New Age is a term applied to a range of spiritual or religious beliefs and practices that developed in Western nations during the 1970s. Precise scholarly definitions of the New Age differ in their emphasis as a result of its eclectic structure. Although analytically considered to be religious, those involved in it prefer the designation of spiritual or Mind, Body and use the term "New Age" themselves. Many scholars of the subject refer to it as the New Age movement, although others contest this term and suggest that it is better seen as a milieu or zeitgeist; as a form of Western esotericism, the New Age drew upon a number of older esoteric traditions, in particular those that emerged from the occultist current that developed in the eighteenth century. Such prominent occult influences include the work of Emanuel Swedenborg and Franz Mesmer, as well as the ideas of Spiritualism, New Thought, Theosophy and the European Lebensreform movement. A number of mid-twentieth century influences, such as the UFO religions of the 1950s, the Counterculture of the 1960s, the Human Potential Movement exerted a strong influence on the early development of the New Age.
The exact origins of the phenomenon remain contested, but there is general agreement that it developed in the 1970s, at which time it was centred in the United Kingdom. It expanded and grew in the 1980s and 1990s, in particular within the United States. By the start of the 21st century, the term "New Age" was rejected within this milieu, with some scholars arguing that the New Age phenomenon had ended. Despite its eclectic nature, a number of beliefs found within the New Age have been identified. Theologically, the New Age adopts a belief in a holistic form of divinity that imbues all of the universe, including human beings themselves. There is thus a strong emphasis on the spiritual authority of the self; this is accompanied by a common belief in a wide variety of semi-divine non-human entities, such as angels and masters, with whom humans can communicate through the form of channeling. Viewing human history as being divided into a series of distinct ages, a common New Age belief is that whereas once humanity lived in an age of great technological advancement and spiritual wisdom, it has entered a period of spiritual degeneracy, which will be remedied through the establishment of a coming Age of Aquarius, from which the milieu gets its name.
There is a strong focus on healing using forms of alternative medicine, an emphasis on a New Age approach to science that seeks to unite science and spirituality. Centred in Western countries, those involved in the New Age have been from middle and upper-middle-class backgrounds; the degree to which New Agers are involved in the milieu varied from those who adopted a number of New Age ideas and practices to those who embraced and dedicated their lives to it. The New Age has generated criticism from established Christian organisations as well as modern Pagan and indigenous communities. From the 1990s onward, the New Age became the subject of research by academic scholars of religious studies; the New Age phenomenon has proved difficult to define, with much scholarly disagreement as to its scope. The scholars Steven J. Sutcliffe and Ingvild Sælid Gilhus have suggested that it remains "among the most disputed of categories in the study of religion"; the scholar of religion Paul Heelas characterised the New Age as "an eclectic hotch-potch of beliefs and ways of life" that can be identified as a singular phenomenon through their use of "the same lingua franca to do with the human condition and how it can be transformed."
The historian of religion Olav Hammer termed it "a common denominator for a variety of quite divergent contemporary popular practices and beliefs" that have emerged since the late 1970s and are "largely united by historical links, a shared discourse and an air de famille". According to Hammer, this New Age was a "fluid and fuzzy cultic milieu"; the sociologist of religion Michael York described the New Age as "an umbrella term that includes a great variety of groups and identities" that are united by their "expectation of a major and universal change being founded on the individual and collective development of human potential."The scholar of religion Wouter Hanegraaff adopted a different approach by asserting that "New Age" was "a label attached indiscriminately to whatever seems to fit it" and that as a result it "means different things to different people". He thus argued against the idea that the New Age could be considered "a unified ideology or Weltanschauung", although he believed that it could be considered a "more or less unified'movement'."
