1.
Brooklyn
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Brooklyn is the most populous borough of New York City, with a Census-estimated 2,636,735 residents in 2015. It borders the borough of Queens at the end of Long Island. Today, if New York City dissolved, Brooklyn would rank as the third-most populous city in the U. S. behind Los Angeles, the borough continues, however, to maintain a distinct culture. Many Brooklyn neighborhoods are ethnic enclaves, Brooklyns official motto, displayed on the Borough seal and flag, is Eendraght Maeckt Maght which translates from early modern Dutch as Unity makes strength. Since 2010, Brooklyn has evolved into a hub of entrepreneurship and high technology startup firms. The history of European settlement in Brooklyn spans more than 350 years, the neighborhood of Marine Park was home to North Americas first tidal mill. It was built by the Dutch, and the foundation can be seen today, however, the area was not formally settled as a town. Many incidents and documents relating to this period are in Gabriel Furmans early compilation, what is today Brooklyn left Dutch hands after the final English conquest of New Netherland in 1664, a prelude to the Second Anglo–Dutch War. The English reorganized the six old Dutch towns on southwestern Long Island as Kings County on November 1,1683 and this tract of land was recognized as a political entity for the first time, and the municipal groundwork was laid for a later expansive idea of Brooklyn identity. On August 27,1776 was fought the Battle of Long Island, the first major engagement fought in the American Revolutionary War after independence was declared, and the largest of the entire conflict. British troops forced Continental Army troops under George Washington off the heights near the sites of Green-Wood Cemetery, Prospect Park. The fortified American positions at Brooklyn Heights consequently became untenable and were evacuated a few days later, One result of the Treaty of Paris in 1783 was the evacuation of the British from New York City, celebrated by residents into the 20th century. The New York Navy Yard operated in Wallabout Bay for the entire 19th century, the first center of urbanization sprang up in the Town of Brooklyn, directly across from Lower Manhattan, which saw the incorporation of the Village of Brooklyn in 1817. Reliable steam ferry service across the East River to Fulton Landing converted Brooklyn Heights into a town for Wall Street. Ferry Road to Jamaica Pass became Fulton Street to East New York, Town and Village were combined to form the first, kernel incarnation of the City of Brooklyn in 1834. Industrial deconcentration in mid-century was bringing shipbuilding and other manufacturing to the part of the county. Each of the two cities and six towns in Kings County remained independent municipalities, and purposely created non-aligning street grids with different naming systems and it later became the most popular and highest circulation afternoon paper in America. The publisher changed to L. Van Anden on April 19,1842, on May 14,1849 the name was shortened to The Brooklyn Daily Eagle, on September 5,1938 it was further shortened to Brooklyn Eagle
2.
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
3.
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
4.
Max Gaines
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Maxwell Charles Gaines was a pioneering figure in the creation of the modern comic book. Born Maxwell Ginzberg, he was known as Max Gaines. In 1933, Gaines devised the first four-color, saddle-stitched newsprint pamphlet and he was co-publisher of All-American Publications, a seminal comic-book company that introduced such enduring fictional characters as Green Lantern, Wonder Woman and Hawkman. He went on to found Educational Comics, producing the series Picture Stories from the Bible and he authored one of the earliest essays on comic books, a 1942 pamphlet titled Narrative Illustration, The Story of the Comics. After Max Gaines death, Educational Comics was taken over by his son Bill Gaines, born in New York City, New York, Maxwell Charles Gaines was described as a hard-nosed, pain-wracked, loud aggressive man. At age four, Gaines had leaned out too far from a second story window and fell to the ground, the leg would give him pain and discomfort for the rest of his life, aggravating his disposition. As an adult he developed a vicious temper, and according to his son, William M. Gaines, Gaines continually reinforced this belief by venting his frustrations on the boy, beating him savagely with a leather belt while shouting, You’ll never amount to anything. Gaines, who bore a resemblance to actor Bert Lahr, had been a teacher, an elementary school principal, a munitions factory worker. It dawned on him that if packaged together they would make an excellent promotional device, Gaines immediately contacted Harry L. Wildenberg, Eastern’s sales manager and his direct superior. Gaines asked the Procter & Gamble representative, undaunted, and with Wildenbergs blessing, Gaines decided to see if he could sell his idea to other companies, naming the promotional book Funnies on Parade. Maybe Procter & Gamble didn’t like it, but other companies sure did and this 64-page format was actually dictated by the printing presses themselves. The typical newspaper page, folded in half, produced a size, about ten by 15 inches, folding it once more, you have the comic book page. A 64-page comic book was printed using four rolls of newsprint, each roll laced through four separate printing units, one for black ink, red, yellow, on smaller presses, the pages are run in segments, and then inserted one section within the other before finishing. With the book’s continuing success, it occurred to Gaines, Why bring out comic books as premiums for other people when they could be sold directly to kids. In February 1934, Gaines went to George T. Delacorte, Delacorte already had experience in the field, as well as having a huge backlog of material to pick from. Gaines true contribution was suggesting the book be half-tabloid size, George agreed and backed a printing of 35,000 copies of the 64-page comic book-sized magazine. Gaines was the first to distribute through newsstands, in 1938, Gaines and Jack Liebowitz began publishing comics with original material under the name All-American Publications. At the time, Liebowitz was the co-owner with Harry Donenfeld of National Allied Publications, the company to DC Comics
5.
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
6.
William Moulton Marston
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Two women, his wife Elizabeth Holloway Marston and Olive Byrne, both greatly influenced Wonder Womans creation. He was inducted into the Comic Book Hall of Fame in 2006, Marston was born in the Cliftondale section of Saugus, Massachusetts, the son of Annie Dalton and Frederick William Marston. Marston was educated at Harvard University, graduating Phi Beta Kappa and receiving his B. A. in 1915, an LL. B. in 1918, and a PhD in Psychology in 1921. Marston is credited as the creator of the blood pressure test. Although Elizabeth is not listed as Marstons collaborator in his work, Lamb, Matte. She also appears in a picture taken in his laboratory in the 1920s, from his psychological work, Marston apparently became convinced that women were more honest than men in certain situations and could work faster and more accurately. During his lifetime, Marston championed the latent abilities and causes of the women of his day, Marston was also a writer of essays in popular psychology. In 1928, he published Emotions of Normal People, which elaborated the DISC Theory, in 1929, Moulton wrote on the blossoming Mens Rights Movement as a newspaper columnist. On October 25,1940, an interview conducted by former student Olive Byrne was published in The Family Circle, in which Marston said that he saw great educational potential in comic books. In the early 1940s, the DC Comics line was dominated by superpower-endowed male characters such as the Green Lantern and Superman, as well as Batman, who became known for his high-tech gadgets. According to the Fall 2001 issue of the Boston University alumni magazine, it was the idea of Marstons wife, Elizabeth Holloway Marston, Marston recommended an idea for a new kind of superhero, one who would conquer not with fists or firepower, but with love. Marston introduced the idea to Max Gaines, co-founder with Jack Liebowitz of All-American Publications, given the go-ahead, Marston developed Wonder Woman, basing her character on the unconventional, liberated, powerful modern women of his day. Marstons pseudonym, Charles Moulton, combined his own and Gaines middle names, in a 1943 issue of The American Scholar, Marston wrote, Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power. Not wanting to be girls, they dont want to be tender, submissive, womens strong qualities have become despised because of their weakness. The obvious remedy is to create a character with all the strength of Superman plus all the allure of a good. Marston intended his character to be tender, submissive, peaceloving as good women are, combining all the strength of a Superman plus all the allure of a good and beautiful woman. Her appearance, was based somewhat on Olive Byrne. Wonder Woman next appeared in Sensation Comics #1, and six months later, Wonder Woman #1 debuted, except for four months in 2006, the series has been in print ever since
7.
Wonder Woman
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Wonder Woman is a fictional superheroine appearing in American comic books published by DC Comics. The character is said to be a member of the Justice League, demigoddess. In her homeland, she is Princess Diana of Themyscira, and outside of her homeland, Wonder Woman was created by the American psychologist and writer William Moulton Marston, and artist Harry G. Peter. He and his wife Elizabeths cohabitant, Olive Byrne, is credited as being Marstons inspiration for the characters appearance, Marston drew a great deal of inspiration from early feminists. The character first appeared in All Star Comics #8 in December 1941 and first cover-dated on Sensation Comics #1, the Wonder Woman title has been published by DC Comics almost continuously except for a brief hiatus in 1986. Wonder Womans origin story relates that she was sculpted from clay by her mother Queen Hippolyta and given life by Athena and her Amazonian-training helped to develop a wide range of extraordinary skills in strategy, hunting, and combat. Many stories depicted Wonder Woman rescuing herself from bondage, which defeated the damsels in distress trope that were common in comics during the 1940s, Wonder Woman has also regularly appeared in comic books featuring the superhero teams Justice Society and Justice League. Attempts to return Wonder Woman to television have included a pilot for NBC in 2011. Gal Gadot portrayed Wonder Woman in the 2016 film Batman v Superman, Dawn of Justice, Gadot will also star in the characters first solo live-action film Wonder Woman, set to be released on June 2,2017. Two months later she was dropped from her role as a UN Ambassador following a petition, in an October 25,1940, interview with the Family Circle magazine, William Moulton Marston discussed the unfulfilled potential of the comic book medium. Marston introduced the idea to Gaines, given the go-ahead, Marston developed Wonder Woman, whom he believed to be a model of that eras unconventional, liberated woman. Marston also drew inspiration from the bracelets worn by Olive Byrne, Wonder Woman debuted in All Star Comics #8, scripted by Marston. Marston was the creator of an apparatus, which was crucial to the development of the polygraph. Marstons experience with polygraphs convinced him that women were more honest in situations different than men, Marston designed Wonder Woman to be an allegory for the ideal love leader, the kind of women who should run society. Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world, Marston wrote. In a 1943 issue of The American Scholar, Marston wrote, Not even girls want to be girls so long as our feminine archetype lacks force, strength, Not wanting to be girls, they dont want to be tender, submissive, peace-loving as good women are. Womens strong qualities have become despised because of their weakness, the obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman. Marston went on record by describing bondage and submission as a respectable and noble practice and this weakness served to subvert the damsel in distress trope, since Wonder Woman inevitably rescues herself
8.
World War II
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World War II, also known as the Second World War, was a global war that lasted from 1939 to 1945, although related conflicts began earlier. It involved the vast majority of the worlds countries—including all of the great powers—eventually forming two opposing alliances, the Allies and the Axis. It was the most widespread war in history, and directly involved more than 100 million people from over 30 countries. Marked by mass deaths of civilians, including the Holocaust and the bombing of industrial and population centres. These made World War II the deadliest conflict in human history, from late 1939 to early 1941, in a series of campaigns and treaties, Germany conquered or controlled much of continental Europe, and formed the Axis alliance with Italy and Japan. Under the Molotov–Ribbentrop Pact of August 1939, Germany and the Soviet Union partitioned and annexed territories of their European neighbours, Poland, Finland, Romania and the Baltic states. In December 1941, Japan attacked the United States and European colonies in the Pacific Ocean, and quickly conquered much of the Western Pacific. The Axis advance halted in 1942 when Japan lost the critical Battle of Midway, near Hawaii, in 1944, the Western Allies invaded German-occupied France, while the Soviet Union regained all of its territorial losses and invaded Germany and its allies. During 1944 and 1945 the Japanese suffered major reverses in mainland Asia in South Central China and Burma, while the Allies crippled the Japanese Navy, thus ended the war in Asia, cementing the total victory of the Allies. World War II altered the political alignment and social structure of the world, the United Nations was established to foster international co-operation and prevent future conflicts. The victorious great powers—the United States, the Soviet Union, China, the United Kingdom, the Soviet Union and the United States emerged as rival superpowers, setting the stage for the Cold War, which lasted for the next 46 years. Meanwhile, the influence of European great powers waned, while the decolonisation of Asia, most countries whose industries had been damaged moved towards economic recovery. Political integration, especially in Europe, emerged as an effort to end pre-war enmities, the start of the war in Europe is generally held to be 1 September 1939, beginning with the German invasion of Poland, Britain and France declared war on Germany two days later. The dates for the beginning of war in the Pacific include the start of the Second Sino-Japanese War on 7 July 1937, or even the Japanese invasion of Manchuria on 19 September 1931. Others follow the British historian A. J. P. Taylor, who held that the Sino-Japanese War and war in Europe and its colonies occurred simultaneously and this article uses the conventional dating. Other starting dates sometimes used for World War II include the Italian invasion of Abyssinia on 3 October 1935. The British historian Antony Beevor views the beginning of World War II as the Battles of Khalkhin Gol fought between Japan and the forces of Mongolia and the Soviet Union from May to September 1939, the exact date of the wars end is also not universally agreed upon. It was generally accepted at the time that the war ended with the armistice of 14 August 1945, rather than the formal surrender of Japan
9.
