title: Martin Roemers

texts:
 photographed 22 megacities worldwide . Roemers presents these (analog) cityscapes from an elevated perspective and uses a long exposure time in which traffic and people merge into a blurred rush of energy. Metropolis features Beijing, Buenos Aires, Cairo, Dhaka, Guangzhou, Istanbul, Jakarta, Karachi, Kolkata, Lagos, London, Los Angeles, Manila, Mexico City, Moscow, Mumbai, New York, Paris, Rio de Janeiro, São Paulo, Shanghai and Tokyo. Exhibits and recognition
Roemers’ work has been exhibited throughout Europe, America, Asia and Australia.It is represented in Amsterdam's Rijksmuseum(60 prints) and The Museum of Fine Arts in Houston. Roemers received two World Press Photo Awards, including a first prize for Metropolis, along with a number of other prizes. Books (Monographs)
 <mask>, De laatste lichting – The Last Batch, Het Apollohuis (Eindhoven, 1996). Introductions by Rolf Sachsse, Herman Amersfoort,
 <mask>, Tussen vijandige Buren, Mets & Schilt Publishers (Amsterdam, 2000) Introduction by Henri Beunders,
 <mask>, Kabul, Legermuseum (Delft, 2003), Introduction by Frits Baarda,
 <mask>, The Never-Ending War – De eindeloze oorlog, QV Publishers (Nijmegen, 2005). Introduction by H.J.A. Hofland, Interviews by <mask>,
 <mask>, Trabant; The Final Days of Production – Trabant; Die letzten Tage der Produktion, Wasmuth Verlag (Berlin, 2007), Introductions by Winnfried Sonntag, Achim Dresler, Kerstin Schwenn,
 <mask>, Relics of the Cold War, Hatje Cantz (Ostfildern, 2009), Introductions by Nadine Barth, H.J.A. 8, 2005
 Foto8 (UK), Relics – Jon Levy, March 2006
 Der Spiegel (DE), Bunkermentalitaet, No.51, 2009
 The Wall Street Journal (US), The Little Car That Could (Sort Of): a Trabant Tribute – J.S. Marcus, April 24, 2009
 Photo District News (US), Notable Photo

masks:
Martin Roemers
Martin Roemers
Martin Roemers
Martin Roemers
Martin Roemers
Martin Roemers
Martin Roemers


title: Martin Roemers

type: original

texts:
 Books of 2010, Nov. 2010
 Newsweek (US), Hello, Seven Billion – <mask>, November 7, 2011
 The Guardian Weekend (UK), Kolkata by <mask> – Phil Daoust, May 21, 2011
 The Wall Street Journal (US), The Beauty and Brutality of Images That Reach Far Beyond the Headlines – Joell Weickgenant, May 13, 2011
 The New Yorker (US), Goings on About Town – <mask>, April 2, 2012
 The New York Photo Review (US), Urban Speed – Ed Barnas, April 18, 2012
 The New York Times (US), Sunday Review. Living in The New Metropolis – <mask>, May 6, 2012
 The New York Times (US), The Bustle and the Blur – Liz Robbins, July 28, 2013
 The Wall Street Journal (US), Collector's Eye: Anthony Terrana. A Periodontist's Photographic Passion – Ellen Gamerman, March 30, 2013
 Frankfurter Allgemeine Zeitung (DE), Blinde Blicke – Andreas Kilb, October 6, 2014
 Geo (DE), Der Rhytmus in Metropolis – Juergen Schaeffer, Sept. 2014
 Collector Daily (US), <mask>, Relics of the Cold War @Anastasia Photo – Loring Knoblauch July 30, 2014
 European Photography (DE), Urbanics – The Contemporary City – Andreas Mueller Pohle, #98, 2015
 Cees Nooteboom – Wat het oog je vertelt. Essay: Het onzichtbare gezien: over het werk van