Other scholars have suggested. The scholar of religion George D. Chryssides called it "a counter-cultural Zeitgeist", while the sociologist of religion Steven Bruce suggested that New Age was a milieu. There is no central authority within the New Age phenomenon that can determine what counts as New Age and what does not. Many of those groups and individuals who could analytically be categorised as part of the New Age reject the term "New Age" in reference to themselves; some express active hostility to the term. Rather than terming themselves "New Agers", those involved in this milieu describe themselves as spiritual "seekers", some self-identify as a member of a different religious group, such as Christianity, Judaism, or Buddhism. In 2003 Sutcliffe observed that the use of the term "New Age" was "op
Frank Lovece is an American journalist and author, a comic book writer for Marvel Comics, where he and artist Mike Okamoto created the miniseries Atomic Age. He was additionally one of the first professional Web journalists, becoming an editor of a Silicon Alley start-up in 1996, his longest affiliation has been with the New York metropolitan area newspaper Newsday, where he has served as a feature writer and film critic. For an Entertainment Weekly article on direct-to-video movies representing themselves as theatrical releases, he produced the first — and, after the article's publication, only — home video to obtain an MPAA rating. Born in Buenos Aires, the son of Italian immigrants, Frank Lovece moved to the U. S. as a toddler and was raised in Keyser and Morgantown, West Virginia. There his family ran Italian restaurants, he attended St. Francis High School and West Virginia University in Morgantown, graduating with a bachelor of arts degree in communication. At West Virginia University, Lovece was the arts/entertainment editor of the college newspaper, the Daily Athenaeum.
C. the USDA Cooperative Extension Service. He became a stringer for the New York City / Long Island newspaper Newsday in the late 1980s, producing feature articles and movie reviews, becoming a weekly TV columnist there in 2003. Lovece's book Hailing Taxi: The Official Book of the Show, was published in 1988, the first of several books he would write on topics including the TV series The Brady Bunch and The X-Files, the Godzilla movie series. By the 1990s, Lovece was a weekly syndicated columnist for United Media / NEA, a writer for periodicals including the Los Angeles Times, the New York Post, Penthouse and Entertainment Weekly, where he wrote features and reviewed home video releases and comic books. For an Entertainment Weekly article on direct-to-video movies representing themselves as theatrical releases, he produced the first – and, after the article's publication, only – home video to obtain an MPAA rating. Lovece and artist Mike Okamoto created the four-issue miniseries Atomic Age for Marvel Comics' creator-owned Epic Comics imprint.
The series was among the items featured in the Bowling Green State University exhibition "The Atomic Age Opens: Selections from the Popular Culture Library". Collaborator Al Williamson won the 1991 Eisner Award for Best Inker for his work on that and other series that awards-year, with Okamoto winning The Russ Manning Most Promising Newcomer Award. Lovece went on to write stories for Epic's anthology series Clive Barker's Hellraiser, wrote the nine-issue run of Hokum & Hex for Marvel's Razorline imprint, created by novelist Barker. Other work includes such children's comics as the licensed series Mighty Morphin Power Rangers, VR Troopers and Masked Rider; the Hellraiser story "For My Son", by Lovece and artist Bill Koeb published in Clive Barker's Hellraiser Summer Special No. 1, appears in Checker Publishing's Clive Barker's Hellraiser: Collected Best, Volume 1, though with the last page inexplicably missing. For Marvel, Lovece wrote for the series Nightstalkers and for The Incredible Hulk and Ghost Rider annuals, as well as an inventory story for Alpha Flight.
His three-part child-abuse drama "Egg" ran in Dark Horse Comics' Dark Horse Presents #110–112, where editor Bob Schreck opined, "Frank is the most under-exploited, most sensitive writer this field has to offer". Lovece wrote an educational comic book about the American banking system for the Federal Reserve Bank of New York, he returned to comics in 2012. In 2016, he became editor of the comics company Shatner Singularity, beginning with the graphic novel Stan Lee's'God Woke', written by Stan Lee and Fabian Nicieza; that work won the 2017 Independent Publisher Book Awards' Outstanding Books of the Year Independent Voice Award. Beginning in 1996, Lovece served as a Web editor and streaming video producer at the Silicon Alley startup Gist TV, he became a Web editor at Hachette Filipacchi, creating sites for Sound & Vision and Popular Photography magazines, from 2001 to 2004, at the Sci-Fi Channel television network, creating sites for Battlestar Galactica, Stargate SG-1, Stargate Atlantis, The X-Files, The Incredible Hulk, Legend of Earthsea and other television shows and miniseries.