United States Army
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The United States Armed Forces are the federal armed forces of the United States. They consist of the Army, Marine Corps, Navy, Air Force, from the time of its inception, the military played a decisive role in the history of the United States. A sense of unity and identity was forged as a result of victory in the First Barbary War. Even so, the Founders were suspicious of a permanent military force and it played an important role in the American Civil War, where leading generals on both sides were picked from members of the United States military. Not until the outbreak of World War II did a standing army become officially established. The National Security Act of 1947, adopted following World War II and during the Cold Wars onset, the U. S. military is one of the largest militaries in terms of number of personnel. It draws its personnel from a pool of paid volunteers. As of 2016, the United States spends about $580.3 billion annually to fund its military forces, put together, the United States constitutes roughly 40 percent of the worlds military expenditures. For the period 2010–14, the Stockholm International Peace Research Institute found that the United States was the worlds largest exporter of major arms, the United States was also the worlds eighth largest importer of major weapons for the same period. The history of the U. S. military dates to 1775 and these forces demobilized in 1784 after the Treaty of Paris ended the War for Independence. All three services trace their origins to the founding of the Continental Army, the Continental Navy, the United States President is the U. S. militarys commander-in-chief. Rising tensions at various times with Britain and France and the ensuing Quasi-War and War of 1812 quickened the development of the U. S. Navy, the reserve branches formed a military strategic reserve during the Cold War, to be called into service in case of war. Time magazines Mark Thompson has suggested that with the War on Terror, Command over the armed forces is established in the United States Constitution. The sole power of command is vested in the President by Article II as Commander-in-Chief, the Constitution also allows for the creation of executive Departments headed principal officers whose opinion the President can require. This allowance in the Constitution formed the basis for creation of the Department of Defense in 1947 by the National Security Act, the Defense Department is headed by the Secretary of Defense, who is a civilian and member of the Cabinet. The Defense Secretary is second in the chain of command, just below the President. Together, the President and the Secretary of Defense comprise the National Command Authority, to coordinate military strategy with political affairs, the President has a National Security Council headed by the National Security Advisor. The collective body has only power to the President
10.
United States Coast Guard
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The United States Coast Guard is a branch of the United States Armed Forces and one of the countrys seven uniformed services. This has happened twice, in 1917, during World War I, created by Congress on 4 August 1790 at the request of Alexander Hamilton as the Revenue Marine, it is the oldest continuous seagoing service of the United States. As Secretary of the Treasury, Hamilton headed the Revenue Marine, by the 1860s, the service was known as the U. S. Revenue Cutter Service and the term Revenue Marine gradually fell into disuse, the modern Coast Guard was formed by a merger of the Revenue Cutter Service and the U. S. Life-Saving Service on 28 January 1915, under the U. S. Department of the Treasury. As one of the five armed services, the Coast Guard has been involved in every U. S. war from 1790 to the Iraq War. As of 2014 the Coast Guard had over 36,000 men and women on duty,7,350 reservists,29,620 auxiliarists. In terms of size, the U. S. Coast Guard by itself is the worlds 12th largest naval force. Because of its authority, the Coast Guard can conduct military operations under the U. S. Department of Defense or directly for the President in accordance with Title 14 USC 1–3. The Coast Guards enduring roles are maritime safety, security, to carry out those roles, it has 11 statutory missions as defined in 6 U. S. C. §468, which include enforcing U. S. law in the worlds largest exclusive economic zone of 3.4 million square miles, the Coast Guards motto is the Latin phrase, Semper Paratus. In a 2005 article in Time magazine following Hurricane Katrina, the author wrote, the Coast Guards most valuable contribution to may be as a model of flexibility, and most of all, spirit. Wil Milam, a swimmer from Alaska told the magazine, In the Navy. Practicing for war, training for war, in the Coast Guard, it was, take care of our people and the mission will take care of itself. The Coast Guard carries out three basic roles, which are subdivided into eleven statutory missions. Both agencies maintain rescue coordination centers to coordinate this effort, and have responsibility for military and civilian search and rescue. The two services jointly provide instructor staff for the National Search and Rescue School that trains SAR mission planners and coordinators, previously located on Governors Island, New York, the school is now located at Coast Guard Training Center Yorktown at Yorktown, Virginia. The NRC also takes Maritime Suspicious Activity and Security Breach Reports, details on the NRC organization and specific responsibilities can be found in the National Oil and Hazardous Substances Pollution Contingency Plan. The Marine Information for Safety and Law Enforcement database system is managed and used by the Coast Guard for tracking pollution, the five uniformed services that make up the U. S
11.
United States Navy
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The United States Navy is the naval warfare service branch of the United States Armed Forces and one of the seven uniformed services of the United States. The U. S. Navy is the largest, most capable navy in the world, the U. S. Navy has the worlds largest aircraft carrier fleet, with ten in service, two in the reserve fleet, and three new carriers under construction. The service has 323,792 personnel on duty and 108,515 in the Navy Reserve. It has 274 deployable combat vessels and more than 3,700 operational aircraft as of October 2016, the U. S. Navy traces its origins to the Continental Navy, which was established during the American Revolutionary War and was effectively disbanded as a separate entity shortly thereafter. It played a role in the American Civil War by blockading the Confederacy. It played the role in the World War II defeat of Imperial Japan. The 21st century U. S. Navy maintains a global presence, deploying in strength in such areas as the Western Pacific, the Mediterranean. The Navy is administratively managed by the Department of the Navy, the Department of the Navy is itself a division of the Department of Defense, which is headed by the Secretary of Defense. The Chief of Naval Operations is an admiral and the senior naval officer of the Department of the Navy. The CNO may not be the highest ranking officer in the armed forces if the Chairman or the Vice Chairman of the Joint Chiefs of Staff. The mission of the Navy is to maintain, train and equip combat-ready Naval forces capable of winning wars, deterring aggression, the United States Navy is a seaborne branch of the military of the United States. The Navys three primary areas of responsibility, The preparation of naval forces necessary for the prosecution of war. The development of aircraft, weapons, tactics, technique, organization, U. S. Navy training manuals state that the mission of the U. S. Armed Forces is to prepare and conduct prompt and sustained combat operations in support of the national interest, as part of that establishment, the U. S. Navys functions comprise sea control, power projection and nuclear deterrence, in addition to sealift duties. It follows then as certain as that night succeeds the day, that without a decisive naval force we can do nothing definitive, the Navy was rooted in the colonial seafaring tradition, which produced a large community of sailors, captains, and shipbuilders. In the early stages of the American Revolutionary War, Massachusetts had its own Massachusetts Naval Militia, the establishment of a national navy was an issue of debate among the members of the Second Continental Congress. Supporters argued that a navy would protect shipping, defend the coast, detractors countered that challenging the British Royal Navy, then the worlds preeminent naval power, was a foolish undertaking. Commander in Chief George Washington resolved the debate when he commissioned the ocean-going schooner USS Hannah to interdict British merchant ships, and reported the captures to the Congress
12.
United States Army Air Corps
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The United States Army Air Corps was the military aviation arm of the United States of America between 1926 and 1941. The USAAC was renamed from the earlier United States Army Air Service on 2 July 1926, the Air Corps became the United States Army Air Forces on 20 June 1941, giving it greater autonomy from the Armys middle-level command structure. The separation of the Air Corps from control of its combat units caused problems of unity of command that became more acute as the Air Corps enlarged in preparation for World War II. This was resolved by the creation of the Army Air Forces, the U. S. Army Air Service had a brief but turbulent history. In early 1926 the Military Affairs Committee of the Congress rejected all bills set forth before it on both sides of the issue. They fashioned a compromise in which the findings of the Morrow Board were enacted as law, while providing the air arm a five-year plan for expansion and development. The legislation changed the name of the Air Service to the Air Corps, thereby strengthening the conception of military aviation as an offensive, the Air Corps Act became law on 2 July 1926. Two additional brigadier generals would serve as assistant chiefs of the Air Corps, previous provisions of the National Defense Act of 1920 that all flying units be commanded only by rated personnel and that flight pay be awarded were continued. The Air Corps also retained the Prop and Wings as its branch insignia through its disestablishment in 1947, patrick became Chief of the Air Corps and Brig. Gen. James E. Fechet continued as his first assistant chief. The Air Corps Act of 2 July 1926 effected no fundamental innovation, the change in designation meant no change in status, the Air Corps was still a combatant branch of the Army with less prestige than the Infantry. The Air Corps Act gave authorization to carry out an expansion program. However, a lack of appropriations caused the beginning of the program to be delayed until 1 July 1927. The act authorized expansion to 1,800 airplanes,1,650 officers, none of the goals were reached by July 1932. Organizationally the Air Corps doubled from seven to fifteen groups, but the expansion was meaningless because all were seriously understrength in aircraft and pilots. Air Corps groups added 1927–1937 ¹Inactivated on 20 May 1937 ²Redesignated 17th Attack Group, 17th Bomb Group As units of the Air Corps increased in number, so did higher command echelons. The 1st Bomb Wing was activated in 1931, followed by the 3rd Attack Wing in 1932 to protect the Mexican border, the three wings became the foundation of General Headquarters Air Force upon its activation in 1935. In 1927 the Air Corps adopted a new scheme for painting its aircraft. The wings and tails of aircraft were painted yellow, with the words U. S
13.