 Frankfurter Allgemeine Zeitung (DE), Wahnbilder einer versunkenen Epoche – Andreas Kilb, March 14, 2016
 Geo (FR), Marées urbaines – Jean Christoph Servant, Feb. 2016
 NRC Handelsblad (NL), Metropolis: chaos megasteden voelbaar – Tracy Metz, January 19, 2016
 The New Review, The Independent on Sunday (UK), Roadshow – Rachael Pells, January 10, 2016
 Photonews (DE), Der Fotograf Martin Roemers – Gunda Schwantje, Jan. 2016
 Martin Roemers, De Bezige Bij (Amsterdam, 2016),

References

External links
Martin Roemers’ official website

Dutch photographers
1962 births
Living people
People from

masks:
Martin Roemers
Martin Roemers
Martin Roemers
Martin Roemers
Martin Roemers


title: Jeanne Mas

texts:
<mask> is a French pop singer and actress. She is well known in France, Switzerland, Canada and Belgium for a number of hit singles released in the 1980s. Her first success was "Toute première fois" in 1984. This song was simultaneously released in the United Kingdom in English. Two of her singles charted at number one in France: "Johnny, Johnny" and "En rouge et noir" in 1985 and 1986, respectively. Her 1980's albums are good examples of the Euro disco electropop style popular in Continental Europe at the time, featuring synthesizers and very catchy melodies. Biography

<mask> was born on 28 February 1958 in Alicante, Spain.She started studying languages at the University of Nanterre (near Paris). After one year studying Spanish and Italian, she took off for Italy giving up her studies at the university. She settled in Rome when she was only 18 years old. In Rome, she took dance and acting classes. She started landing small parts in commercials as well as in full-length films and she hosted her own show on a private channel: La Uomo TV. Music was her true passion. In 1979, she signed her first contract with RCA Italia and recorded her first single "On the Moon", and toured with a rock group which was rather hardcore.She recorded several 45's, one in English and the others in Italian. In 1984, she signed a contract with EMI Music France. Roberto Zaneli and Romano Musumara wrote her first French hit "Toute premiere fois". First time (1984–1985)
"Toute première fois" It was an instant success: she sold more than 900,000 copies of the single which was played on the radio all the way until December. French people discovered a young woman on their TV screen entirely

masks:
Jeanne Mas
Jeanne Mas


title: Jeanne Mas

texts:
 dressed in black, with jet-black hair, an emaciated face, and very pronounced make-up: a bland version of the punk look. Stimulating choreography with jerky gestures reinforced the image of a woman "who wants some action", almost aggressive. This striking combination of dance and image seduced the young public.The press, the radio, the television and even the discos grabbed hold of this phenomenon. At the start of the following year, she successively released a second single "Johnny, Johnny" followed by an album simply called <mask> Mas. To reach a wider audience, she asked Daniel Balavoine for help. He produced two of the songs for the album. Another single "Coeur en stéréo" was a hit in its own right. In October, she played the Olympia club in Paris for the first time for four triumphant concerts. A few weeks later, she won the equivalent of a grammy for female performer of the year during the first Victoires de la musique.Triumphant Olympia (1986)
Building upon this success, ravaging and full of energy, she locked herself in a studio in Denmark to record her next album. Heavily into her work, she'd already started writing her own lyrics. <mask> had a critical view on music and knew what she wanted. This is why she refused a song written by Musumara which would become "Ouragan" interpreted by the gloss and glitter Princess Stephanie of Monaco. At the beginning of 1986, she released Femmes d'aujourd'hui which went on to sell over 1 million copies. The single from the album "En Rouge et Noir" quickly became a hit. In June, the album and the single were number one on the French charts.In the autumn, she played for seven days at the Palais des Sports in Paris and