In 2002, he began a longtime association with Habitat magazine, writing about New York City real estate. From 2001–2003, Lovece was a member of the New York City improv comedy troupe Wingnuts, his humor writing has appeared in Entertainment Weekly, Yahoo!/MSN, elsewhere. In 2005, Lovece and photographer Matthew Jordan Smith collaborated on the book Lost and Found, a photojournalistic record of families of abducted children and the work of The National Center for Missing & Exploited Children. In addition to his Newsday column and film reviews, Lovece has been a movie critic for Film Journal International, the TV Guide website and the northern New Jersey newspaper The Record. Lovece, Frank. TV Trivia: Thirty Years of Television New York: Beekman House / Publications International. ISBN 0-517-46367-9 Lovece, with Jules Franco. Hailing Taxi: The Official Book of the Show New York: Prentice Hall Press ISBN 0-13-372103-5, ISBN 978-0-13-372103-4 Reissued and updated: Taxi: The Official Fan's Guide New York: Citadel Press ISBN 0-8065-1801-4
Sputnik 1 was the first artificial Earth satellite. The Soviet Union launched it into an elliptical low Earth orbit on 4 October 1957, orbiting for three weeks before its batteries died silently for two more months before falling back into the atmosphere, it was a 58 cm diameter polished metal sphere, with four external radio antennas to broadcast radio pulses. Its radio signal was detectable by radio amateurs, the 65° inclination and duration of its orbit made its flight path cover the entire inhabited Earth; this surprise success precipitated the American Sputnik crisis and triggered the Space Race, a part of the Cold War. The launch was the beginning of a new era of political, military and scientific developments. Tracking and studying Sputnik 1 from Earth provided scientists with valuable information; the density of the upper atmosphere could be deduced from its drag on the orbit, the propagation of its radio signals gave data about the ionosphere. Sputnik 1 was launched during the International Geophysical Year from Site No.1/5, at the 5th Tyuratam range, in Kazakh SSR.
The satellite travelled at about 29,000 kilometres per hour, taking 96.2 minutes to complete each orbit. It transmitted on 20.005 and 40.002 MHz, which were monitored by radio operators throughout the world. The signals continued for 21 days until the transmitter batteries ran out on 26 October 1957. Sputnik burned up on 4 January 1958 while reentering Earth's atmosphere, after three months, 1440 completed orbits of the Earth, a distance travelled of about 70 million km. On 17 December 1954, chief Soviet rocket scientist Sergei Korolev proposed a developmental plan for an artificial satellite to the Minister of the Defence Industry, Dimitri Ustinov. Korolev forwarded a report with an overview of similar projects abroad. Tikhonravov had emphasized that the launch of an orbital satellite was an inevitable stage in the development of rocket technology. On 29 July 1955, U. S. President Dwight D. Eisenhower announced through his press secretary that, during the International Geophysical Year, the United States would launch an artificial satellite.
A week on 8 August, the Politburo of the Communist Party of the Soviet Union approved the proposal to create an artificial satellite. On 30 August Vasily Ryabikov – the head of the State Commission on the R-7 rocket test launches – held a meeting where Korolev presented calculation data for a spaceflight trajectory to the Moon, they decided to develop a three-stage version of the R-7 rocket for satellite launches. On 30 January 1956 the Council of Ministers approved practical work on an artificial Earth-orbiting satellite; this satellite, named Object D, was planned to be completed in 1957–58. The first test launch of "Object D" was scheduled for 1957. Work on the satellite was to be divided among institutions as follows: the USSR Academy of Sciences was responsible for the general scientific leadership and the supply of research instruments the Ministry of the Defence Industry and its primary design bureau, OKB-1, were assigned the task of building the satellite the Ministry of the Radiotechnical Industry would develop the control system, radio/technical instruments, the telemetry system the Ministry of the Ship Building Industry would develop gyroscope devices the Ministry of the Machine Building would develop ground launching and transportation means the Ministry of the Defense was responsible for conducting launchesPreliminary design work was completed in July 1956 and the scientific tasks to be carried out by the satellite were defined.