Lowry Air Force Base
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East of the state capital, military training at Montclair, Colorado, began at the future airfield when the 1887 Jarvis Hall Military School opened. Montclair was incorporated into Denver in 1903 and Jarvis Hall burned down in 1904, at the military school site the Agnes Phipps Memorial Sanatorium was established as a tuberculosis hospital in 1904 at 520 Rampart Way by Lawrence C. Phipps, Sr. and in the 1930s the sanatorium included 17 buildings designed by the Gove, after several fires at Chanute Field and deterioration of the buildings in Illinois, a 1934 Air Corps announcement solicited a replacement training location and Denver submitted a bid. The City of Denver purchased the sanatorium for an airfield after a 1935 municipal bond vote, the Northeast-Southwest runway was completed in 1941 and on March 1,1941, the Air Corps Technical School moved an A. A. F. Clerical School for Air Corps Clerks to Fort Logan from Lowry, Lowry training for Boeing B-29 Superfortress pilot qualification and for B-29 operational crew readiness began in 1943, and the base had a July 1943–Jan 1944 clerical school. In 1944 expansion of Lowrys airfield was planned and Lowry gained B-29 Flight Engineer training, Lowry transferred under Technical Training Command in mid-October 1945 and by the end of 1945, Lowrys separation center was processing an average of 300 discharges a day. The nearby bombing range was transferred from Buckley Field, by authority of Technical Division, Air Training Command, Lowry Air Force Base was designated on 24 June 1948 and on 26 August 1948 established all Lowry training organizations under the 3415th Technical Training Wing. The 3415th Wing formed a Guided Missiles Department on 7 June 1951 and from 1952 –1955, beginning in September 1954, the 3415th TTW moved intelligence, comptroller, and transportation training programs to Sheppard AFB. On 11 July 1955, the first class of 306 USAF Academy cadets was sworn in at Lowry, in 1956 Lowrys bombing range support ended when the bombing range mission was terminated and Lowrys first general courses for missiles were developed. Courses were for Falcon, Rascal, Snark, and Navaho missiles and in 1958, also early in 1958, the USAF concluded that the new NORAD headquarters should be relocated from Ent AFB to Lowry AFB. In 1960, Lowry was the 3rd ranked technical training base of ATC, construction on all nine silos at the three launch complexes for the 724 was completed by 4 August 1961. On 18 April 1962, Headquarters SAC declared the 724th SMS operational, a month later, the sister 725th SMS declared it had placed all nine of its Titan Is on alert status, which marked a SAC first. Both the 724th and 725th Strategic Missile Squadrons formed components of the Lowry-headquartered 451st Strategic Missile Wing, on 25 June 1965, the 724th and 725th Strategic Missile Squadrons were inactivated, and the last missile supported by Lowry was removed on 14 April 1965. Ten courses from Amarillo AFB were planned to be moved to Lowry in mid-1968, in 1974, the Air Staff approved Lackland AFBs Special Treatment Center to transfer to the 3415th Special Training Group at Lowry AFB. Construction began in 1970 for enlisted and officer billeting facilities to replace World War II vintage barracks, five 1, 000-man dormitories and completed by 1974, other added facilities included a youth center, a child-care center, a chapel, and a new Airmen’s Open Mess. In 1976, the Defense Finance and Accounting Service & the Air Reserve Personnel Center opened in the Gilchrist Building, the AFAITC school remained at Lowry from 1963 to 1988, before moving to Goodfellow AFB, in San Angelo, Texas. US Navy intelligence training for junior officers and enlisted personnel was shifted to the new Navy Marine Corps Intelligence Training Center at Dam Neck, in Virginia Beach. In 1972, the 3415th Technical Wing became the USAF School of Applied Aerospace Sciences, the Department of Aerospace Munitions Training continued missile training and in 1978 was redesignated the 3460th Training Group
14.
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
15.
KP duty
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KP duty is kitchen police or kitchen patrol work under the kitchen staff assigned to junior U. S. enlisted military personnel. KP can be either the work or the assigned to perform such work. In the latter sense it can be used for military or civilian personnel assigned or hired for duties in the military dining facility excluding cooking. The U. S. military sometimes uses the police as a verb to mean to clean or to restore to order. For example, after a picnic on a U. S. Marine Corps base, a group of Marines might be assigned to police, or clean up. Its origins in this probably came from the French sense of maintaining public order. Kitchen police then may mean to restore the kitchen to order, the term KP has been used in the United States as early as 1918. In the U. S. military, it is more formally known as mess duty. In the British Forces the equivalent punishment is known as Jankers, however, KP is usually assigned out of necessity, not for punishment. In this latter case, all enlisted personnel assigned to a mess would be put on a roster. Mess halls for the modern U. S. military are often contracted out to civilian firms, in the U. S. Navy all sailors are assigned to 90 days of Temporary Assigned Duty upon reporting to their respective commands. The only exception is if the individual is in a critical rating, upon completion a Page 13 entry is made into the individuals service record to prevent reassignment to the galley or mess deck. Irving Berlins Yip Yip Yaphank,1918, musical review contains the song Kitchen Police, in the Beetle Bailey comic strip, Pvt. Beetle Bailey is occasionally shown on KP for his frequent acts of blundering and goldbricking –, in an episode of The Jetsons animated cartoon series, George Jetson and building superintendent Henry Orbit, while serving a stint in the U. S. Space Guard, are put on KP, like most soldiers, they complain about the drudgery of KP – even though they are only pushing buttons while robots do the work. In the Peanuts comic strip, Snoopy – while fantasizing about being a World War I flying ace – was put on KP for losing too many Sopwith Camels to the Red Baron. The Marvel Comics character Captain America has the identity of Steve Rogers. In the 1981 film Stripes, Sgt, hulka puts his platoon on KP duty for two weekends after Pvt
16.
Stars and Stripes (newspaper)
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Stars and Stripes is an American military newspaper that focuses and reports on matters concerning the members of the United States Armed Forces. The newspaper has its headquarters in Washington, D. C, on November 9,1861, during the Civil War, soldiers of the 11th, 18th, and 29th Illinois Regiments set up camp in the Missouri city of Bloomfield. Finding the local newspapers office empty, they decided to print a newspaper about their activities and they called it the Stars and Stripes. Today, the Stars and Stripes Museum/Library Association is located in Bloomfield, there is, however, no continuity between this and the later newspaper bearing the same name. During World War I, the staff, roving reporters, and illustrators of the Stars, harold Ross, editor of the Stars and Stripes, returned home to found The New Yorker magazine. Cyrus Baldridge, its art director and principal illustrator, became an illustrator of books and magazines, as well as a writer, print maker. Sports page editor Grantland Rice had a career in journalism. Drama critic Alexander Woollcotts essays for Stars and Stripes were collected in his 1919 book, during World War II, the newspaper was printed in dozens of editions in several operating theaters. Some of the editions were assembled and printed very close to the front in order to get the latest information to the most troops, also, during the war, the newspaper published the 53-book series G. I. The newspaper has published continuously in Europe since 1942 and in the Pacific since 1945. A photograph in Stars and Stripes loosely inspired the exploits of PFC Jack Agnew in the 1965 novel and its 1967 film adaptation, American comic strips have been presented in a 15-page section, Stripes Sunday Comics. A weekly derivative product is distributed within the United States by its commercial publishing partners, Stars and Stripes newspaper averages 32 pages each day and is published in tabloid format and online at www. stripes. com/epaper. Stars and Stripes also serves independent military news and information to an audience of about 2.0 million unique visitors per month,60 to 70 percent of whom are located in the United States. Stars and Stripes is a non-appropriated fund organization, only partially subsidized by the Department of Defense, a large portion of its operating costs is earned through the sale of advertising and subscriptions. Unique among the many publications, Stars and Stripes operates as a First Amendment newspaper and is part of the newly formed Defense Media Activity. The other entities encompassed by the Defense Media Activity, are command publications of the Department of Defense, only Stars, Stars and Stripes is in the process of digitizing its World War II editions. Newspaper microfilm from 1949 to 1999 is now in searchable format through a partnership with Heritage Microfilm and has integrated into an archives website. Newspaper Archive has also recently made the England, Ireland
17.
Beauregard Regional Airport
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Beauregard Regional Airport is a public use airport in Beauregard Parish, Louisiana, United States. It is owned by Beauregard Parish and is located three miles southwest of the central business district of De Ridder, Louisiana. The airport serves the aviation community, with no scheduled commercial airline service. The present Beauregard Regional Airport has a long and colorful history, the airport property includes most of what was once the Graybow Community. In 1912 Graybow was a community and the location of the Galloway Sawmill. The sawmill had been built along the Santa Fe Railroad tracks with the mill on one side of the tracks and the big mill, commissary. Two decades later the nation was experiencing the effects of the Great Depression, to counteract the unemployment caused by the depression, work projects were activated across the country. One such project was begun in 1934,3 miles west of DeRidder under the Auspices of the Emergency Relief Authority which later became the WPA. This project in a stump littered field provided employment for about 400 men and they constructed two earthen runways on 160 acres of land leased from the owner. The field was used very little, barnstorming pilots would occasionally visit and offer rides for $2.00. Interest in the utilization of the airfield increased significantly in 1939 when war began in Europe. The United States needed a ground for American troops. In the summer of 1940 and throughout 1941 the area was used for the Louisiana Maneuvers, the Beauregard Parish Police Jury bought the previously leased 160 acres plus an additional 280 acres for $11,000. An additional 200 acres was bought to make up 1-square-mile. In February,1941, the United States Army Corps of Engineers visited the site urging that a proposed development be filed as a National Defense Project. The Police Jury and the City of DeRidder agreed to furnish the additional 200 acres, plus sewage and water facilities, the cost to be $475,518.85 excluding labor. On 1 July 1941, a contract for Lease was signed between the Beauregard Parish Police Jury and the United States Army Air Force for an airfield to be built on the site. An immediate construction program began to convert the airport into a military airfield
18.
Marshall Army Airfield
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Marshall Army Airfield is a military airfield located on Fort Riley, Kansas. The primary mission for MAAF is to fully integrated fixed base helicopter operations for the Combat Aviation Brigade. The airfield has an FAA approved instrument approach, MAAF is the home of the 1st Infantry Divisions Combat Aviation Brigade, The Combat Aviation Brigade currently has approximately 2,200 Soldiers assigned. The brigade currently has Black Hawks, Apaches and Chinooks at Fort Riley — the number fluctuates as aircraft go through maintenance, the unit is expecting nearly 120 aircraft total, including Kiowas. A, 158th Aviation Regiment, and numerous military and civilian organizations. The airfield also provides CH-47, UH-60 and AH-64 Synthetic Flight Training Systems for all Fort Riley aviation units, among the participants was a young lieutenant, Henry H. Arnold, who later became Commanding General of the United States Army Air Forces. The airdrome from which Arnold made his flights was probably the polo field at Fort Riley. How and when the field turned into an air base is unknown In 1921. The Fort Riley Flying Field opened in August of that year, the airfield was planned as a refueling point for cross-country flights and was equipped with hangars, underground fuel storage tanks, and lights for night operations. When the facilities were completed in 1923, the airfield was named Marshall Field after Brigadier General Francis C, Marshall, the Assistant Chief of Cavalry, who had died in a plane crash the year before. In March 1926, Arnold, then a major, returned as air base commander and he held the post for about two and a half years. When he arrived the only flying unit there was still the 16th Observation Squadron, considerably below strength, it had about eight officers and four or five De Havilland observation planes supplemented by eight or ten Curtiss JN-4 Jennies. Both these planes dated from World War I, a few more modern observation aircraft reached the base, beginning in 1926. The primary responsibility of the fliers at Marshall was to provide demonstrations, at Arnolds initiative a regular air indoctrination course was set up for the cavalrymen. Marshall Field did not change much in size or mission during the 1930s, in March 1931, the 16th Observation Squadron was subdivided into several flights, of which only Flight D was stationed at Marshall. However, it occasionally had company, because from 1930 to 1933 the 35th Division Aviation, National Guard, St. Louis, when the United States entered World War II Marshall possessed two hangars and three unsurfaced landing strips, the biggest strip being 3,700 feet long. These installations were about a mile south-east of Fort Riley proper, during the war the old strips had to be surfaced and lengthened to take increased traffic and heavier, faster planes. Two concrete runways, each 4,500 feet long and 150 feet wide, the field was placed under the United States Army Air Forces Third Air Force control and was designated as Marshall Field Army Airfield
19.