masks:
Jeanne
Jeanne Mas


title: Jeanne Mas

texts:
 continued with forty concert dates in the rest of France. Bercy (1987–1989)
This tour commenced in March 1987 for twenty dates, one of which was a concert in Lyon where a live record and a ninety-minute film were made. She then decided to take a break and take advantage of this time to return to Italy to have a baby, a little girl named Victoria. 1988 allowed her to look closely at her career, her artistic doubts. In September she got involved publicly for a subject that she held close to her heart, crimes against children. <mask> nevertheless didn't stay inactive and got back to work quickly with Piero Calabrese. She went into a studio for three months and chose the best musicians for the recording: Manu Katché on drums, Steve Shehan on percussion, Tony Levin on bass and David Rhodes on guitar.In February 1989 a new album titled Les crises de l'âme was released. The lyrics seemed more committed with songs like "J'accuse", "Tango" or still "Y'a des bons..." which denounced violence in the world. The latter song was in fact the first track on the album and <mask> would make the video clip. In September, she played at Bercy. The tour was cancelled and this was the beginning of her decline. Her first time Los Angeles and declining years (1990–1995)
Far from letting herself be beaten, the singer gathered her team to write a new album at the beginning of 1990. Recorded in Los Angeles, L'art des femmes came out in October.She recorded "Tous les cris les S.O.S." by Balavoine. EMI promoted the first single, "Shakespeare", but both the album and singles were complete flops. A year later, EMI released a compilation Depuis la toute première fois. In 1992, <mask> gave birth to a

masks:
Jeanne
Jeanne
Jeanne Mas


title: Jeanne Mas

texts:
 boy, Christopher. Au nom des rois was the new album which came out on AB Productions in September, her collaboration with EMI having ended. The first single of the album was "Au nom des rois" of which the video clip was once again directed by the singer."Dors bien Margot" followed a few months later with a slightly different mix. 1993 saw the release of a new version of the album including three new songs, one of which was the third single "Aime-moi". In September 1993, she played three nights at Casino de Paris and followed with a fifty-five-date tour. With her career floundering she withdrew from public life for a while and settled in the South of France. In 1994 "C'est pas normal", a more dance floor-oriented song, was released but interest was minimal, received limited airplay and was another flop. Rocker (1996–2002)
She came back in 1996 with a new album on Arcade records. <mask> recorded Jeanne Mas & les Égoïstes in Toulouse which had 14 songs that she had written, more rock so as to a return to her initial roots.The record received little attention. After this attempted comeback, <mask>, became interested in cinema and took screen a writing course in Paris. She also made a short film. By 2000 the record company XIII Bis enabled her to release a further album. Désir d'insolence her seventh album. Amongst the songs, three have texts by the poets Paul Verlaine, Alfred de Vigny and Guillaume Appolinaire's "Le pont Mirabeau". In 2003, <mask> released a new album: Les Amants de Castille in hommage to the famous play Le Cid by Corneille.In 2004–2005 she toured to celebrate her 20 years of career and performed at the Espace Pierre Cardin and the Casino de Paris.

masks:
Jeanne
Jeanne Mas
Jeanne Mas


title: Jeanne Mas

texts:
 <mask> left France in June 2005 and settled in California where she created her own label Red Rocks Productions. In 2006 a new album : The missing Flowers was recorded between Paris and Los Angeles and produced with Dj Esteban. A new chapter commenced with this new album and a new look. Blond hair and feminine. In 2007: the album was released in Europe by Edina Music France. 2008 Concert and her renewed popularity
In June 2008, <mask> announced four nights of concerts at the Trianon in Paris.2009 Olympia Theatre – Paris, France
In May 2009, <mask> performed two nights at the Olympia Theatre in Paris with her band – Mike Pachelli & Willis Clow (guitars),
Todd Connelly (bass), Matt Lesser (drums) and Balint Sapszon (keyboards). In July 2011, <mask> released her 13th album, Bleu Citron, with a single, Les Dimanches being well received by critics. In 2012, she released the album Made in France, which received a mixed reception. From this the single Il pleut des lunes, and EP dance Gil with DJ Esteban was released. On 24 October 2012, <mask> is back on the big screen with the film Stars 80 , which tells the story of the two producers of the tour RFM Party 80. The film was a box office success. 10 August 2013, <mask> began a tour of seven dates in Obernai in Alsace, ending in Romans 28 September.Personal life
<mask> has a daughter and a son. In 2005, she relocated from Rueil-Malmaison, France to the United States, firstly in California and then in Arizona. As of 2016, <mask> has been vegetarian for twenty-three years, and later she became a vegan. In February 2016, Mas published the book Ma vie est une pomme ("My life is an apple") under Michel Lafon, which advocates the

masks:
Jeanne Mas
Jeanne Mas
Jeanne Mas
Jeanne Mas
Jeanne Mas
Jeanne Mas
Jeanne Mas
Jeanne Mas