These included measuring the density of the atmosphere and its ion composition, the solar wind, magnetic fields, cosmic rays. These data would be valuable in the creation of future artificial satellites. A system of ground stations was to be developed to collect data transmitted by the satellite, observe the satellite's orbit, transmit commands to the satellite; because of the limited time frame, observations were planned for only 7 to 10 days and orbit calculations were not expected to be accurate. By the end of 1956 it became clear that the complexity of the ambitious design meant that'Object D' could not be launched in time because of difficulties creating scientific instruments and the low specific impulse produced by the completed R-7 engines; the government rescheduled the launch for April 1958. Object D would fly as Sputnik 3. Fearing the U. S. would launch a satellite before the USSR, OKB-1 suggested the creation and launch of a satellite in April–May 1957, before the IGY began in July 1957.
The new satellite would be simple and easy to construct, forgoing the complex, heavy scientific equipment in favour of a simple radio transmitter. On 15 February 1957 the Council of Ministers of the USSR approved this simple satellite, designated'Object PS'; this version allowed the satellite to be tracked visually by Earth-based observers, it could transmit tracking signals to ground-based receiving stations. The launch of two satellites, PS-1 and PS-2, with two R-7 rockets was approved, provided that the R-7 completed at least two successful test flights; the R-7 Semyorka was designed as an intercontinental ballistic missile by OKB-1. The decision to build it was made by the Central Committee of the Communist Party of the Soviet Union and the Council of Ministers of the USSR on 20 M
Parsons School of Design
Parsons School of Design, known colloquially as Parsons, is a private art and design college located in the Greenwich Village neighborhood of Lower Manhattan in New York City. It is one of the five colleges of The New School; the school is regarded as one of the most prestigious art and design schools in the world and ranks as the top art and design school in the United States. The school was founded in 1896 by William Merritt Chase in search of individualistic artistic expression, it was the first of its kind in the country to offer programs in fashion design, interior design, graphic design. The school offers numerous undergraduate and graduate programs, ranging from architectural design, curatorial studies, to textiles and design and urban ecologies. In addition, Parsons is known for its alumni, which consist of numerous famous fashion designers, designers and artists alike that have made large contributions to their respective industries; the college is a member of the National Association of Schools of Art and Design and the Association of Independent Colleges of Art and Design.
First established as The Chase School, the institution was founded in 1896 by the American impressionist painter William Merritt Chase. Chase led a small group of Progressives who seceded from the Art Students League of New York in search of a more free, more dramatic, more individual expression of art; the Chase School changed its name in 1898 to The New York School of Art. In 1904, Frank Alvah Parsons joined artist Robert Henri as a teacher at the school. In the same approximate time frame, Parsons studied for two years with the vanguard artist and educator, Arthur Wesley Dow at Columbia University graduating in 1905 with a degree in fine arts. A few years he became president of The New York School of Art. Anticipating a new wave of the Industrial Revolution, Parsons predicted that art and design would soon be inexorably linked to the engines of industry, his vision was borne out in a series of firsts for the school, establishing the first program in fashion design, interior design and graphic design in the United States.
In 1909, the school was renamed The New York School of Fine and Applied Art to reflect these offerings. Parsons became the sole director in 1911, a position which he maintained to his death in 1930. William M. Odom, who established the school's Paris ateliers in 1921, succeeded Parsons as president. In honor of Parsons, important in steering the school's development and in shaping visual-arts education through his theories about linking art and industry throughout the world, the institution became the Parsons School of Design in 1936; as the modern curriculum developed, many successful designers remained tied to the school, by the mid-1960s, Parsons had become "the training ground for Seventh Avenue."In 1970, the school became a division of the New School for Social Research, which evolved into The New School. The campus moved from Sutton Place to Greenwich Village in 1972; the merger with a vigorous accredited university was a source of new funding and energy, which expanded the focus of a Parsons education.