Governors Island
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It is part of the borough of Manhattan in New York City. The National Park Service administers a portion of the north of the island as the Governors Island National Monument. The island is accessed by ferries from Brooklyn and Manhattan, the islands current name, made official in 1784, stems from the British colonial era, when the colonial assembly reserved the island for the exclusive use of New Yorks royal governors. In 1776, during the American Revolutionary War, Continental Army troops raised defensive works on the island, from 1783 to 1966, the island was a United States Army post, and from 1966 to 1996 the island served as a major United States Coast Guard installation. About 103 acres of fill was added to the island by 1912, in 1524, Giovanni da Verrazzano saw the island, becoming the first European to do so. It was then called Paggank by the Native Americans, in May 1624, Noten Eylandt was the landing place of the first settlers in New Netherland. In 1633, the director of New Netherland, Wouter van Twiller. Later he operated a farm on the island, New Netherland was conditionally ceded to the English in 1664, and the English renamed the settlement New York in June 1665. By 1674, the British had total control of the island. The harbor defenses on the continued to be improved over the summer. The Continental Army forces collapsed after being flanked and eventually withdrew from Brooklyn and from Governors Island as well, from September 2 to 14, the new British garrison would engage volleys with Washingtons guns on the battery in front of Fort George in Manhattan. The fort, along with the rest of New York City, was held by the British for the rest of the war until Evacuation Day at the end of the war in 1783. At the end of the Revolution, the island, as a holding of the Crown, came into ownership by the state of New York. Noten Island was renamed Governors Island in 1784 as the island, the Governors House survives as the oldest structure on the island. By the late 1790s, the Quasi-War with France prompted a national program of harbor fortifications and the state of New York began improvements as a credit for its Revolutionary War debt. The first, Fort Jay, was built in 1794 by the state of New York on the site of the earlier Revolutionary War earthworks, a sandstone and brick gate house topped with a sculpture of an eagle dates to that time and is the oldest structure on the island. The second major fortification, Castle Williams, was based on a design by Colonel Jonathan Williams, construction started in 1807 and substantially completed in November 1811. Located on a shoal extending from the northwest corner of the island, it was inspired by then-modern French thinking on fortifications
20.
New York University Tandon School of Engineering
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The New York University Tandon School of Engineering, is the second oldest private engineering and technology school in the United States. The schools main campus is in Brooklyns MetroTech Center, an urban research park. It is one of several engineering schools that were founded based on a European polytechnic university model in the 1800s, in response to the increasing industrialization of the United States. It has been a key center of research in the development of microwave, wireless, radar, electronics in general, polymers, industrial engineering and operations research, on May 17,1853, a group of Brooklyn businessmen wrote a charter to establish a school for young men. Named Brooklyn Collegiate and Polytechnic Institute, the moved into its first home at 99 Livingston Street in Brooklyn. The first class, admitted in 1855, consisted of 265 young men ages nine to 17, the school conferred its first bachelors degrees in 1871. Graduate programs began in 1901 and the school awarded its first doctoral degree in 1921, from 1889 to 1973 the school became known as Polytechnic Institute of Brooklyn. In 1917, the preparatory program separated from the Institute and became the Polytechnic Preparatory Country Day School, poly Prep is now located in the Dyker Heights section of Brooklyn. Polytechnic Institute moved to its present location in 1957, the site of the American Safety Razor Company factory. Classes began in 1855 and the school awarded its first undergraduate degree in 1857, as the industrial revolution took shape, the school formalized its engineering curriculum and the schools first dean, Charles H. Snow, changed the name of the school to the School of Applied Science. During this time the school officially separated from the universitys arts. In 1894 the University of the City of New York moved its school to a new campus in the Bronx. The new campus gave the university space to build larger science laboratories that could not be constructed at its Washington Square site. With the addition of the new campus, under the leadership of Chancellor Henry Mitchell MacCracken, the neighborhood surrounding the Bronx campus eventually became known as University Heights. By 1920 separate electrical and chemical engineering departments were created and the changed its name to the College of Engineering. Enrollment at New York University expanded considerably from the early 1900s into the postwar decades, however, by the early 1970s this growth ceased due to rising crime and financial troubles in New York City. Also during that period from 1969 to 1975, Polytechnic Institute of Brooklyn was forced to rely on subsidies provided by New York state to keep the school afloat, the state supported Polytechnic on the basis that closing the school would create economic hardship locally. With both Polytechnic Institute and New York University facing financial difficulties, the state brokered a merger of New York Universitys engineering school with Polytechnic Institute, Polytechnic Institute acquired the faculty, programs and students of New York Universitys engineering school to form Polytechnic Institute of New York
21.
New York University
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New York University is a private nonprofit research university based in New York City. Founded in 1831, NYU is considered one of the worlds most influential research universities, University rankings compiled by Times Higher Education, U. S. News & World Report, and the Academic Ranking of World Universities all rank NYU amongst the top 32 universities in the world. NYU is a part of the creativity, energy and vibrancy that is Manhattan, located with its core in Greenwich Village. Among its faculty and alumni are 37 Nobel Laureates, over 30 Pulitzer Prize winners, over 30 Academy Award winners, alumni include heads of state, royalty, eminent mathematicians, inventors, media figures, Olympic medalists, CEOs of Fortune 500 companies, and astronauts. NYU alumni are among the wealthiest in the world, according to The Princeton Review, NYU is consistently considered by students and parents as a Top Dream College. Albert Gallatin, Secretary of Treasury under Thomas Jefferson and James Madison, declared his intention to establish in this immense, a system of rational and practical education fitting and graciously opened to all. A three-day-long literary and scientific convention held in City Hall in 1830 and these New Yorkers believed the city needed a university designed for young men who would be admitted based upon merit rather than birthright or social class. On April 18,1831, an institution was established, with the support of a group of prominent New York City residents from the merchants, bankers. Albert Gallatin was elected as the institutions first president, the university has been popularly known as New York University since its inception and was officially renamed New York University in 1896. In 1832, NYU held its first classes in rented rooms of four-story Clinton Hall, in 1835, the School of Law, NYUs first professional school, was established. American Chemical Society was founded in 1876 at NYU and it became one of the nations largest universities, with an enrollment of 9,300 in 1917. NYU had its Washington Square campus since its founding, the university purchased a campus at University Heights in the Bronx because of overcrowding on the old campus. NYU also had a desire to follow New York Citys development further uptown, NYUs move to the Bronx occurred in 1894, spearheaded by the efforts of Chancellor Henry Mitchell MacCracken. The University Heights campus was far more spacious than its predecessor was, as a result, most of the universitys operations along with the undergraduate College of Arts and Science and School of Engineering were housed there. NYUs administrative operations were moved to the new campus, but the schools of the university remained at Washington Square. In 1914, Washington Square College was founded as the undergraduate college of NYU. In 1935, NYU opened the Nassau College-Hofstra Memorial of New York University at Hempstead and this extension would later become a fully independent Hofstra University. In 1950, NYU was elected to the Association of American Universities, in the late 1960s and early 1970s, financial crisis gripped the New York City government and the troubles spread to the citys institutions, including NYU
22.
Lake Placid (New York)
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The body of water named Lake Placid is a lake in the Adirondack Mountains in northern New York, the United States. It is on the side of the Village of Lake Placid. Fender guitars has named a color for their guitars after this lake with guitars available in Lake Placid Blue, the lake is approximately 2,170 acres, and has an average depth of about 50 feet. It is located in the towns of North Elba and St. Armand, there are three islands on Lake Placid, named Buck, Moose, and Hawk. The lake borders the northern part of the village of Lake Placid, maintaining water quality in the lake is a major local issue. The lake is fed by springs and Adirondacks mountain streams, there are nearly 300 houses on the lake shore. Because most of the houses are unoccupied much of the year, local efforts to combat aquatic invasive species have been successful. They are supported by a cleaning station where powerboats are put into the water. The lake has produced record lake trout
23.
Bible
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The Bible is a collection of sacred texts or scriptures that Jews and Christians consider to be a product of divine inspiration and a record of the relationship between God and humans. Many different authors contributed to the Bible, what is regarded as canonical text differs depending on traditions and groups, a number of Bible canons have evolved, with overlapping and diverging contents. The Christian Old Testament overlaps with the Hebrew Bible and the Greek Septuagint, the New Testament is a collection of writings by early Christians, believed to be mostly Jewish disciples of Christ, written in first-century Koine Greek. These early Christian Greek writings consist of narratives, letters, among Christian denominations there is some disagreement about the contents of the canon, primarily the Apocrypha, a list of works that are regarded with varying levels of respect. Attitudes towards the Bible also differ amongst Christian groups and this concept arose during the Protestant Reformation, and many denominations today support the use of the Bible as the only source of Christian teaching. With estimated total sales of over 5 billion copies, the Bible is widely considered to be the book of all time. It has estimated sales of 100 million copies, and has been a major influence on literature and history, especially in the West. The English word Bible is from the Latin biblia, from the word in Medieval Latin and Late Latin. Medieval Latin biblia is short for biblia sacra holy book, while biblia in Greek and it gradually came to be regarded as a feminine singular noun in medieval Latin, and so the word was loaned as a singular into the vernaculars of Western Europe. Latin biblia sacra holy books translates Greek τὰ βιβλία τὰ ἅγια ta biblia ta hagia, the word βιβλίον itself had the literal meaning of paper or scroll and came to be used as the ordinary word for book. It is the diminutive of βύβλος byblos, Egyptian papyrus, possibly so called from the name of the Phoenician sea port Byblos from whence Egyptian papyrus was exported to Greece, the Greek ta biblia was an expression Hellenistic Jews used to describe their sacred books. Christian use of the term can be traced to c.223 CE, bruce notes that Chrysostom appears to be the first writer to use the Greek phrase ta biblia to describe both the Old and New Testaments together. The division of the Hebrew Bible into verses is based on the sof passuk cantillation mark used by the 10th-century Masoretes to record the verse divisions used in oral traditions. The oldest extant copy of a complete Bible is an early 4th-century parchment book preserved in the Vatican Library, the oldest copy of the Tanakh in Hebrew and Aramaic dates from the 10th century CE. The oldest copy of a complete Latin Bible is the Codex Amiatinus and he states that it is not a magical book, nor was it literally written by God and passed to mankind. In Christian Bibles, the New Testament Gospels were derived from traditions in the second half of the first century CE. Riches says that, Scholars have attempted to reconstruct something of the history of the oral traditions behind the Gospels, the period of transmission is short, less than 40 years passed between the death of Jesus and the writing of Marks Gospel. This means that there was time for oral traditions to assume fixed form
24.
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
25.
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
26.
