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Page "Al Capp" ¶ 63
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Capp and who
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.
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.
Capp followed this success with other allegorical fantasy critters, including the aboriginal and masochistic " Kigmies ," who craved abuse ( a story that began as a veiled comment on racial and religious oppression ), the dreaded " Nogoodniks " ( or bad shmoos ), and the irresistible " Bald Iggle ," a guileless creature whose sad-eyed countenance compelled involuntary truthfulness — with predictably disastrous results.
" 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 ).
" 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.
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!
Alongside his long-established caricatures of right-wing, big business types such as General Bullmoose and J. Roaringham Fatback, Capp began spoofing counterculture icons such as Joan Baez ( in the character of Joanie Phoanie, a wealthy folksinger who offers an impoverished orphanage ten thousand dollars ' worth of " protest songs ").
In an April 1969 letter to Time, Capp insisted, " The students I blast are not the dissenters, but the destroyers — the less than 4 % who lock up deans in washrooms, who burn manuscripts of unpublished books, who make combination pigpens and playpens of their universities.
Adams later said that writer Elliot Caplin, brother of Al Capp and Jerry Capp, offered Adams the job of drawing a comic strip based on author Robin Moore's The Green Berets, but that Adams, who opposed the war, suggested longtime DC Comics war-comics artist Joe Kubert, who landed that assignment.
The animation was created by Teesside born Chris Hunneysett, who drew from his own background to place Andy Capp in Middlesbrough.
Capp designed her in caricature of his wife Catherine ( minus the dirt ), who had also suggested Daisy Mae's name.
Capp, who lived in Cambridge, Massachusetts, just a stone's throw from Harvard, satirized campus radicals, militant student political groups and hippies during the Vietnam War protest era.
Fans of the strip ranged from novelist John Steinbeck, who called Capp " very 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.

Capp and by
!," a self-portrait by Al Capp, excerpted from theApril 16 – 17, 1951 Li ' l Abner strips.
By March 1932, Capp was drawing Colonel Gilfeather, a single-panel, AP-owned property created in 1930 by Dick Dorgan.
Capp turned that world upside-down by routinely injecting politics and social commentary into Li ' l Abner.
Al Capp drew his own autobiography, the 34-page Al Capp by Li ' l Abner ( 1946 ), distributed to returning WWII amputee veterans.
In 1946 Capp created a special full-color comic book, Al Capp by Li ' l Abner, to be distributed by the Red Cross to encourage the thousands of amputee veterans returning from the war.
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 fact, Fisher's brutish hillbilly character — Big Leviticus, created by Capp in Fisher's absence — bore little resemblance to Li ' l Abner.
Capp was able to refute the accusation by simply showing the original artwork.
Capp, of course, got ticked off by this, as you can imagine!
A 1950 cover story in Time even included photos of two of his employees, whose roles in the production were detailed by Capp.
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.
In 1959, Capp recorded and released an album for Folkways Records ( now owned by the Smithsonian ) on which he identified and described " The Mechanics of the Comic Strip.
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 impersonated by comedians Rich Little and David Frye.
Capp was the Playboy interview subject in December 1965, in a conversation conducted by Alvin Toffler.
" 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!

Capp and all
“ 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.
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.
At that first meeting there was Al Capp, Walt Kelly, Alex Raymond, Ernie Bushmiller, Milton Caniff, all of them just sitting there, big as life.
" ( Upon his retirement in 1977, Capp declared Mammy to be his personal favorite of all his characters.
* 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, 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 ).
It all turned out to be a collaborative hoax, however — cooked up by Capp and his longtime pal Saunders as an elaborate publicity stunt.
Revealing an important key to the story, Al Capp himself wrote that the Shmoo metaphorically represented the limitless bounty of the earth in all its richness — in essence, Mother Nature herself.
There was also a separate line of comic books, Al Capp's Shmoo Comics ( featuring Washable Jones ), published by the Capp family-owned Toby Press. Comics historian and Li ' l Abner expert Denis Kitchen recently edited a complete collection of all five original Shmoo Comics, from 1949 and 1950.
The Capp-Saunders " feud " fooled both editors and readers, generating plenty of free publicity for both strips — and Capp and Saunders had a good laugh when all was revealed.
During their seven day stay, they invited Timothy Leary, Tommy Smothers, Dick Gregory, Murray the K, Al Capp, and others, and all but Capp sang on the peace anthem " Give Peace a Chance ", recorded by André Perry in the hotel room on June 1.

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