstein. After winning an award in the 1939 New York Worlds Fair poster contest, he decided on a career in the art field and studied at the High School of Music and Art in Manhattan. While in high school, he was hired by Jerry Iger to work in the S. M. Iger Studio and he recalled. running errands, erasing pages and doing general gofer work after school for three dollars a week. His earliest background art was for Sheena, Queen of the Jungle, after graduating from high school he attended the Art Students League. Feldstein freelanced art for books, including Fox Comics. Feldstein recalled that Bob Farrell, whom he considered a driving a convertible Cadillac. Feldstein rewrote Farrells scripts for Fox and produced the art for the stories and he described Fox as the typical exploiting comic book publisher of his day, grinding out shameless imitations of successful titles and trends and mistreating his writers and artists. Feldstein wrote, drew and packaged the complete Junior and Sunny books for Fox, Feldsteins initial EC assignment was drawing a teenage book, the beginning of a long working relationship with Gaines. Arriving at EC in 1948, Feldstein began as an artist, from late 1950 through 1953, he edited and wrote stories for seven EC titles. As ECs editor, Feldstein created a line, balancing his genre tales with potent graphic stories probing the underbelly of American life. While developing a stable of contributing writers that included Robert Bernstein, Otto Binder, Daniel Keyes, Jack Oleck and Carl Wessler, EC employed the comics industrys finest artists and published promotional copy to make readers aware of their staff. Feldstein encouraged the EC illustrators to maintain their art styles. Distinctive front cover designs framing those recognizable art styles made Feldsteins titles easy to spot on crowded newsstands, after the New Trend titles folded in 1955, Feldstein edited ECs short-lived New Direction line, followed by ECs Picto-Fiction magazines. After industry and government pressures forced Gaines to shut down most of his EC titles, but when Harvey Kurtzman left Mad in 1956, Gaines turned to his former editor. Feldstein spent the next 29 years at the helm of what one of the nations leading. It is unclear what the circulation of the magazine was when Feldstein took over, by the 1960s, it had increased to over a million, and by the 1970s, it had doubled to two million. Circulation multiplied more than eight times during Feldsteins tenure, peaking at 2,850,000 in 1974, Feldstein has been credited with giving the magazine the personality of a smart-alecky, sniggering and indisputably clever spitball-shooter
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Joe Orlando
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Joseph Joe Orlando was an Italian American illustrator, writer, editor and cartoonist during a lengthy career spanning six decades. He was the publisher of Mad and the vice president of DC Comics. Orlando was born in Bari, Italy, emigrating to the United States in 1929 and he began drawing at an early age, going to art classes at a neighborhood boys club when he was seven years old. He continued there until he was 14, winning prizes annually in their competitions, in 1941, he began attending the School of Industrial Art, where he studied illustration. Infantino and Orlando remained close friends for decades, while Orlando was still a student, he drew his first published illustrations, scenes of Mark Twains The Prince and the Pauper for a high-school textbook. After his high school graduation, Orlando entered the U. S. Army and was assigned to the police, doing stockade guard duty. From Le Havre, France, he was sent to Antwerp, Belgium and then to Germany, after his 1947 discharge, he returned to New York and began study at the Art Students League on the GI Bill. He entered the comic book field in 1949 when the packager Lloyd Jacquet assigned him to draw for the Catholic-oriented Treasure Chest and this was a Chuck White story that paid nine dollars a page. At the Jacquet Studio he met fellow artist Tex Blaisdell, and he was earning $25 a page at EC, and shortly after his first EC stories under his own name were published that summer, he married his first wife, Gloria, in September 1951. After EC, from 1956 to 1959, he drew Classics Illustrated adaptations, including Ben-Hur, A Tale of Two Cities, in addition to many contributions to ECs Mad, Orlando also scripted the Little Orphan Annie comic strip beginning in 1964. He did covers for Newsweek and New Times, and his work as an illustrator appeared in National Lampoon, childrens books, for Warren Publishings black-and-white horror-comics magazine Creepy, debuting in 1964, Orlando was not only an illustrator but also a story editor on early issues. His credit on the first issue masthead read, Story Ideas, in 1966, Orlando and writer E. Nelson Bridwell created the parody superhero team The Inferior Five in Showcase #62. This lighthearted feature would soon receive its own ongoing series, Orlando launched the Swing with Scooter series with writers Barbara Friedlander and Jack Miller in July 1966. Swamp Thing, Weird War Tales and The Witching Hour, also scripting for several of these titles, while eventually serving as DCs vice president, he guided the companys Special Projects department. In the late 1960s, Orlando hired Filipino artist Tony DeZuniga for work on some of DCs horror titles, in 1971, Orlando and DC publisher Carmine Infantino traveled to the Philippines on a recruiting trip for more artists. Alfredo Alcala, Mar Amongo, Ernie Chan, Alex Niño, Nestor Redondo, during the 1980s, Orlando began teaching at the School of Visual Arts, continuing as an art instructor there for many years. In 1987, he created an illustration for the text piece from Watchmen #5. The comic-within-a-comic pages were credited to the fictitious artist Walt Feinberg, the Orlando page was the only artwork for the series not by Gibbons
