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Capp and followed
More members joined by mid-May 1946, including Harold Gray ( Little Orphan Annie ) and the Society ’ s first animator, Paul Terry, followed in the summer by letterer Frank Engli, Bela Zaboly ( Popeye ), Al Capp ( Li ’ l Abner ) and Ray Bailey ( Bruce Gentry ).

Capp and success
As Li ' l Abner reached its peak years, and following the success of the Shmoos and other high moments in his work, Al Capp achieved a public profile that is still unparalleled in his profession, and arguably exceeded the fame of his strip.
An attempt to transfer Andy Capp to television in 1988 met with little success.
It was the idea of Al Capp, who intended to start a second strip to build upon the success of his popular Li ' l Abner.

Capp and with
" Yokum " was a combination of yokel and hokum, although Capp established a deeper meaning for the name during a series of visits around 1965 – 1970 with comics historians George E. Turner and Michael H. Price.
“ It ’ s phonetic Hebrew that ’ s what it is, all right and that ’ s what I was getting at with the name Yokum, more so than any attempt to sound hickish ," said Capp.
Capp peopled his comic strip with an assortment of memorable characters, including Marryin ' Sam, Hairless Joe, Lonesome Polecat, Evil-Eye Fleegle, General Bullmoose, Lena the Hyena, Senator Jack S. Phogbound ( Capp's caricature of the anti-New Deal Dixiecrats ), the ( shudder!
In response to the question “ Which side does Abner part his hair on ?," Capp would answer, “ Both .” Capp said he finally found the right " look " for Li ' l Abner with Henry Fonda's character Dave Tolliver, in The Trail of the Lonesome Pine ( 1936 ).
In addition to creating Li ' l Abner, Capp also co-created two other newspaper strips: Abbie an ' Slats with magazine illustrator Raeburn van Buren in 1937, and Long Sam with cartoonist Bob Lubbers in 1954, as well as the Sunday " topper " strips Washable Jones, Small Fry ( aka Small Change ), and Advice fo ' Chillun.
Capp was also involved with the Sister Kenny Foundation, which pioneered new treatments for polio in the 1940s.
Serving in his capacity as honorary chairman, Capp made public appearances on its behalf for years, contributed free artwork for its annual fund-raising appeals, and entertained crippled and paraplegic children in children's hospitals with inspirational pep talks, humorous stories and sketches.
In 1948, Capp reached a creative peak with the introduction of the Shmoos, lovable and innocent fantasy creatures who reproduced at amazing speed and brought so many benefits that, ironically, the world economy was endangered.
Following his close friend Milton Caniff's lead ( with Steve Canyon ), Capp had recently fought a successful battle with the syndicate to gain complete ownership of his feature when the Shmoos debuted.
1956 saw the debut of the Bald Iggle, considered by some Abner enthusiasts to be the creative high point of the strip, as well as Mammy's revelatory encounter with the " Square Eyes " Family Capp ’ s thinly-veiled appeal for racial tolerance.
" This character, along with the Shmoos, helped cement Capp's favor with the Left, and would increase their outrage a decade later when Capp, a former Franklin D. Roosevelt liberal, switched targets.
) According to a November 1950 Time article, " Capp parted from Fisher with a definite impression, ( to put it mildly ) that he had been underpaid and unappreciated.
Fisher, a man of Roman self esteem, considered Capp an ingrate and a whippersnapper, and watched his rise to fame with unfeigned horror.
" The article recounted Capp's days working for an unnamed " benefactor " with a miserly, swinish personality, who Capp claimed was a never-ending source of inspiration when it came time to create a new unregenerate villain for his comic strip.
Allen Saunders, the creator of the Mary Worth strip, returned Capp's fire with the introduction of the character " Hal Rapp ," a foul-tempered, ill-mannered, and ( ironically ) inebriated cartoonist, ( Capp was a teetotaler ).
Capp is often associated with two other giants of the medium: Milton Caniff ( Terry and the Pirates, Steve Canyon ) and Walt Kelly ( Pogo ).
As is usual with collaborative efforts in comic strips, his name was the only one credited although, sensitive to his own experience working on Joe Palooka, Capp frequently drew attention to his assistants in interviews and publicity pieces.
Cartoonist Mell Lazarus, creator of Miss Peach and Momma, wrote a comic novel in 1963 titled The Boss Is Crazy, Too which was partly inspired by his apprenticeship days working with Capp and his brother Elliot at Toby.
" Lazarus went on to cite Capp as one of the " four essentials " in the field of newspaper cartoonists, along with Walt Kelly, Charles Schulz and Milton Caniff.