title: Henry Jacques Gaisman

texts:
<mask> ("<mask> (December 5, 1869 – August 6, 1974) was an American philanthropist and inventor of a type of safety razor, the autographic camera, and over one thousand other patents which benefited common items such as swivel chairs, men's belts and carburetors. History
His father, <mask> (né Geissmann), was an immigrant originally from Dornach, a village near Mulhouse, France (in the Alsace region bordering Germany and France), but who fled worsening political pressures, and immigrated to New Orleans in 1852. His parents Sarah and <mask> married in Memphis, Tennessee in 1864. <mask><mask> was born in 1869 in Memphis, Tennessee, the youngest of four children. His father, <mask>, died in Memphis during a Yellow Fever epidemic when <mask> was age 3. After his father's death, his mother, Sarah, moved the family to Cincinnati, OH, where <mask> spent some of his early childhood trying to help support his family by working as a newsboy. Already at age 9 <mask> invented a medium for street car advertising.Unable to afford the lengthy schooling required to study mechanical engineering and chemistry (his first interests), he left school at age 13 to work various odd jobs. At age 16 he invented the glass-enclosed bulletin boards commonly used in hotel lobbies. He then worked briefly as a leather worker, then a leather dealer, and in 1894 moved to New York City, where he sold his first financially successful invention, a belt that wouldn't slip. Later, he invented the safety razor, an invention which would allow him to develop into a wealthy businessman despite never completing his formal education. His safety razor was patented in May and July 1904, and was initially sold by the Auto Strop Safety Razor Company, a competitor to razor and blade manufacturer Gillette Razor Corporation, run by Mr. King C. Gillette. When Mr. Gaisman found similar technologies in the Gillette razors, his company sued the Gillette Razor Corporation for patent infringement, which Mr. Gillette resolved by merging with Auto Strop. When Mr. Gaisman came on board at the Gillette

masks:
Henry Jacques
Jack ) Gaisman
Jacques Gaisman
Jacques
Henry J
. Gaisman
Jacques
Henry
Henry
Henry


title: Henry Jacques Gaisman

texts:
 25 million dollars. In 1948, while in Mt. Sinai hospital for routine medical care, he met Catherine ("Kitty") Vance (1919 - May 1, 2010), then a 29-year-old nursing supervisor and native of New Rochelle. Four years later, on 18 April 1952, at age 82, he married Catherine, then aged 33. Initially, the couple considered selling their land to Westchester County to build a new site for the Westchester Community College.However, the couple changed their plans before the deal could be completed, and despite County threats to take the land through condemnation, he and his wife Catherine passed the title for their land to the New York Archdiocese in 1957 for $600,000, with the provision they could live on the estate as long as they wished. (The Westchester Community College was eventually built on the  John Augustine Hartford estate on Grasslands Road in Valhalla.) In 1971, at age 101, Mr. Gaisman was quoted in Who Said what (and When, and Where, and How) () as saying, "I don't think that what anyone does is worth too much attention. I like to know what's going on. I want to be alive." Mr. Gaisman died in White Plains in 1974, at age 104, and was buried at the Gates of Heaven cemetery in Hawthorne. His wife continued to live on the estate until 1995, when she moved to Connecticut to live near family.On May 1, 2010 she suddenly died at Mount Sinai Hospital in New York at the age of 91. She was buried beside her husband. The estate in Hartsdale was used as a home for retired Catholic nuns, and has since been purchased by the town of Greenburgh, where it has been turned into a nature preserve. Retired nuns continue to live on the estate today. References

External links
Google Patent Search for <mask><mask>
Obituary for Catherine V<mask>

1869 births
1974 deaths
American centenarians
Men centenarians
19th-century American inventors
20th-century American inventors
Philanthropists from New York (state)
People from Memphis, Tennessee
People from Cincinnati
People from Hartsdale, New York
People from White Plains, New York
Burials at Gate of Heaven Cemetery

masks:
Henry J
. Gaisman
. Gaisman


title: Lucinda L. Combs

texts:
<mask><mask> (October 10, 1849April 23, 1919) was an American physician who was the first female medical missionary to provide medical care in China and is credited with establishing the first women's hospital in what was then Peking (now Beijing). <mask> was a pioneer in women's medical care while serving the Women's Foreign Ministry Society's North China Mission for seven years. Early life