In 2005, when the parent institution was renamed The New School, the school undergone a rebranding in which it was renamed Parsons The New School for Design. In 2015, the institution dropped "The New School" from its formal title and has since been referred to as The New School's Parsons School of Design. Like most universities in New York City, Parsons' campus is spread among scattered buildings, but the main building is located at 13th Street and 5th Avenue. Many other facilities are in buildings shared by other colleges in The New School but the facilities below are exclusive to Parsons. Parsons has a campus abroad located in Paris’s First Arrondissement, known as Parsons Paris; the New School opened the 16-story The New School University Center at 65 5th Avenue in January 2014. While the 65 Fifth Avenue plans were controversial among students and Village residents, plans for the University Center were adjusted in response to community concerns and have since been well received. In a review of the University Center's final design, The New York Times architecture critic Nicolai Ouroussoff called the building "a celebration of the cosmopolitan city".
The tower, designed by Skidmore and Merrill's Roger Duffy, is the biggest capital project the university has undertaken. The building added classrooms, new residences, computer labs, event facilities, a cafeteria to the downtown New York City campus in addition to a two-story library and lecture halls. While the UC serves as a central hub for all university students, the majority of its classrooms and workspaces are used for Parsons programs. 2 West 13th Street/66 Fifth Avenue is most known as the Sheila Johnson Design Center. The main Parsons campus is located at 2 West 13th Street in Greenwich Village in the borough of Manhattan; the renovation of the existing structure's first and mezzanine levels was made possible in part by a $7 million gift from New School Trustee and Parsons Board of Governors Chair Sheila Johnson. The "Urban Quad" was designed by Lyn Rice Architects and encompasses a total area of 32,800 square feet. In addition to classrooms, the building includes the Anna-Maria and Stephen Kellen Gallery and Auditorium, the Arnold and Sheila Aronson Galleries.
The renovated ground floor provides a new home for the Anna-Maria and Stephen Kellen Archives, a collection of drawings, photographs and objects documenting 20th-century design. The building hosts the Adam and
N. C. Wyeth
Newell Convers Wyeth, known as N. C. Wyeth, was illustrator, he became one of America's greatest illustrators. During his lifetime, Wyeth created more than 3,000 paintings and illustrated 112 books, 25 of them for Scribner's, the Scribner Classics, the work for which he is best known; the first of these, Treasure Island, was one of his masterpieces and the proceeds paid for his studio. Wyeth was a realist painter at a time when the camera and photography began to compete with his craft. Sometimes seen as melodramatic, his illustrations were designed to be understood quickly. Wyeth, both a painter and an illustrator, understood the difference, said in 1908, "Painting and illustration cannot be mixed—one cannot merge from one into the other."He is the father of Andrew Wyeth and the grandfather of Jamie Wyeth, both well-known American painters. Wyeth was born in Massachusetts. An ancestor, Nicholas Wyeth, a stonemason, came to Massachusetts from England in 1645. Ancestors were prominent participants in the French and Indian Wars, the Revolutionary War, the War of 1812, the American Civil War, passing down rich oral histories and tradition to Wyeth and his family and providing subject matter for his art, felt.
His maternal ancestors came from Switzerland, during his childhood, his mother was acquainted with literary giants Henry David Thoreau and Henry Wadsworth Longfellow. His literary appreciation and artistic talents appear to have come from her, he was the oldest of four brothers who spent much time hunting and enjoying other outdoor pursuits, doing chores on their farm. His varied youthful activities and his astute sense of observation aided the authenticity of his illustrations and obviated the need for models: "When I paint a figure on horseback, a man plowing, or a woman buffeted by the wind, I have an acute sense of the muscle strain."His mother encouraged his early inclination toward art. Wyeth was doing excellent watercolor paintings by the age of twelve, he went to Mechanics Arts School to learn drafting, Massachusetts Normal Art School, now Massachusetts College of Art and Design, where painting instructor Richard Andrew advised him to become an illustrator, the Eric Pape School of Art to learn illustration, under George Loftus Noyes and Charles W. Reed.
