Basil Wolverton was an American cartoonist and illustrator known for his intricately detailed grotesques of bizarre or misshapen people. Wolverton was described as "Producer of Preposterous Pictures of Peculiar People who Prowl this Perplexing Planet." His many publishers included Mad magazine. His drawings have elicited a wide range of reactions. Cartoonist Will Elder said he found Wolverton's technique "outrageously inventive, defying every conventional standard yet upholding a unusual sense of humor, he was a refreshing original." But Jules Feiffer stated, "I don't like his work. I think it's ugly."He was posthumously inducted into the comic book industry's Jack Kirby Hall of Fame in 1991. Born in Central Point, Oregon, he moved to Vancouver and worked as a vaudeville performer and a cartoonist and reporter for the Portland News. At age 16 he sold his first nationally published work and began pitching comic strips to newspaper syndicates, his comic strip, Marco of Mars, was accepted by the Independent Syndicate of New York in 1929 but never distributed because it was deemed too similar to Buck Rogers, which debuted that year.
Disk-Eyes the Detective and Spacehawks were published in 1938 in Circus comics. In 1940, Spacehawk made its debut in Target Comics, published by Novelty Press, it ran for 30 episodes until 1942. Other Wolverton characters include Scoop Scuttle, a newspaperman who ran as a backup feature in Lev Gleason Publications' Daredevil Comics and Silver Streak Comics. "Bingbang Buster and his Horse Hedy" was a three-page backup story in Lev Gleason's Black Diamond Western #16–28. Wolverton's humor feature Powerhouse Pepper, about a superstrong if none-too-bright boxer, appeared in various comic books published by Timely Comics, the 1930s and 1940s precursor of Marvel Comics, from 1942 through 1952; the strip was characterized by alliterative, rhyming dialogue, screwball comedy and throwaway gags in background. The Timely titles, such as Joker Comics, Gay Comics and Tessie the Typist, debuted a number of his spin-off characters and features, including Flap Flipflop, The Flying Flash, Leanbean Green, "Cartoon Crime Mystery" featuring Inspector Hector the Crime Detector, Doc Rockblock, "Picture Poems about Peculiar People", "Funny Boners", Dauntless Dawson, "Hothead Hotel", "Bedtime Bunk", "Foolish Faces" and more.
Five issues of a Powerhouse Pepper comic book were released in 1943 and 1948 by Timely, but not all the covers were by Wolverton and many interior pages were not devoted to Wolverton strips. In 1946, Wolverton won a contest to depict "Lena the Hyena", the world's ugliest woman, a running gag in Al Capp's Li'l Abner newspaper strip where Lena remained unseen beneath an editorial note stating her face had been covered to protect readers. Capp, responding to popular demand, announced a contest for artists to submit their interpretations. Among 500,000 entries, Wolverton's was the winner. Wolverton's fame led to Life and Pageant printing his caricatures; the Lena portrait typified the unique "spaghetti and meatballs" style he employed thereafter. In the 1950s, Wolverton produced 17 comic-book horror and science-fiction stories for Marvel and other comic-book publishers, including one story by author Daniel Keyes, which led to him being "hailed for creating uniquely grotesque monsters". Among these tales were "The Brain Bats of Venus" for Mister Mystery #7 and "Where Monsters Dwell" in Marvel's Adventures into Terror #7, the title of, used for a 1970s Marvel reprint series.
Wolverton first appeared in Mad with a single panel in #10, drew Mad Reader! for #11 and contributed an iconic Lena-like image to the cover of #11, billed as the "Beautiful Girl of the Month". Although Wolverton contributed sporadically to the title—appearing in just nine issues over two decades—his work was memorable enough that, in 2009, The New York Times dubbed him "The Michelangelo of Mad Magazine". E. C.'s other humor title, edited by Al Feldstein used Wolverton's art on a Panic cover, though publisher William M. Gaines was not a fan of Wolverton's work. Other humor magazines from other companies such as Cracked, From Here to Insanity and Cockeyed featured Wolverton's work, as did an issue of Ballyhoo. In 1968, Wolverton did the Ugly Posters series of trading cards for Topps, displaying his trademark twisted headshots. In 1973, he returned to mainstream comics, illustrating several covers for Joe Orlando's satiric Plop! at DC Comics. Comix Book, a joint production of Marvel Comics and Denis Kitchen's Kitchen Sink Press, featured two strips by Wolverton, "Calvin" and "Weird Creatures".