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
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Shock SuspenStories
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Shock SuspenStories was part of the EC Comics line in the early 1950s. The bi-monthly comic, published by Bill Gaines and edited by Al Feldstein, over a four-year span, it ran for 18 issues, ending with the December/January 1955 issue. Front covers were by Feldstein, Wally Wood, Johnny Craig, George Evans, Kamen was the comics most prolific artist, usually doing the lead eight-page story in each issue. Other stories were illustrated by Craig, Evans, Wood, Graham Ingels, Jack Davis, Al Williamson, Joe Orlando, Reed Crandall, Bernard Krigstein and Frank Frazetta. Writing was handled by Gaines and Feldstein exclusively through the first 12 issues with the exception of a story written by Craig. Over the last 6 issues other writers that contributed included Carl Wessler, Otto Binder, issue 13 featured Squeeze Play, the only solo story Frank Frazetta drew for EC. Shock SuspenStories originated in early 1952 as a sampler featuring stories of various genres, many of you wanted another science-fiction mag. you horror fans wanted another horror book. And you suspense readers wanted a companion mag to Crime SuspenStories. We decided, therefore, to make this new mag an EC Sampler. and to include in it an S-F yarn, a tale, a Crime SuspenStory. Although there was a wide variance in the types of mags requested, all of you fans seemed to agree on one thing, so what could be more natural than to call the magazine Shock SuspenStories. The war story would be phased out with the second issue. With The Patriots, the Shock SuspenStory was born, the Shock SuspenStory was characterized by a running theme of mob violence and an art style best described as Heightened Realism. A similarity can be noted between Woods dramatically effective Shock renderings and the caricatures of corruption in the fine art of Jack Levine. Over the next three years Shock SuspenStories tackled many issues, including racism, mob hysteria, police corruption, vigilantism, drug addiction. The sampler format remained for the three stories in the title until the end of 1953. With #12, the horror and science fiction stories were phased out, specific story influences that have been identified include the following, Just Desserts. - Ray Bradburys The Smiling People Dead Right, - John Colliers In the Cards. - Roald Dahls Beware of the Dog Seep No More, after their unauthorized adaptation of one of Ray Bradburys stories in another magazine, Bradbury contacted EC about their plagiarism of his work
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Weird Science (comics)
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Weird Science was an American science fiction comic book magazine that was part of the EC Comics line in the early 1950s. Over a four-year span, the comic ran for 22 issues, Weird Fantasy was a sister title published during the same time frame. Published by Bill Gaines and edited by Al Feldstein, the bi-monthly Weird Science replaced Saddle Romances with the May/June 1950 issue. Although the title and format change took effect with issue 12, Gaines, the Post Office took note and, starting with issue #5, all the issues were numbered correctly. Because of this, Weird Science #12 could refer to either the May/June 1950 issue, the same confusion exists for issues #13-15, #15 being the last issue published before EC reset the numbering. Artist/Writer Harry Harrison claims credit for originally giving Gaines the notion of publishing science fiction, Harrison has stated that he and artist Wally Wood were interested in science fiction and gave Gaines science fiction stories to read. Harrison, however, had no control over the contents of the comic aside from his own stories. Early cover illustrations were by Feldstein, Wood, the titles leading artist, took over as the regular cover illustrator in 1952. For a period of time in 1952, Wood drew two stories per issue, writers in the early issues included Feldstein, Gaines, Kurtzman, Harrison and Gardner Fox. Gaines and Feldstein wrote nearly all stories from 1951 to 1953, as with other EC Comics, Gaines and Feldstein used some Weird Science stories to teach moral lessons. The Probers features a space shuttle doctor who pays no mind to dissecting various animals, in The Worm Turns astronauts have fun with Mexican jumping beans but face a similar situation when they hide in a piece of fruit on an alien world and are found by a giant alien. Gaines and Feldstein made cameo appearances in Chewed Out, and other EC staffers were drawn into EC Confidential, lupescu Why Papa Left Home - Charles Harnesss Child by Chronos Chewed Out. - Katherine MacLeans Pictures Dont Lie, say Your Prayers - Anthony Bouchers Expedition The Island Monster - Merian C. Cooper and Ernest B. They reached an agreement for EC to do authorized versions of Bradburys short fiction and these official adaptations include, The Long Years Mars is Heaven. 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 Science combined with companion comic Weird Fantasy in 1954 to become Weird Science-Fantasy. As discussed in an In Memoriam feature in the issue, it was stated that every issue for the previous year. Weird Science-Fantasy ran for seven issues before a change to Incredible Science Fiction for four issues. As with many other EC titles, Weird Science has been reprinted numerous times over the years, ballantine Books reprinted selected stories in a series of paperback EC anthologies in 1964-66
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Two-Fisted Tales
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Two-Fisted Tales was a bimonthly, anthology war comic published by EC Comics in the early 1950s. The title originated in 1950 when Harvey Kurtzman suggested to William Gaines that they publish an adventure comic, Kurtzman became the editor of Two-Fisted Tales, and with the advent of the Korean War, he soon narrowed the focus to war stories. The title was a comic to Frontline Combat, and stories Kurtzman wrote for both books often displayed an anti-war attitude. It returned to adventure-themed stories in issues #36 through #39, co-edited by John Severin and Colin Dawkins, the bimonthly title ran 24 issues, numbered 18–41, from 1950 to 1955. In 1952, EC published Two-Fisted Annual which had no new stories, the same procedure was repeated in 1953 for an annual with a new Jack Davis cover. Years after its demise, Two-Fisted Tales was reprinted in its entirety and was adapted to television, wholesaler problems had caused Gaines to consider canceling The Haunt of Fear, but he changed his mind without skipping an issue. Two-Fisted Tales took over the numbering, and The Haunt of Fear then reverted to the numbering for the remainder of its run. Kurtzmans editing approach to Two-Fisted Tales and Frontline Combat was a stark contrast to fellow EC editor Al Feldsteins style, whereas Feldstein allowed his artists to draw the story however they chose, Kurtzman prepared detailed layouts for each story and required his artists to follow them exactly. Kurtzmans writing tended to use less text than Feldsteins, which enabled the two war titles to be hand-lettered rather than machine-lettered like the remainder of ECs titles. Kurtzman was dedicated to making the stories as historically accurate as possible, as a result, where Feldstein took generally about a week to complete each issue he edited, Kurtzman took approximately a month. Two-Fisted Tales was published with a title, Frontline Combat. Towards the end of 1953, a decrease in interest due to the end of the Korean War, Frontline Combat was dropped entirely while Two-Fisted Tales was changed from bi-monthly to quarterly publication. As sales continued to drop, Gaines was forced to fold the title, over its four-year span, the comic ran for 24 issues, ending with issue 41, in February 1955. Two-Fisted Tales has been reprinted several times and it was fully reprinted in a series of four black-and-white hardcover books by publisher Russ Cochran as part of the The Complete EC Library in 1980. Between October 1992 and July 1998, Cochran, in association with Gemstone Publishing and this complete run was later rebound, with covers included, in a series of five softcover EC Annuals. In 2007, Cochran and Gemstone began to publish hardcover, digitally colored volumes of Two-Fisted Tales as part of the EC Archives series, Two volumes of a projected four were published before the project fell into limbo. But the project may soon be revived under a new publisher, in 1993, Dark Horse Comics published two issues of Harvey Kurtzmans The New Two-Fisted Tales, featuring war stories by contemporary creators. The first was published April 1,1993 and the last August 1,1993 and they contained four stories in both issues
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Panic (comics)
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Panic was part of the EC Comics line during the mid-1950s. The bi-monthly humor comic was published by Bill Gaines as a companion to Harvey Kurtzmans Mad, Panic was edited by Al Feldstein. Beginning with its first issue, Panic had a 12-issue run over two years, Feldstein was the primary cover artist, with stories illustrated by Jack Davis, Will Elder, Jack Kamen, Joe Orlando, Basil Wolverton and Wally Wood. Some story ideas were by Nick Meglin, later the co-editor of Mad, scripts were by Feldstein, Elder and Jack Mendelsohn, later a co-screenwriter of Yellow Submarine and an Emmy-nominated TV comedy writer. EC dubbed Panic the only authorized imitation of Mad, but Mads creator didnt enjoy the joke, almost thirty years later, Harvey Kurtzman told an interviewer, Panic was another sore point. Gaines, by some convoluted reasoning, decided to double the profit of Mad by doing a Feldstein version of Mad and he just plundered all of my techniques, for this there was a real conflict of interests. The publication was immediately controversial, as detailed by Steve Stiles in his article, what Panic also earned was a storm of indignation that burst over Gaines head with the very first issue, and all over the holiday of Peace on Earth, Good Will Towards Men. Its strange that Gaines didnt see it coming, but some people got very annoyed with a satire of The Night Before Christmas, Gaines later recalled, The trouble we had on the Santa Claus story was Bill Elder. He had put a sign on the sleigh of Santa Claus, now how do a bunch of iconoclastic, atheist bastards like us know that Santa Claus is a saint and that he cant be divorced and that this is going to offend Boston. This didnt stop Gaines from later dressing in a Santa suit, as a result of the parody, Panic was ultimately banned from sale in the state of Massachusetts. Gaines puckishly responded by issuing a press release announcing that as a retaliatory measure and it took the newspapers a few days to realize that the discontinued comic hadnt been on sale in Massachusetts, or anywhere else, in five years. A few days after the Santa controversy in Massachusetts, ECs offices were raided by the New York City police, Gaines associate Lyle Stuart willingly took responsibility and was arrested, the charge was quickly thrown out of court. In the meantime, abrasive gossip columnist Walter Winchell reported the story without mentioning that Stuart was released without result, anyone selling the filth of Lyle Stuart will be subject to the same arrest. Stuart used the money to start his own publishing house, Mad was quickly and widely imitated, to the point where creator and editor Harvey Kurtzman mocked his competitors wave of copycat humor comic books in Mads 17th issue. But he was unhappy with ECs own imitation. I was pretty bitter about it, Kurtzman said in 1965, the publisher and I got into a series of ever-increasing arguments going around in ever diminishing circles. You see Harvey could never realize that Mad was mine, he thought it was his, to me Mad was one of the EC Comics. If we put out The Vault of Horror and it’s successful, the money comes from everywhere and it goes into a pot and from this pot we publish. ”And it was something that Harvey could never understand
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Wally Wood
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Wallace Allan Wood was an American comic book writer, artist and independent publisher, best known for his work on EC Comicss Mad and Marvels Daredevil. He was one of Mads founding cartoonists in 1952, although much of his early professional artwork is signed Wallace Wood, he became known as Wally Wood, a name he claimed to dislike. Within the comics community, he was known as Woody. EC publisher William Gaines once stated, Wally may have been our most troubled artist, im not suggesting any connection, but he may have been our most brilliant. He was the inductee into the comic book industrys Jack Kirby Hall of Fame in 1989. Wally Wood was born in Menahga, Minnesota, and he began reading and drawing comics at an early age, recalling his childhood, Wood said that his dream at age six, about finding a magic pencil that could draw anything, foretold his future as an artist. Wood graduated from school in 1944, signed on with the United States Merchant Marine at the close of World War II. He went from training at Fort Benning, Georgia, to occupied Japan, in 1947, at age 20, Wood enrolled in the Minneapolis School of Art but only lasted one term. Arriving in New York City with his brother Glenn and mother Alma, after his discharge in July 1948. During his time off he carried his thick portfolio of all over midtown Manhattan. He briefly attended the Hogarth School of Art but dropped out one semester. By October, after being rejected by every company he visited, at this studio Wood learned that Will Eisner was looking for a Spirit background artist. He immediately visited Eisner and was hired on the spot, over the next year, Wood also became an assistant to George Wunder, who had taken over the Milton Caniff strip Terry and the Pirates. Wood cited his first job on my own as Chief Ob-stacle and he entered the comic book field by lettering, as he recalled in 1981, The first professional job was lettering for Fox romance comics in 1948. I also started doing backgrounds, then inking, most of it was the romance stuff. For complete pages, it was $5 a page, twice a week, I would ink ten pages in one day. Woods next known comic-book art did not appear until Foxs My Confession No,7, at which time he began working almost continuously on the companys similar My Experience, My Secret Life, My Love Story and My True Love, Thrilling Confession Stories. His first signed work is believed to be in My Confession #8 and he penciled and inked two stories in that issue, I Was Unwanted and My Tarnished Reputation
