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" Capp had always advocated a more activist agenda for the Society, and he had begun in December 1949 to make his case in the Newsletter as well as at the meetings ," wrote comics historian R. C. Harvey.
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Some Related Sentences
Capp and had
" My mother and father had been brought to this country from Russia when they were infants ," wrote Capp in 1978.
Capp had already decided to become a cartoonist.
Capp moved to Boston and married Catherine Wingate Cameron, whom he had met earlier in art class.
Capp had it changed legally in 1949.
Whatever energy Abner had went into evading the marital goals of Daisy Mae Scragg, his sexy, well-endowed ( but virtuous ) girlfriend — until Capp finally gave in to reader pressure and allowed the couple to marry.
( Siegel and Shuster had earlier poked fun at Capp in a Superman story in Action Comics # 55, December 1942, in which a cartoonist named " Al Hatt " invents a comic strip featuring the hillbilly " Tiny Rufe.
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.
Capp had often parodied corporate greed — pork tycoon J. Roaringham Fatback had figured prominently in wiping out the Shmoos.
After Capp quit his ghosting job on Ham Fisher's Joe Palooka in 1934 to launch his own strip, Fisher badmouthed him to colleagues and editors, claiming that Capp had " stolen " his idea.
) 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.
" In 1950, Capp introduced a cartoonist character named " Happy Vermin "— a caricature of Fisher — who hired Abner to draw his comic strip in a dimly lit closet, ( after sacking his previous " temporary " assistant of 20 years, who had been cut off from all his friends in the process ).
Later, it was revealed to be a collaborative hoax that Capp and his longtime pal Saunders had cooked up together.
The Capp-Saunders " feud " fooled both editors and readers, generated plenty of free publicity for both strips — and Capp and Saunders had a good laugh when all was revealed.
No matter how much help he had, Capp insisted on drawing and inking the characters ' faces and hands — especially of Abner and Daisy Mae — himself, and his distinctive touch is often discernible.
" He had the touch ," Frazetta said of Capp in 2008.
He served as chairman of the Cartoonists ' Committee in President Dwight D. Eisenhower's People-to-People program in 1954 ( although Capp had actually supported Adlai Stevenson for president in 1952 and 1956 ), which was organized to promote Savings bonds for the U. S. Treasury.
Capp had earlier provided the Shmoo for a special Children's Savings Bond in 1949, accompanying President Harry S. Truman at the bond's unveiling ceremony.
During the Soviet Union's blockade of West Berlin in 1948, the commanders of the Berlin airlift had cabled Capp, requesting inflatable shmoos as part of " Operation: Little Vittles.
He published a column (" Wrong Turn Onto Sesame Street ") challenging federally funded Public Television endowments in favor of educational comics — which, according to Capp, " didn't cost a dime in taxes and never had.
" ( Both Capp and Pyne had wooden legs.
Anderson and his associate Brit Hume confirmed that Capp was shown out of town by university police, but that the incident had been hushed up by the university to avoid negative publicity.
In a December 1992 article for The New Yorker, Seymour Hersh reported that President Richard Nixon and Charles Colson had repeatedly discussed the Capp case in Oval Office recordings that had recently been made available by the National Archives.
Capp and always
In later years, Capp always claimed to have effectively created the miniskirt, when he first put one on Daisy Mae in 1934.
" From beginning to end, Capp was acid-tongued toward the targets of his wit, intolerant of hypocrisy, and always wickedly funny.
Capp always wondered how he ever got her suggestive name past the censors.
* Al Capp claimed that he always strove to give incidental characters in Li ' l Abner names that would render all further description unnecessary.
* Al Capp always claimed to have effectively created the miniskirt, when he first put one on Daisy Mae in 1934.
Capp and more
This childhood tragedy likely helped shape Capp ’ s cynical worldview, which, funny as it was, was certainly darker and more sardonic than that of the average newspaper cartoonist.
“ 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.
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 ).
According to an apocryphal tale from this era, in a televised face-off, either Capp ( on the Dick Cavett Show ) or ( more commonly ) conservative talk show host Joe Pyne ( on his own show ) is supposed to have taunted iconoclastic musician Frank Zappa about his long hair, asking Zappa if he thought he was a girl.
Since his death in 1979, Al Capp and his work have been the subject of more than 40 books, including three biographies.
Since his death in 1979, Al Capp and his work have been the subject of more than 40 books, including three biographies.
Capp and for
Alfred Gerald Caplin ( September 28, 1909 – November 5, 1979 ), better known as Al Capp, was an American cartoonist and humorist best known for the satirical comic strip Li ' l Abner.
" The Caplins were dirt poor, and Capp later recalled stories of his mother going out in the night to sift through ash barrels for reusable bits of coal.
Attending three of them in rapid succession, the impoverished Capp was thrown out of each for nonpayment of tuition — the Boston Museum School of Fine Arts, the Pennsylvania Academy of Fine Arts, and Designers Art School in Boston — the latter before launching his amazing career.
Also during this period, Capp was working at night on samples for the strip that would eventually become Li ' l Abner.
" 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.
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 ).
Fans of the strip ranged from novelist John Steinbeck, who called Capp " possibly the best writer in the world today " in 1953, and even earnestly recommended him for the Nobel Prize in literature — to media critic and theorist Marshall McLuhan, who considered Capp " the only robust satirical force in American life.
During World War II and for many years afterward, Capp worked tirelessly going to hospitals to entertain patients, especially to cheer recent amputees and explain to them that the loss of a limb did not mean an end to a happy and productive life.
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.
Capp received the National Cartoonists Society's Billy DeBeck Memorial Award in 1947 for Cartoonist of the Year.
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.
" In 1950, Capp wrote a nasty article for The Atlantic entitled " I Remember Monster.
" 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.
In 1954, when Capp was applying for a Boston television license, the Federal Communications Commission ( FCC ) received an anonymous packet of pornographic Li ' l Abner drawings.
According to one anecdote ( from Al Capp Remembered, 1994 ), Capp and his brother Elliot ducked out of a dull party at Capp's home — leaving Walt Kelly alone to fend for himself entertaining a group of Argentine envoys who didn't speak English.
According to Capp, who loved to relate the story, Kelly's two perfectly logical reasons for doing so were: a. to cement diplomatic relations between Argentina and the United States, and b. " Because you can't play the piano, anyway!
In point of fact, Capp maintained creative control over every stage of production for virtually the entire run of the strip.
Capp detailed his approach to writing and drawing the stories in an instructional course book for the Famous Artists School, beginning in 1956.
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