A bucking bronco for the cover of The Saturday Evening Post on February 21, 1903 was Wyeth's first commission as an illustrator. That year he described his work as "true, solid American subjects—nothing foreign about them."It was a spectacular accomplishment for the 20-year-old Wyeth, after just a few months under Pyle's tutelage. In 1904, the same magazine commissioned him to illustrate a Western story, Pyle urged Wyeth to go West to acquire direct knowledge, much as Zane Grey had done for his Western novels. In Colorado, he worked as a cowboy alongside the professional "punchers," moving cattle and doing ranch chores, he gained an understanding of Native American culture. When his money was stolen, he worked as a mail carrier, riding between the Two Grey Hills trading post and Fort Defiance, to earn enough to get back home, he wrote home, "The life is wonderful, strange—the fascination of it clutches me like some unseen animal—it seems to whisper,'Come back, you belong here, this is your real home.'"On a second trip two years he collected information on mining and brought home costumes and artifacts, including cowboy and Indian clothing.
His early trips to the western United States inspired a period of images of cowboys and Native Americans that dramatized the Old West. Upon returning to Chadds Ford, he painted a series of farm scenes for Scribner's, finding the landscape less dramatic than that of the West but nonetheless a rich environment for his art: "Everything lies in its subtleties, everything is so gentle and simple, so unaffected." His painting Mowing, not done for illustration, was among his most successful images of rural life. Wyeth created a stimulating household for his talented children Andrew Wyeth, Henriette Wyeth Hurd, Carolyn Wyeth, Ann Wyeth McCoy, Nathaniel C. Wyeth. Wyeth was sociable, frequent visitors included F. Scott Fitzgerald, Joseph Hergesheimer, Hugh Walpole, Lillian Gish, John Gilbert. According to Andrew, who spent the most time with his father due to his sickly childhood, Wyeth was a strict but patient father who did not talk down to his children, his hard work as an illustrator gave his family the financial freedom to follow their own artistic and scientific pursuits.
Andrew went on to become one of the foremost American artists of the second half of the 20th century, both Henriette and Carolyn became artists also. Nathaniel became an engineer for DuPont and worked on the team that invented the plastic soda bottle. Henriette and Ann married Peter Hurd and John W. McCoy. Wyeth is the grandfather of artists Jamie Wyeth and Michael Hurd, the musician Howard Wyeth. By 1911, Wyeth began to move away on to illustrating classic literature, he painted a series for an edition of Treasure Island, by Robert Louis Stevenson, thought by many to be his finest group of illustrations. The proceeds from this great success paid for his studio, he illustrated editions of Kidnapped, Robin Hood, The Last of the Mohicans, Robinson Crusoe, Rip Van Winkle, The White Company, The Yearling. He did work for prominent periodicals, including Century, Harper's Monthly, Ladies' Home Journal, McClure's, The Popular Magazine, Scribner's. By 1914, Wyeth loathed the commercia
Epic Comics was a creator-owned imprint of Marvel Comics started in 1982, lasting through the mid-1990s, being revived on a small scale in the mid-2000s. Launched by editor-in-chief Jim Shooter as a spin-off of the successful Epic Illustrated magazine, the Epic imprint allowed creators to retain control and ownership of their properties. Co-edited by Al Milgrom and Archie Goodwin, the imprint allowed Marvel to publish more objectionable content without needing to comply with the stringent Comics Code Authority. Epic titles were printed on higher quality paper than typical Marvel comics, were only available via the direct market; the first project was Dreadstar, a space opera by writer-artist Jim Starlin, published November 1982. Dreadstar had first appeared in the Epic Illustrated magazine in issue #3. Subsequent titles included Coyote by Steve Englehart; the line branched out with historical fiction, social commentary and fantasy. However, initial sales were disappointing, so in order to give the line a boost, popular Marvel writer-artist Frank Miller and artist Bill Sienkiewicz were commissioned to develop Elektra: Assassin, featuring the ninja assassin from the Daredevil comic book.