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Will Elder
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Playboy publisher Hugh Hefner said, He was a zany, and a lovable one. Longtime Mad writer-cartoonist Al Jaffee called Elder Absolutely brilliant and he was the star from the beginning. He had a feel for the kind of satire that eventually spread everywhere, Elder was inducted into the Comic Book Hall of Fame in 2003. Born Wolf William Eisenberg in the Bronx, New York, Elder was known in his teen years as Wolfie, Elder would later joke about his poor slum upbringing, The people who had garbage were rich, they had something to throw out. Elder attended New Yorks High School of Music and Art together with future Mad artists Harvey Kurtzman, John Severin, Al Jaffee and Al Feldstein. During World War II, he served as a part of the 668th Engineer Company of the First Army, sometime after returning home, he adopted the name Will Elder. At EC Comics, he inked Severins pencils on stories for Weird Fantasy, Two-Fisted Tales, Frontline Combat and other titles. The Mad lampoon depicted the efforts of prisoner Melvin Mole to tunnel away from the prison, first with a spoon, then with a toothpick. According to Jaffee, Elder could have been the worlds greatest forger, Elder had a chameleon-like talent for mimicking the precise styles of other cartoonists, which made the satiric effect stronger. This ability was showcased in such pieces as Mickey Rodent, such was Elders ability that some of these parodies featured specific observations about the source materials art styles, with Elder switching illustrative gears in midpanel. One such sequence came when Mickey Rodent and Darnold Duck literally locate the border between Disney-style cartooning and a realistic drawing approach. Both characters gain a fifth finger on each hand as they cross over, Elders signature style, with extra humorous detail added upon humorous detail, is routinely described as chicken fat, a reference to soup preparation. As Elder told an interviewer, The term just came out of what we knew were the parts of the strip that gave it more flavor but did very little to advance the storyline. It advances the flavor of the soup and, as we all know now, Elders rampant insertion of background gags set the tone for the comic book, quickly spreading into the panels of his fellow artists and Mads imitators. Kurtzman described their process, I would write a story. In 2004, Elder told an interviewer, In Mad, Harvey never rejected any of my little extras in the story, I think he was much harder on the other artists, because my stuff made him laugh. As soon as he laughed I think he forgot that it didnt belong in the story, “I thought people would notice and would laugh, said Malle, but nobody did. Elder had drawn the article Restaurant, monty Pythons Terry Gilliam said of Elder, I dont know if anybodys really worked at that level as intensely as Willy did
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George Evans (cartoonist)
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George R. Evans was an American cartoonist and illustrator who worked in both comic books and comic strips. His lifelong fascination with airplanes and the pioneers of aviation was a constant theme in his art. Born in Harwood, Pennsylvania, Evans studied art from a correspondence course and he was still in his teens when he made his first sales, both illustrations and writing, to pulp magazines. Early in World War II, Evans was a mechanic at Shaw Field in South Carolina. He studied at the Scranton Art School and then entered the Army, in the post-World War II years, Evans began working for comic books, including an in-house staff position at Fiction House until 1949. Originally hired to rule panel borders, erase pencils and fill in blacks for other illustrators, he sat next the teenaged artist Frank Frazetta. Evans eventually got up the nerve to show his portfolio to the editor where the surprised staffer exclaimed, What the hell are you doing this job for, after that, Evans was given feature stories to draw in 1947. Among the features he illustrated were The Lost World in Planet Comics and his favorite work from this period was for Fiction Houses Wings Comics and he did a few illustrations for the companys pulp line as well. He contributed to the westerns and romance titles as well. Until the end of his life, Evans believed his work for Fawcett was better than any other in his career and he liked the people there and assembled a team of inkers and assistants after becoming one of Fawcetts top illustrators in 1950. His work for EC Comics in the early 1950s included powerful covers and crime stories for Crime SuspenStories and memorable World War I aviation covers and stories for Aces High. He was a contributor to The Haunt of Fear, Tales From the Crypt, Vault of Horror, Frontline Combat, Two-Fisted Tales. Evans shocking cover for Crime Suspenstories #23 was held up at the Senate Hearings On Juvenile Delinquency in 1954, among many other comic book covers from a variety of publishers. He stayed with EC through their new direction and Picto-Fiction experiments, contributing to M. D. Impact, Piracy, Terror Illustrated, Crime Illustrated and Shock Illustrated, after EC, he contributed to Gilbertons Classics Illustrated, Dell and Gold Key. For Boys Life Evans drew Space Conquerors. for the August 1953-March 1958 issues, during the 1960s, he was an assistant and ghost artist for George Wunder on the comic strip Terry and the Pirates. He did occasional work in books during this period, most notably for Warrens Blazing Combat black and white magazine and Eerie, Gold Keys The Twilight Zone. During the 1970s, he contributed comics to the National Lampoon and he drew DC Comics war comics and mystery tales, and for Marvel Comics he did mystery-horror stories plus work on two issues of Super-Villain Team-Up featuring Doctor Doom and Sub-Mariner. Al Williamson passed Secret Agent Corrigan on to Evans in 1980, for several years before that, the strip, as with all story strips, was becoming less popular
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Harry Harrison (writer)
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Harry Max Harrison was an American science fiction author, known for his character the Stainless Steel Rat and for his novel Make Room. The latter was the basis for the motion picture Soylent Green. Harrison was the co-president of the Birmingham Science Fiction Group, Aldiss called him a constant peer and great family friend. His friend Michael Carroll said, Imagine Pirates of the Caribbean or Raiders of the Lost Ark, theyre rip-roaring adventures, but theyre stories with a lot of heart. Novelist Christopher Priest wrote in an obituary, Harrison was a popular figure in the SF world, renowned for being amiable, outspoken. Before becoming an editor and writer, Harrison started in the science fiction field as an illustrator, in these and other comic book stories, he most often worked with Wally Wood. Wood usually inked over Harrisons layouts, and the two freelanced for several publishers and genres, including westerns and horror comics and he and Wood split up their partnership in 1950 and went their separate ways. Harrison used house pen names such as Wade Kaempfert and Philip St. John to edit magazines and published fiction under the pen names Felix Boyd. Harrison ghostwrote Vendetta for the Saint, one of the series of novels featuring Leslie Charteris character. Harrison also wrote for syndicated comic strips, writing stories for the character Rick Random. His first short story, Rock Diver, was published in the February 1951 issue of Worlds Beyond, edited by Damon Knight, the magazine had previously published his illustrations. In the early 1950s, the Hydra Club included writers such as Alfred Bester, James Blish, Anthony Boucher, Avram Davidson, Judith Merril, Priest wrote, His most popular and best-known work is contained in fast-moving parodies, homages or even straight reconstructions of traditional space-opera adventures. He wrote several named series of these, notably the Deathworld series, the Stainless Steel Rat books, and the sequence of books about Bill, the Galactic Hero. Adi Robertson agreed, His books toed the line between science fiction adventure, humor, and satire, often with a strong anti-military bent informed by his time in the US Army Air Corps. During the 1950s and 1960s, he was the writer of the Flash Gordon newspaper strip. One of his Flash Gordon scripts was serialized in Comics Revue magazine, Harrison drew sketches to help the artist be more scientifically accurate, which the artist largely ignored. Not all of Harrisons writing was comic, though and he wrote many stories on serious themes, of which by far the best known is the novel about overpopulation and consumption of the worlds resources, Make Room. Which was used as a basis for the 1973 science fiction film Soylent Green, for a time Harrison was closely associated with Brian Aldiss
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Graham Ingels
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Graham J. Ingels flair for horror led EC to promote him as Ghastly Graham Ingels, and he began signing his work Ghastly in 1952. Born in Cincinnati, Ingels began working at age 14 after the death of his father, commercial artist Don Ingels and he studied at New Yorks Hawthorne School of Art. Graham and Gertrude Ingels married when he was starting as a freelancer at age 20 and he entered the U. S. Navy in 1943, and he began working that same year for Fiction House Publications, both in their pulp magazines and their comic book division. Black and white illustrations signed G. Ingels appeared in Planet Stories, Jungle Stories, North-West Romances and he contributed one painted cover to a 1944 issue of Planet Stories as well. For Planet Comics, he illustrated stories in the Hunt Bowman series and he also painted a mural at the United Nations building. The Ingels had two children, Deanna and Robby, who was named after a character created by child impersonator Lenore Ledoux for the Baby Snooks radio program, artist Howard Nostrand, a friend of Ingels, recalled, Robby was short for Robespierre. The reason why they called him that was left over from the old Fanny Brice show, Baby Snooks had a little kid brother named Robespierre. They called him that when he was a kid. A regular in Planet Comics and Rangers Comics in the late 1940s, Ingels worked for Magazine Enterprises and other publishers of comic books and pulps. Ingels drew crime comics for Magazine Enterprises and Westerns for a variety of companies, including Magazine Enterprises, Youthful Magazines, Hillman Periodicals, D. S. also published crime stories drawn by Ingels in Underworld, Gangsters Cant Win and Exposed. There were also short stories and one painted cover by Ingels in Dell Comics Heroic Comics around 1947, the companys Western and romance comics were later canceled or converted to horror and science-fiction titles. When EC introduced Tales From the Crypt, The Vault of Horror and The Haunt of Fear, a trademark image was a character with a thread of saliva visible in a horrified open mouth. As the lead artist for The Haunt of Fear, he brought to life the Old Witch, horror host of The Witchs Cauldron lead story, and he also did the cover for each issue from issue 11 through 28. A prolific artist, Ingels also drew the Old Witchs appearances in Tales From the Crypt and The Vault of Horror, plus stories for Shock SuspenStories, the Old Witchs origin story was told in A Little Stranger. Because of his many Witchs Cauldron stories, he was identified with the character of the Old Witch. Ingels artwork on the lead stories, and his splash pages, particularly on issues #14 and 17. When EC cancelled its horror and crime comics, Ingels drew for ECs New Direction titles, Piracy and he later contributed to ECs short lived Picto-Fiction line. His forte was strictly doing horror comics, and there werent any more horror comics being done, Ingels took a teaching position with the Famous Artists correspondence school in Westport, Connecticut
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Al Williamson
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Alfonso Al Williamson was an American cartoonist, comic book artist and illustrator specializing in adventure, Western and science-fiction/fantasy. Born in New York City, he spent much of his childhood in Bogotá. In his youth, Williamson developed an interest in comic strips, before long, he was working professionally in the comics industry. His most notable works include his science-fiction/heroic fantasy art for EC Comics in the 1950s, on titles including Weird Science, Williamson spent most of the 1970s working on his own credited strip, another Raymond creation, Secret Agent X-9. The following decade, he known for his work adapting Star Wars films to comic books. From the mid-1980s to 2003, he was active as an inker, mainly on Marvel Comics superhero titles starring such characters as Daredevil, Spider-Man. Williamson is known for his collaborations with a group of artists including Frank Frazetta, Roy Krenkel, Angelo Torres, and George Woodbridge, which was affectionately known as the Fleagle Gang. Williamson has been cited as an influence on a number of younger artists. He has won industry awards, and six career-retrospective books about him have been published since 1998. Living in Pennsylvania with his wife Corina, Williamson retired in his seventies, Williamson was inducted into the Will Eisner Comic Book Hall of Fame in 2000. Al Williamson was born in Manhattan, New York City, New York, the family relocated to Bogotá, Colombia, when Al was two years old. My father was Colombian and my mother was American, Williamson said in 1997 and they met in the States, got married and went down there. I grew up there so I learned both English and Spanish at the same time. It was comic books that taught me to both languages. At age nine, Williamson took an interest in comic strips via the Mexican magazine Paquin, later, Williamson was attracted to Alex Raymonds Flash Gordon strip after his mother took him to see the Flash Gordon Conquers the Universe movie serial. While living in Bogotá he met future cartoonist Adolfo Buylla, who befriended him, at age 12, in 1943, Williamson moved with his mother to San Francisco, California, they later moved to New York. There he met future cartoonists Wally Wood and Roy Krenkel, according to Williamson, Roy broadened my collecting horizons, he became my guide to all the great illustrators — the artists who directly influenced adventure cartoonists like Raymond and Foster. He showed me J. C. Coll, Franklin Booth, Joseph Franke, Dan Smith, Norman Lindsay, Fortunino Matania, and the great Blue Book illustrators like Herbert Morton Stoops and Frank Hoban
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Johnny Craig