Wolverton was baptized into Herbert W. Armstrong's Radio Church of God in 1941 and was ordained as an elder in 1943; as a board member of that church, he was one of the six people, including Armstrong and his wife, who re-incorporated the church in 1946 when it moved its original headquarters from Oregon to California. Wolverton died on December 31, 1978, at age 69. Wolverton's son, editorial cartoonist Monte Wolverton, draws in a style similar to his father's. Several cartoonists have been influenced by Wolverton's "spaghetti-and-meatball" style, including Ed "Big Daddy" Roth. Books by Wolverton or collecting his work include: The Bible Story Wolvertoons: The Art of Basil Wolverton Wolverton in Space Basil Wolverton's Power
Stanley Albert Drake was an American cartoonist best known as the founding artist of the comic strip The Heart of Juliet Jones. Born in Brooklyn, Drake worked in the back of a Dugan's Donut truck for a dollar-a-day salary while he was in high school. At the age of 17, he contributed art to Popular Sports and other pulps. Entering the comic book field as artist and writer, he became friends with cartoonist Bob Lubbers, who suggested he draw newspaper comics, he studied for two years at New York's Art Students League. In the Pacific during World War II, he did PR work for Stripes. Returning to civilian life, he went into advertising heading a studio of 12 illustrators. Drake was a passenger during the September 1956 automobile accident that killed his fellow cartoonist Alex Raymond. Juliet Jones, created in 1953 by Drake and writer Elliot Caplin, was a dramatic comic drawn by Drake in a naturalistic style. Drake, whose assistants included Tex Blaisdell and Frank McLaughlin, stayed on the strip until 1989, when he was succeeded by Frank Bolle.
Comic strip artist Larry Lieber has said. In 1984, Drake replaced Mike Gersher as the artist on Blondie, he continued drawing the strip until his death, his assistant on Blondie was Denis Lebrun. He was a prolific painter and created portraits of more than 40 cartoonists, work displayed at the Comic Artist's Museum in Sarasota, Florida. Drake drew comic books for Marvel Comics such as The Pitt. Internationally, he is known for the artwork on the Kelly Green series of graphic novels about a young widow who fights crime in the manner of an action hero; this series was written by Leonard Starr. It was serialized in Pilote magazine in black and white before being collected in color albums by the French firm Dargaud International Publishing. An avid golfer, Drake created illustrations for Golf Digest and the book The Touch System for Better Golf, he was recognized by the National Cartoonists Society with their Story Comic Strip Award for The Heart of Juliet Jones. NCS Awards Frank McLaughlin interview, Comic Book Artist #9, pp 84–88 Stan Drake Papers 1954-1971 at Syracuse University
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Li'l Abner (album)
Li'l Abner is an album by Shelly Manne and His Friends, recorded in 1957 for Contemporary Records. The album was recorded at Contemporary's studio, Los Angeles, on February 6, 7, 25, 1957; the musicians are drummer Shelly Manne, pianist André Previn, bassist Leroy Vinnegar. The compositions come from the musical Li'l Abner. Li'l Abner was released by Contemporary Records; the AllMusic reviewer wrote: "The musicians are in fine form but the melodies are not too memorable". The All About Jazz reviewer criticized the material, it was reissued by Original Jazz Classics. All selections composed by Gene de Paul. "Jubilation T. Cornpone" - 3:13 "The Country's in the Very Best of Hands" - 4:39 "If I Had My Druthers" - 2:46 "Unnecessary Town" - 5:04 "Matrimonial Stomp" - 4:35 "Progress Is the Root of All Evil" - 3:34 "Oh, Happy Day" - 4:28 "Namely You" - 5:49 "Past My Prime" - 7:25 André Previn - piano Shelly Manne - drums Leroy Vinnegar - bass
Li'l Abner (musical)
Li'l Abner is a musical with a book by Norman Panama and Melvin Frank, music by Gene De Paul, lyrics by Johnny Mercer. Based on the comic strip Li'l Abner by Al Capp, the show is, on the surface, a broad spoof of hillbillies, but it is a pointed satire on other topics, ranging from American politics and incompetence in the United States federal government to propriety and gender roles. After several other writers and composers considered musicalizing the comic strip, Al Capp made a deal in 1955 with the eventual creators for a musical to be financed by Paramount Pictures, which wanted to follow the stage version with a film musical; the Broadway production opened on November 15, 1956 and ran for a moderately successful 693 performances. The score and Michael Kidd's choreography received critical praise, but some critics felt that the book's adaptation lost the spirit of the comic strip. Kidd and Edie Adams, as Daisy Mae, won Tony Awards, while newcomer Peter Palmer, in the title role, won a Theatre World Award.