Although Epic was meant to be a creator-owned line, Elektra: Assassin became only the first title featuring Marvel characters published by the imprint. Others included a painted mini-series featuring Havok and Wolverine from the X-Men. Marvel commissioned writer and Marvel editor Archie Goodwin to create original characters for a Mature Readers superhero line for Epic Comics; this took the form of The Shadowline Saga, a storyline spanning four different titles in 1987. Epic was notable as one of the first American comic publishers to release material produced in other countries, such as the Moebius graphic novels Airtight Garage, The Incal and Blueberry, published here in English translations by Jean-Marc Lofficier & Randy Lofficier. Epic published Katsuhiro Otomo's manga classic Akira, with translations by Marvel staffer Mary Jo Duffy and colors by Steve Oliff; as well, now edited by Potts, licensed a variety of literary material, the best known of which were the Clive Barker novels and stories, including Hellraiser and Weaveworld.
Other adapted works included William Shatner's Tekworld, the Wild Cards anthologies, William Gibson's Neuromancer. During this decade, Epic published the four-part miniseries Atomic Age, a 1950s-style science fiction story reimagined from a contemporary perspective by writer Frank Lovece and artists Mike Okamoto and Al Williamson, the latter two of whom won the Russ Manning Award and an Eisner Award for their work there, brought out the action-oriented Heavy Hitters line with material from Peter David, Howard Chaykin, Gerard Jones, Joe Kubert, Ron Lim, Steve Purcell. A subsequent comic-book sales bust, prompted Marvel to end Epic in 1994. In late 1995, the line was temporarily brought back to complete the reprinting of the Akira manga. Epic was ended again when that series was completed in early 1996. In 2003, the Epic imprint was brought back, with two stated goals: to scout for new creator-owned projects, to offer new talent a chance to work on lesser-known Marvel properties. Marvel editors contacted industry columnists, such as Cleveland Plain Dealer and Newsarama columnist Michael San Giacomo, Ryan Scott Ottney, Comixfan's Eric J. Moreels, Sword of Dracula creator Jason Henderson, to ask for new comic pitches using existing Marvel properties.
San Giacomo created Phantom Jack. Henderson created "Strange Magic", a story about a hitherto-unknown daughter of Marvel's Doctor Strange. Moreels was creating a super-team featuring various Australian Marvel characters. An open call for submissions was issued, which prompted a huge response, resulted in months-long delays in reviewing submissions; the option of submitting creator-owned pitches was downplayed and discontinued. The new Epic received considerable attention with Trouble, a miniseries by Mark Millar that would retcon the Spider-Man mythos by revealing details from the teenage years of May Parker and Peter's mother, but although all the main characters sported names any Spider-Man fan would recognize, there was no explicit revelation that they were in any way connected to their Marvel Universe namesakes. Other comics in the line, including a Crimson Dynamo title, were produced by lesser-known talents, the line was cancelled. A number of solicitations were cancelled. Titles that were in progress when Marvel's new management ended the line were consolidated under one cover with the title Epic Anthology Presents, cancelled after the first issue.
San Giacomo requested that the rights to Phantom Jack be returned to him, it was not included in the anthology. The story was published instead by Image Comics and returned in 2007 through Atomic Pop Art Enterprises. Since 2013 the Epic brand is u
June Lockhart is an American actress in 1950s and 1960s television with performances on stage and in film. On two television series she played mother roles and Lost in Space, she portrayed Dr. Janet Craig on the CBS television sitcom Petticoat Junction, she is a Tony Award winner. Born on June 25, 1925, in New York, Lockhart is the daughter of Canadian-born actor Gene Lockhart, who came to prominence on Broadway in 1933 in Ah, Wilderness!, English-born actress Kathleen Arthur Lockhart. Her grandfather was John Coates Lockhart, "a concert-singer."She attended the Westlake School for Girls in Beverly Hills, California. Lockhart made her film debut opposite her parents in a film version of A Christmas Carol, in 1938, she played supporting parts in films including Meet Me in St. Louis, Sergeant York, All This, Heaven Too and The Yearling, she starred in She-Wolf of London. Lockhart debuted on stage at the age of eight, playing Mimsey in Peter Ibbetson, presented by the Metropolitan Opera. In 1947, her acting in For Love or Money brought her out of her parents' shadow and gained her notice as "a promising movie actress in her own right."