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John Thomas Alexis Craig, better known as Johnny Craig, was an American comic book artist notable for his work with the EC Comics line of the 1950s. He sometimes used the pseudonyms Jay Taycee and F. C, born in Pleasantville, New York, Craig studied at the Art Students League of New York. While attending classes, he working in 1940 as an assistant of Harry Lampert. Between 1943 and 1945, Craig served in the Merchant Marines, returning to comics after his discharge, he began drawing for EC Comics, beginning with the penciling and inking the cover of Moon Girl and the Prince #1. When he teamed with Al Feldstein, they used the pseudonym F. C, wally Wood once said Craig drew the cleanest horror stories you ever saw. His first EC horror work came with the art for The Crypt of Terror #17. In being a writer as well as an artist, Craig differed from the majority of EC artists and he was responsible for the stories hosted by the Vault-Keeper, and he also drew that horror host in the framing sequences of stories by other EC illustrators. He eventually concentrated on The Vault of Horror and Crime SuspenStories, Craig became the editor of The Vault of Horror early in 1954, giving up his work for Crime SuspenStories at that time. Later that year, he created the Vault Keepers attractive assistant, after the EC horror books came to an end, Craig edited ECs Extra. in 1955, writing and drawing two stories in each bimonthly issue. Craigs story. And All Through the House in Vault of Horror #35 was adapted for the Joan Collins segment of the 1972 omnibus film Tales from the Crypt, Craigs many covers included that of the infamous Crime SuspenStories #22, shown during the 1950s Senate hearings on juvenile delinquency. Senator Estes Kefauver asked EC publisher Bill Gaines whether he thought the cover, Gaines responded, Yes, sir, I do, for the cover of a horror comic—a remark that became an oft-quoted example of comic books alleged depravity. Ironically, Craig was one of the more wholesome EC artists, one critic wrote of his work, Craig was a meticulous craftsman and not a fast worker, but his stories are regarded as some of the best ever in comics. His art was relatively low-key and restrained, effectively staged and featured impeccable draftsmanship, the scripts he wrote tended to be literate and cerebral, and generally relied on solid construction and implacable internal logic, rather than on contrived snap endings. His horror work made use of psychology and mood than of the supernatural. He returned to comics in the 1960s with art for ACGs Unknown Worlds, in 1967, he applied at DC. Recalling the excellence of his EC stories, editor George Kashdan gave him an issue of The Brave, Craig handed the job in weeks late, whereupon his art was deemed too subdued, even for the relatively staid DC super-hero comics of the time. Before publication, the pages were heavily retouched and revised as to expunge any trace of Johnny Craigs style. Evanier wrote that Goodwin, by now writing for Marvel, said that, Every so often, wed try having him pencil an Iron Man or something and he couldnt draw superheroes the way they wanted, and he couldnt hit the deadlines of a monthly book
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Reed Crandall
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Reed Leonard Crandall was an American illustrator and penciller of comic books and magazines. He was best known for the 1940s Quality Comics Blackhawk and for stories in EC Comics during the 1950s, Crandall was inducted into the Will Eisner Comic Book Hall of Fame in 2009. Reed Crandall was born in Winslow, Indiana, the son of Rayburn Crandall, one cousin was reportedly official Grand Teton National Park resident artist and photographer Harrison Crandall. Crandall graduated from Newton High School in Newton, Kansas, in 1935 and his father died in the spring of Crandalls freshman year at art school, which Crandall left temporarily to return to Kansas. His mother and sister moved to Cleveland during Crandalls junior year, with his schoolmate Frank Borth, Crandall found work painting signs on storefront windows. Crandalls art influences included the painters and commercial illustrators N. C, wyeth, Howard Pyle and James Montgomery Flagg. Crandall drew for comic books from 1939 until 1973 and his first work appears in comics from publisher Quality Comics, for which he drew stories starring such superheroes as the Ray and Doll Man. His earliest confirmed cover art is for Fiction Houses Fight Comics #12 at the Grand Comics Database, during this time he also drew the adventures of Captain Triumph in Qualitys Crack Comics. His final Blackhawk work was a story, plus the cover. He drew dozens of stories across a variety of genres for the EC anthologies Crime SuspenStories, Shock SuspenStories, Tales from the Crypt, Two-Fisted Tales, The Vault of Horror, impact, Piracy, and Weird Fantasy and its sequel series, Weird Science-Fantasy. Following the demise of EC in the wake of the 1954 U. S. Crandalls work for Classics Illustrated consisted of joint projects with EC veteran George Evans on four titles,18, The Hunchback of Notre Dame, No. In 1960, he went under contract with the publisher of Treasure Chest, Crandall illustrated many covers and countless stories for Treasure Chest through 1972. In 1964, he illustrated books by Edgar Rice Burroughs for Canaveral Press, in June 1970, Crandall and Buster Crabbe were guests at the Multicon-70 convention in Oklahoma City. Crandall, who had left New York City in the 1960s in order to care for his mother in Wichita. Recovering by the time of his mothers death, he nonetheless suffered debilitated health and left art in 1974 to work as a night watchman, after suffering a stroke that year, he spent his remaining life in a nursing home and died in 1982 of a heart attack. One of his last published stories, This Graveyard is Not Deserted appeared in Creepy #54, Creepy #58 contained Soul and Shadow possibly his last published comic book work. Crandall was inducted into the Will Eisner Comic Book Hall of Fame in 2009 and he is referenced in Michael Chabons Pulitzer Prize-winning novel The Amazing Adventures of Kavalier and Clay. The fictional character Joe Kavalier refers to Crandall as the top comic-book artist of his era, tower Comics Checklist, Comic Book Artist #14 Crandall, Reed, at the Social Security Death Index
39.
Jack Kamen
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Jack Kamen was born to a Jewish family in Brooklyn, New York on May 29,1920. Kamens first professional job was as an assistant to a sculptor working for the Texas Centennial and he studied sculpture with Agop Agopoff and was a student of Harvey Dunn, George Brandt Bridgman and William C. When Kamen attended classes at the Art Students League and the Grand Central Art School, he paid for his studies by painting theatrical scenery, decorating fashion mannequins and creating sculptures. Shortly after he began his career with Western and detective pulp magazines. After World War II, he started drawing comic book stories for Fiction House, artist Al Feldstein also did work for the Eisner & Iger studio, where Kamen and Feldstein became friends. Later, Feldstein brought Kamen into EC Comics, as Kamen recalled in an interview with Ken Smith, He called me up, Bill said, This boy wonder of mine is recommending you for this work. I was delighted, because Bill Gaines was always Bill Gaines, and then, as the popularity increased, Bill one day said, “Look, I don’t know what you’re getting, but I’ll meet anybody’s price and I’ll keep you busy all of the time. How would you like to be exclusive. ”After initially getting EC assignments to illustrate romance comics, he became one of the most prolific EC artists, drawing crime, horror, humor, suspense. He was known for his drawings of attractive women, describing Kamens understated style, EC editor Al Feldstein said, We gave Kamen those stories where the All-American girl and guy are married and then chop each other to pieces. In Tales from the Crypt #31, Kamen drew a semi-autobiographical self-satire, Kamens Kalamity, the story depicted the transition from romance to horror by Kamen, who called it my favorite story. However, ECs woes followed the new line of Picto-Fiction titles, the magazines were underdistributed and soon canceled. For artist Tom Palmer, Kamen described one of his painting techniques. I would use a smooth board and apply my basic color in a very watery wash of acrylic. For instance, I would mix a puddle of acrylic paint flesh color, as soon as it dried, I would add all the details in colored pencil. In areas that needed correction I would paint opaque white acrylic and then go back, the electric eraser blended all the pencil into a smooth look. He also drew all the comic book artwork for Stephen King and George A. Romeros 1982 horror anthology film Creepshow, King, although the bulk of the artwork for the graphic novel adaptation of the film was done by acclaimed macabre artist Berni Wrightson, Kamen illustrated the cover. Jack Kamen married his wife, Evelyn in 1946, bart died on September 27,2012. Barts daughter Libby is Jack and Evelyns only grandchild and she is a graduate of Deans FIRST Robotics program and has her bachelors degree in Communications and Digital Media from Clarkson University
40.
Bernard Krigstein
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Bernard Krigstein, was an American illustrator and gallery artist who received acclaim for his innovative and influential approach to comic book art, notably in EC Comics. He was known as Bernie Krigstein, and his artwork displayed the signature B. His best-known work in books is the short story Master Race. Born in Brooklyn, New York City, Krigstein was trained as a classical painter and his earliest confirmed work in comics is penciling and inking the 10-page, patriotic kid gang feature The Liberty Lads in Harvey Comics Champ Comics #25. He went on to draw for Harvey and for the publisher Prize Comics through 1943, following World War II, he picked up again in 1946, working for numerous publishers but primarily Fawcett Comics. The organization went defunct shortly after publication of its third and final newsletter in June 1953, Krigstein began getting less work from his four mainstays — National Comics, Atlas Comics, MLJ Comics and Ziff-Davis. But during his presidency of the Society, the politically like-minded publisher of EC Comics, William Gaines, there, Krigstein would produce the most acclaimed stories of his career between 1953 and 1955. Krigsteins best-known work in books is the short story Master Race. The protagonist is a former Nazi death camp commandant named Reissman who had managed to elude justice until he is spotted ten years later riding the New York City Subway. Krigstein, who chafed at the limits of the material EC gave him to illustrate. The results were so striking that the company reworked the issue to accommodate the two extra pages, Art Spiegelman described the effect in The New Yorker, The two tiers of wordless staccato panels that climax the story. Have often been described as cinematic, a phrase thoroughly inadequate to the achievement, Krigstein condenses, reissmans life floats in space like the suspended matter in a lava lamp. The cumulative effect carries an impact—simultaneously visceral and intellectual—that is unique to comics, Krigstein also did humor, such as From Eternity Back to Here in Mad #12, Bringing Back Father in Mad #17 and Crash McCool in Mad #26. In 1962, he took a position at the High School of Art and Design in Manhattan, as he told a 1962 interviewer, Its what happens between these panels thats so fascinating. Look at all that dramatic action that one never gets a chance to see and its between these panels that the fascinating stuff takes place. And unless the artist would be permitted to delve into that and he was posthumously inducted into the comic book industrys Jack Kirby Hall of Fame in 1992 and the Will Eisner Comic Book Hall of Fame in 2003. Krigsteins wife, Natalie, wrote romance comics and they had a daughter, Cora, in 1949. {{cn{{ The Krigstein Archives, his work in multiple media. Krigstein, Comics by Bernard Krigstein, edited by Greg Sadowski, ISBN 1-56097-573-3 A collection of comics stories by Krigstein
41.
John Severin
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He was one of the founding cartoonists of Mad in 1952. Severin was inducted into the Will Eisner Award Hall of Fame in 2003, John Severin was born in Jersey City, New Jersey, and was a teenager in Bay Ridge, Brooklyn, New York City, when he began drawing professionally. While attending high school, he contributed cartoons to The Hobo News, Severin recalled in 1999, I was sometimes selling 19 or 20 of them a week. But I didnt have to get a job to carry me through high school. It was almost every week—not every week—but almost every week, I didnt have to get a job. I hated to work, Ill tell you, I didnt have to get a job then, because I was in high school. He attended the High School of Music & Art in New York City, together with future EC Comics and Mad artists Harvey Kurtzman, Will Elder, Al Jaffee and Al Feldstein. After graduating from the school in 1940, he worked as an apprentice machinist and then enlisted in the Army, serving in the Pacific during World War II. In a 1980 interview, Severin recalled his start as a professional artist, I had decided to exhibit some paintings of mine in a High School of Music, Charlie Stern was in charge of it, so I went to see him at his studio. He was the Charles of the Charles William Harvey Studio, the two being William Elder and Harvey Kurtzman. They asked me if Id like to rent space with them there, I did, and started working with them. I became the man, but they didnt want to change it to John William Harvey Studio. Harvey was doing comics, Willie and Charlie were doing advertising stuff, design work, logos for toy boxes, logos for candy boxes, cards to be included in the candy boxes. Inspired by the quick money Kurtzman would make in-between advertising assignments with one-page Hey Look, gags for editor Stan Lee at Timely Comics, Severin worked up comics samples inked by Elder. In late 1947, he recalled, the team of Joe Simon. Since it was not standard practice to credit comics creators during this era, author and historian Jim Vadeboncoeur Jr. based on Severins description of a crime story about a boy and a girl who killed somebody. I think it was their stepfather and they lived on a farm, or out in the suburbs, believes that first Severin/Elder story was the eight-page The Clue of the Horoscope in Headline Comics #32, from the Crestwood-affiliated Prize Comics. 7, #5, both of which he penciled and the latter of which he also inked,9, #6, inked by his high-school classmate turned fellow pro Will Elder
42.