Capp and other
Besides Dick Tracy, Capp parodied many other comic strips in Li ' l Abner including Steve Canyon, Superman ( at least twice ; first as " Jack Jawbreaker " in 1947, and again in 1966 as " Chickensouperman "), Mary Worth, Peanuts, Rex Morgan, M. D., Little Annie Rooney and Little Orphan Annie ( in which Punjab became " Punjbag ," an oleaginous slob ).
On the other hand Liberace was " cut to the quick " over Loverboynik, according to Capp, and even threatened legal action as would Joan Baez later, over " Joanie Phoanie " in 1967.
" As part of a plea agreement, Capp pleaded guilty to the charge of " attempted adultery " ( adultery was, and as of 2011 still is a felony in Wisconsin ) and the other charges were dropped.
Kelly became close friends with fellow cartoonists Milton Caniff and Al Capp, and the three occasionally referred to each other in their strips.
" Comparing Capp to other contemporary humorists, McLuhan once wrote: " Arno, Nash, and Thurber are brittle, wistful little précieux beside Capp!
Capp introduced many other allegorical creatures in Li ' l Abner over the years including Bald Iggles, Kigmies, Nogoodniks, Mimikniks, the Money Ha-Ha, Shminks, Abominable Snow-Hams, Gobbleglops and Bashful Bulganiks, among others.
After several other writers and composers considered musicalizing the comic strip, Al Capp finally made a deal in 1955 with the eventual creators for a musical to be financed by Paramount Pictures, which wanted to follow the stage version with a film musical.
During his twenties, he worked for Al Capp and his brother Elliott Caplin at the Capp family-owned Toby Press, which published Al Capp's Shmoo Comics, among other titles.
He also made appearances in a number of other TV shows, including the first series of Starting Out, Boon, Minder, Dear John, Farrington of the F. O., Z-Cars, Andy Capp, Auf Wiedersehen, Pet, Blake's 7, and Casualty.

Capp and allegorical
" Capp is at his allegorical best in the epics of the Shmoos, and later, the Kigmies ," wrote comic strip historian Jerry Robinson ( in The Comics: An Illustrated History of Comic Strip Art, 1974 ).

Capp and including
Capp also freelanced very successfully as a magazine writer and newspaper columnist, in a wide variety of publications including Life, Show, Pageant, The Atlantic, Esquire, Coronet, and The Saturday Evening Post.
Since his death in 1979, Al Capp and his work have been the subject of more than 40 books, including three biographies.
Al Capp, a native northeasterner, wrote all the final dialogue in Li ' l Abner using his approximation of a mock-southern dialect, ( including phonetic sounds, nonstop " creative " spelling and deliberate malapropisms ).
Li ' l Abner never sold as a TV series despite several attempts ( including an unsold pilot that aired once on NBC on September 5, 1967 ), but Al Capp was a familiar face on television for twenty years.
Since his death in 1979, Al Capp and his work have been the subject of more than 40 books, including three biographies.
He has appeared in various programmes, including The Beiderbecke Affair, Inspector Morse, The Brittas Empire, Andy Capp, Soldier Soldier, All Creatures Great and Small and even as a photographer who got physical with Mike Baldwin on Coronation Street.

Capp and ,"
" My mother and father had been brought to this country from Russia when they were infants ," wrote Capp in 1978.
" The secret of how to live without resentment or embarrassment in a world in which I was different from everyone else ," Capp philosophically wrote ( in Life magazine on May 23, 1960 ), " was to be indifferent to that difference.
" I heard that Bud Fisher ( creator of Mutt and Jeff ) got $ 3, 000 a week and was constantly marrying French countesses ," Capp said.
Capp also lampooned popular recording idols of the day, such as Elvis Presley (" Hawg McCall ," 1957 ), Liberace (" Loverboynik ," 1956 ), the Beatles (" the Beasties ," 1964 )— and in 1944, Frank Sinatra.
" Sinatra was the first great public figure I ever wrote about ," Capp once said.
" " He uses poetic license to try to create the beautifully ordered world of good guys and bad guys that he wants ," said Capp.
Milton Caniff offered another anecdote ( from Phi Beta Pogo, 1989 ) involving Capp and Walt Kelly, " two boys from Bridgeport, Connecticut, nose to nose ," onstage at a meeting of the Newspaper Comics Council in the sixties.
" He had the touch ," Frazetta said of Capp in 2008.
Fascinated by Frazetta's abilities, Capp initially gave him a free hand in an extended daily sequence ( about a biker named " Frankie ," a caricature of Frazetta ) to experiment with the basic look of the strip by adding a bit more realism and detail ( particularly to the inking ).
" Capp was the best known, most influential and most controversial cartoonist of his era ," writes publisher ( and leading Shmoo collector ) Denis Kitchen.
Between 1952 and 1972, he hosted at least five television shows – three different talk shows called The Al Capp Show ( 1952 and 1968 ) and Al Capp ( 1971 –' 72 ), Al Capp's America ( a live " chalk talk ," with Capp providing a barbed commentary while sketching cartoons, 1954 ), and a CBS game show called Anyone Can Win ( 1953 ).
The President immediately turned to an aide and said, " Call Walter Reed ( Hospital ), or maybe Bethesda ," to which Capp replied, " Hell no, just call a good local mechanic!
The album features his interaction with students at Fresno State College ( now California State University, Fresno ) on such topics as " sensitivity training ," " humanitarianism ," " abstract art " ( Capp hated it ), and of course, " student protest.
" The cover features a cartoon drawing by Capp of wildly dressed, angry hippies carrying protest signs with slogans like " End Capp Brutality ," " Abner and Daisy Mae Smoke Pot ," " Capp Is Over 40, 50 all crossed out the Hill!

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