Paramount released a film version with the same title in 1959, with most of the Broadway cast reprising their roles. A musical version of the popular comic strip Li'l Abner was first planned in 1946, with the book to be written by the comic strip's author, Al Capp. Richard Rodgers and Oscar Hammerstein II were named as potential producers, though reports did not state whether they intended to write the score. However, this version never materialized, over the next several years, various authors and composers sought to musicalize Li'l Abner, including writers Arnold Horwitt and Josh Logan. In 1953, Arthur Schwartz and Alan Jay Lerner obtained the rights to the show from Al Capp; the familiar comic strip characters were to be retained but Li'l Abner and his longtime sweetheart Daisy Mae would not yet be married in the musical. Hollywood star Van Johnson expressed interest in the title role, saying he would dye his hair black to match the comic strip character; the Schwartz–Lerner version fell through, but by the next year Lerner and composer Burton Lane planned to write the musical.
Herman Levin would serve as producer, rehearsals were scheduled to begin in November 1954. However that year, Levin announced a musical version of George Bernard Shaw's Pygmalion, by Lerner and Loewe. Although work was supposed to continue on the Lane–Lerner Li'l Abner, this version never appeared, My Fair Lady and Loewe's adaptation of Pygmalion, opened in 1956, becoming the hit musical of the decade. In 1955, Norman Panama and Melvin Frank announced a Li'l Abner musical to open on Broadway in 1956, followed by a film of the musical; the music was to be written by Gene de Paul with lyrics by Johnny Mercer. De Paul and Mercer had written the score for the popular movie musical, Seven Brides for Seven Brothers. Michael Kidd, who had choreographed Seven Brides for Seven Brothers, was to direct and choreograph Li'l Abner. Al Capp was to receive a share of any profits. Paramount Pictures was the sole backer of the musical and paid $300,000 for its film rights, with Panama and Frank slated to adapt and produce the film version.
The producers conducted a long search for the actor to play the title role: over 400 actors auditioned for the part, at one time, Dick Shawn was reported to be their preferred choice. However, the producers chose unknown singer Peter Palmer, serving in an army entertainment unit. Palmer was a trained singer with a music degree from the University of Illinois, where he had played football; the leading female role, Daisy Mae, was easier to cast. The producers knew that they wanted soprano Edie Adams, who had given a star-making performance as Eileen in the 1953 musical Wonderful Town. Adams, had been offered the lead role in the original production of Candide. Adams asked director George Abbott, who had directed her in Wonderful Town, which show she should choose, he advised her to take Daisy Mae, which she subsequently did. Coincidentally, Al Capp had been one of the three judges for the "Miss U. S. Television" contest broadcast on the DuMont Television Network in 1950 that first brought Adams national attention.
"It's a Typical Day" as the citizens of Dogpatch, U. S. A. go about their daily activities. As usual, curvaceous Daisy Mae Scragg is pursuing Li'l Abner Yokum who, despite being a strapping, handsome young man, isn't interested in girls or employment. Abner's domineering, diminutive Mammy sends Daisy Mae to tell Abner to come to the Cornpone Meetin' in the town square. At the fishing hole with his friends, Abner lazily reflects that if he could be anyone in the world, he'd rather be himself. Daisy Mae tells the young men about the meeting, they rush into town. Daisy is frustrated; the townspeople assemble for the Cornpone Meetin', where parson Marryin' Sam leads a celebration of Dogpatch's founder, "Jubilation T. Cornpone", a bumbling Confederate general whose leadership was more beneficial to the North than to the South. Senator Fogbound, Dogpatch's U. S. congressman, tells the citizens that Congress has declared Dogpatch the most unnecessary town in the U. S. and so it must be evacuated to be used as a nuclear bomb test site.
Everyone is thrilled that Dogpatch has been picked out of the entire U