One newspaper article began, "June Lockhart has burst on Broadway with the suddenness of an unpredicted comet."In 1951, Lockhart starred in Lawrence Riley's biographical play Kin Hubbard opposite Tom Ewell. In 1955, Lockhart appeared in an episode of CBS's Appointment with Adventure. About this time, she made several appearances on NBC's legal drama Justice, based on case files of the Legal Aid Society of New York. In the late 1950s, Lockhart guest-starred in several popular television Westerns including: Wagon Train and Cimarron City on NBC and Gunsmoke, Have Gun – Will Travel, Rawhide on CBS. In 1958, she was the narrator for Playhouse 90's telecast of the George Balanchine version of Tchaikovsky's The Nutcracker, featuring Balanchine himself as Drosselmeyer, along with the New York City Ballet. Lockhart is best known for her roles as TV mothers, first as Ruth Martin, the wife of Paul Martin, the mother of Timmy Martin in the 1950s CBS series, Lassie, she replaced actress Cloris Leachman, who, in turn, had replaced Jan Clayton – who had played a similar character earlier in the series.
Following her five-year run on Lassie Lockhart made a guest appearance on Perry Mason as defendant Mona Stanton Harvey in "The Case of the Scandalous Sculptor." Lockhart starred as Dr. Maureen Robinson in Lost in Space, which ran from 1965 to 1968 on CBS, opposite veteran actors Guy Williams and Jonathan Harris. In 1965, Lockhart played librarian Ina Coolbrith, first poet laureate of California, in the episode "Magic Locket" of the syndicated western series, Death Valley Days, hosted by Ronald W. Reagan. In the storyline, Coolbrith develops a tenuous friendship with the teenaged "Dorita Duncan" the dancer Isadora Duncan; the two have identical portions of a broken locket. Sean McClory played the poet author of Songs of the Sierras. Lockhart would appear as Dr. Janet Craig on the final two seasons of the CBS sitcom Petticoat Junction, her character being brought in to fill the void created after Bea Benaderet died during the run of the show. Lockhart appeared as a hostess on the "Miss USA Pageant" on CBS for six years, the "Miss Universe Pageant" on CBS for six years, the "Tournament of Roses Parade" on CBS for eight years and the "Thanksgiving Parade" on CBS for five years.
In 1986, she appeared in Troll. The younger version of her character in that film was played by Anne Lockhart, they had played the same woman at two different ages in the "Lest We Forget" episode of the television series Magnum, P. I.. In 1991, Lockhart appeared as Miss Wiltrout, Michelle Tanner's kindergarten teacher on the TV sitcom Full House, she had a cameo in the 1998 film Lost in Space, based on the television series she had starred in thirty years earlier. In 2002, she appeared in two episodes of The Drew Carey Show as Lewis's mother, Misty Kiniski, alongside fellow TV mom Marion Ross, who played Drew's mother. In 2004, she voiced the role of Grandma Emma Fowler in Focus on the Family's The Last Chance Detectives audio cases. Lockhart starred as James Caan's mother in an episode of Las Vegas in 2004. Lockhart has since guest-starred in episodes of Cold Case and Grey's Anatomy, in the 2007 ABC Family television film Holiday in Handcuffs, in the 2007 feature film Wesley. In February 2013, Lockhart began filming for Tesla Effect, a video game that combines live-action footage with 3D graphics, released in May 2014.
In 1948, Lockhart won a Tony Award for Outstanding Performance by a Newcomer for her role on Broadway in For Love or Money. She has two stars on one for motion pictures and one for television. Both were dedicated on February 8, 1960. In 2013, the National Aeronautics and Space Administration awarded her the Exceptional Public Achievement Medal for inspiring the public about space exploration. In 1951, Lockhart married Dr. John F. Maloney, they had Anne Kathleen Lockhart and June Elizabeth Maloney. The couple divorced in 1959, she mar