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
43.
Frank Frazetta
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Frank Frazetta was an American fantasy and science fiction artist, noted for comic books, paperback book covers, paintings, posters, LP record album covers and other media. He was the subject of a 2003 documentary, Frazetta was inducted into the comic book industrys Will Eisner Comic Book Hall of Fame in 1995 and the Jack Kirby Hall of Fame in 1999. Born Frank Frazzetta in Brooklyn, New York City, he removed one z from his last name early in his career to make his name seem less clumsy. The only boy among four children, he spent much time with his grandmother, when I drew something, she would be the one to say it was wonderful and would give me a penny to keep going. Sometimes I had nothing left to draw on but toilet paper, as I got older, I started drawing some pretty wild things for my age. I remember the teachers were always mesmerized by what I was doing, so I went to art school when I was a little kid, and even there the teachers were flipping out. At age eight, Frazetta attended the Brooklyn Academy of Fine Arts, E didnt teach me anything, really, Frazetta said in 1994. Hed come and see where I was working, and he say, Very nice. But perhaps if you did this or that and we never had any great conversations. He kind of left you on your own, I learned more from my friends there. In 1944, at age 16, Frazetta, who had always had this urge to be doing comic books and his first comic-book work was inking the eight-page story Snowman, penciled by John Giunta, in the one-shot Tally-Ho Comics, published by Swappers Quarterly and Almanac/Baily Publishing Company. It was not standard practice in comic books during this period to provide complete credits and his next confirmed comics works are two signed penciled-and-inked pieces in Prize Comics Treasure Comics #7, the four-page To William Penn founder of Philadelphia. Featuring his character Capt. Kidd Jr, in a 1991 interview in The Comics Journal, Frazetta credited Graham Ingels as the first one in the comic book industry to recognize his talent, and to give him jobs at Standard Comics in 1947. Frazetta was soon drawing comic books in many genres, including Westerns, fantasy, mystery, some of his earliest work was in funny animal comics, which he signed as Fritz. For Dells subsidiary company, Famous Funnies, Frazetta did war and human interest stories for Heroic Comics, as well as one pagers extolling the virtues of prayer and the evils of drug abuse. In comics like Personal Love and Movie Love, he did romance and celebrity stories, in the early 1950s, he worked for EC Comics, National Comics, Avon Comics, and several other comic book companies. Much of his work in books was done in collaboration with friend Al Williamson. Noticed because of his work on the Buck Rogers covers for Famous Funnies, Frazetta was also producing his own strip, Johnny Comet at this time, as well as assisting Dan Barry on the Flash Gordon daily strip
44.
Harvey Kurtzman
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Harvey Kurtzman was an American cartoonist and editor. His best-known work includes writing and editing the parodic comic book Mad from 1952 until 1956 and his work is noted for its satire and parody of popular culture, social critique, and attention to detail. Kurtzmans working method has been likened to that of an auteur, Kurtzman began to work on the New Trend line of comic books at EC Comics in 1950. The comic book switched to a format in 1955. Following his departure, he did a variety of cartooning work, including editing the short-lived Trump, in 1959, he produced the first book-length work of original comics, the adult-oriented, satirical Jungle Book. He brought Help. to an end after the success of the risqué Playboy feature Little Annie Fanny began to take up his time. While Annie Fanny provided much of his income for the rest of his career, he continued to produce a body of work. In 1967 and directing, writing and designing several shorts for Sesame Street in 1969, from 1973, Kurtzman taught cartooning at the School of Visual Arts in New York. His work gained greater recognition toward the end of his life, the Harvey Award was named in Kurtzmans honor in 1988. He was inducted into the Will Eisner Comic Book Hall of Fame in 1989, Harvey Kurtzman spoke little of his parents in interviews, and not much is known of their pre-American lives. David Kurtzman and Edith née Sherman grew up in Ukraine in Odessa and they belonged to the citys large Jewish community, one that suffered generations of antisemitic oppression, and the city had fallen into economic hardship following the Russian Revolution. Shortly after World War I David emigrated to New York and Edith soon followed in what she called a desperate journey escaping the new Soviet Union, there the non-observant pair married in a civil ceremony. The first of their two sons, Zachary, was born April 8,1923, Harvey Kurtzman was born on October 3,1924, in a tenement building on 428 East Ninety-Eighth Street in Brooklyn in New York City. David joined the Christian Science church, and when he suffered an ulcer he turned to prayer to cure it, he died from it on November 29,1928. The family was in desperate financial straits that their mother placed the Kurtzman brothers in an orphanage for three months until she secured work as a milliner. Several months later, Edith remarried to Russian-Jewish immigrant Abraham Perkes, the Kurtzman boys kept their surname, while their mother took that of Perkes. The couple had a son Daniel on February 17,1931, in 1934 the family moved to the more upscale Bronx, where the family lived at 2166 Clinton Avenue. Perkes was not wealthy, but managed to provide for his family during the Great Depression of the 1930s and he was a trade unionist, and the couple read the communist newspaper Daily Worker
45.
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
46.
Ray Bradbury
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Ray Douglas Bradbury was an American fantasy, science fiction, horror and mystery fiction author and screenwriter. While most of his best known work is in speculative fiction, he wrote in other genres, such as the coming-of-age novel Dandelion Wine or the fictionalized memoir Green Shadows. Recipient of numerous awards, including a 2007 Pulitzer Citation, Bradbury also wrote and consulted on screenplays and television scripts, including Moby Dick, many of his works were adapted to comic book, television and film formats. On his death in 2012, The New York Times called Bradbury the writer most responsible for bringing modern science fiction into the literary mainstream. Bradbury was born on August 22,1920 in Waukegan, Illinois, to Esther Bradbury, a Swedish immigrant, and Leonard Spaulding Bradbury and he was given the middle name Douglas, after the actor Douglas Fairbanks. Bradbury was related to the American Shakespeare scholar Douglas Spaulding and was descended from Mary Bradbury, Bradbury was surrounded by an extended family during his early childhood and formative years in Waukegan, Illinois. An aunt read him stories when he was a child. This period provided foundations for both the author and his stories, in Bradburys works of fiction, 1920s Waukegan becomes Green Town, Illinois. The family arrived with only US$40, which paid for rent and this meant that they could stay, however, and Bradbury—who was in love with Hollywood—was ecstatic. Bradbury attended Los Angeles High School and was active in the drama club and he often roller-skated through Hollywood in hopes of meeting celebrities. Among the creative and talented people Bradbury met this way were special effects pioneer Ray Harryhausen, throughout his youth, Bradbury was an avid reader and writer and knew at a young age that he was going into one of the arts. Bradbury began writing his own stories at age eleven, during the Great Depression — sometimes writing on the available paper, butcher paper. In his youth, he spent much time in the Carnegie library in Waukegan, reading such authors as H. G. Wells, Jules Verne, at twelve, Bradbury began writing traditional horror stories and said he tried to imitate Poe until he was about eighteen. In addition to comics, he loved Edgar Rice Burroughs, creator of Tarzan of the Apes, the Warlord of Mars impressed him so much that at the age of twelve he wrote his own sequel. The young Bradbury was also a cartoonist and loved to illustrate and he wrote about Tarzan and drew his own Sunday panels. He listened to the radio show Chandu the Magician, and when the show went off the air every night he would sit, as a teen in Beverly Hills, he often visited his mentor and friend, science fiction writer Bob Olsen, sharing ideas and maintaining contact. In 1936, at a bookstore in Hollywood, Bradbury discovered a handbill promoting meetings of the Los Angeles Science Fiction Society. Excited to find there were others sharing his interest, Bradbury joined a weekly Thursday-night conclave at age sixteen, at age 17, Bradbury read stories published in Astounding Science Fiction, and read everything by Robert A. Heinlein, Arthur C
47.
Edgar Allan Poe
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Edgar Allan Poe was an American writer, editor, and literary critic. Poe is best known for his poetry and short stories, particularly his tales of mystery and he is widely regarded as a central figure of Romanticism in the United States and American literature as a whole, and he was one of the countrys earliest practitioners of the short story. Poe is generally considered the inventor of the fiction genre and is further credited with contributing to the emerging genre of science fiction. He was the first well-known American writer to try to earn a living through writing alone, resulting in a difficult life. Poe was born in Boston, the child of two actors. His father abandoned the family in 1810, and his mother died the following year, thus orphaned, the child was taken in by John and Frances Allan of Richmond, Virginia. They never formally adopted him, but Poe was with them well into young adulthood, tension developed later as John Allan and Edgar repeatedly clashed over debts, including those incurred by gambling, and the cost of secondary education for the young man. Poe attended the University of Virginia for one semester but left due to lack of money, Poe quarreled with Allan over the funds for his education and enlisted in the Army in 1827 under an assumed name. It was at time that his publishing career began, albeit humbly, with the anonymous collection of poems Tamerlane and Other Poems. With the death of Frances Allan in 1829, Poe and Allan reached a temporary rapprochement, however, Poe later failed as an officer cadet at West Point, declaring a firm wish to be a poet and writer, and he ultimately parted ways with John Allan. Poe switched his focus to prose and spent the several years working for literary journals and periodicals. His work forced him to move among several cities, including Baltimore, Philadelphia, in Richmond in 1836, he married Virginia Clemm, his 13-year-old cousin. In January 1845, Poe published his poem The Raven to instant success and his wife died of tuberculosis two years after its publication. For years, he had been planning to produce his own journal The Penn, Poe and his works influenced literature in the United States and around the world, as well as in specialized fields such as cosmology and cryptography. Poe and his work appear throughout popular culture in literature, music, films, a number of his homes are dedicated museums today. The Mystery Writers of America present an award known as the Edgar Award for distinguished work in the mystery genre. He was born Edgar Poe in Boston on January 19,1809 and he had an elder brother William Henry Leonard Poe, and a younger sister Rosalie Poe. Their grandfather David Poe Sr. had emigrated from Cavan, Ireland to America around the year 1750, Edgar may have been named after a character in William Shakespeares King Lear, a play that the couple were performing in 1809
48.
H. P. Lovecraft
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Howard Phillips Lovecraft was an American author who achieved posthumous fame through his influential works of horror fiction. He was virtually unknown and published only in magazines before he died in poverty. Lovecraft was born in Providence, Rhode Island, where he spent most of his life, among his most celebrated tales are The Call of Cthulhu and The Shadow over Innsmouth, both canonical to the Cthulhu Mythos. Lovecraft was never able to support himself from earnings as author and editor and he saw commercial success increasingly elude him in this latter period, partly because he lacked the confidence and drive to promote himself. He subsisted in straitened circumstances in his last years, an inheritance was completely spent by the time that he died at age 46. Lovecraft was born on August 20,1890 in his home at 194 Angell Street in Providence. Both of his parents were of entirely English ancestry, and most of his ancestors had been in New England since the colonial period and his great-grandfather Joseph Lovecraft Jr. emigrated to Rochester, New York from Devon, England in 1831. Lovecraft maintained throughout his life that his father died in a condition of paralysis brought on by nervous exhaustion. It has been suggested that his fathers mental illness may have been caused by syphilis, all five resided together in the family home. Lovecraft was a prodigy, reciting poetry at the age of three and writing complete poems by six. His grandfather encouraged his reading, providing him with such as One Thousand and One Nights, Thomas Bulfinchs Age of Fable, and childrens versions of the Iliad. His grandfather also stirred the boys interest in the weird by telling him his own tales of gothic horror. Lovecraft was frequently ill as a child, and he attended school until he was eight years old because of his sickly condition. He read voraciously during this period and became enamored of chemistry. He produced several hectographed publications with a circulation, beginning in 1899 with The Scientific Gazette. Four years later, he returned to school at Hope High School. Beginning in his life, Lovecraft is believed to have suffered from sleep paralysis. Much of his work is thought to have been directly inspired by these terrors