<mask>, known by her friends and family as "<mask>", was born on October 10, 1849, in Cazenovia, New York. She is not known to have had any siblings. Combs parents died leaving her orphaned at a young age. It is unknown through which means specifically, but she supported and educated herself following the tragedy. After converting to Christianity, she became a teacher.<mask> learned about the Methodist Episcopal Church's work commissioned in India and felt called to that line of work herself. She ultimately decided to further educate herself in order to be prepared for an appointment as a missionary in India. Education
Determined to pursue her education, <mask> enrolled in the Cazenovia Seminary in Cazenovia, New York in 1866. The Cazenovia Seminary, though not theological in its purpose, was a three-year program associated with the Methodist Episcopal Church. After completing the program in 1869, <mask> graduated top of her class with honors. To finance her desire to attend medical school, <mask> looked for domestic employment. She soon found a wealthy family that was willing to employ her.<mask> managed to perform her domestic responsibilities while attending medical school. <mask> enrolled at the Women's Medical College in Philadelphia, Pennsylvania in 1870. She drew the attention of the Methodist women in Philadelphia who helped her continue her studies. <mask> received her degree from the Women's Medical College on March 12, 1873 in Philadelphia. Career

Missionary work
Almost immediately upon receiving her medical degree, <mask> was commissioned by the Women's Foreign Ministry

masks:
Lucinda L
. Combs Stritmatter
Combs
Combs
Lucy
Combs
Combs
Combs
Combs
Combs
Combs
Combs
Combs


title: Lucinda L. Combs

texts:
 Society (WFMS). Although she intended to serve in India, she boarded a ship for Peking, China on June 5, 1873. Among the other passengers on the ship was Andrew Stritmatter who had been commissioned to work in Jiujiang.Stritmatter and <mask> grew close during their voyage and the couple would ultimately marry in the coming years. <mask> departed from San Francisco, but her journey was delayed due to an unfortunate illness. Her illness held her in Japan for several weeks before being well enough to continue travel. She arrived in Peking in late August or early September, almost three months after her original departure and quickly began her work. She is noted for being the first female medical missionary to provide medical care in China. Establishing the first women's hospital

Although medical attention had arrived in Peking about ten years prior, through the London Missionary Society's appointment of <mask>, for the most part, medical services were not extended to women. Sex segregation consequently restricted women from seeking medical care from men.After writing a letter expressing her desire to open a hospital to serve native Chinese women, the Philadelphia branch of the WFMS congregated at the General Executive Committee meeting in May 1874. During their meeting, they agreed to set aside a $2000 fund toward the establishment of a hospital for women and children in Peking. The land on which the hospital and residence building would be built was procured in December 1874. The first patient treated in the Peking Woman's Hospital was a Chinese woman who had fallen and sustained a foot injury. After treating her, <mask> recalled that the family was very grateful to her. In the five months following its completion in November 1875, the hospital received 18 patients. Founding the first women's hospital in China gave <mask> a platform to advocate for medical training and education for women and for the improvement of sanitary and hygiene practiced in relevant medical

masks:
Combs
Combs
William Lockhart
Combs
Combs


title: Lucinda L. Combs

texts:
 facilities.Although hesitant at first, the Chinese population in Peking soon came to appreciate the medical help provided by a female physician. Community care
During the building of the hospital, <mask> served the Chinese women in their homes while learning and mastering the language. She made 198 home visits throughout her first year and treated 37 patients, some over several weeks. In her first year, she prescribed for 314 cases. In addition to providing medical care, <mask> made an effort to convert the women whom she served to Christianity. Her marriage to Andrew Strittmater led to her relocation to Jiujiang. There, <mask> took on the work of a physician and missionary, Miss Mason, who was leading the medical work in Jiujiang but had returned to the United States after becoming very ill. <mask> treated countless patients in Jiujiang as well in addition to many cases in the outskirts of the city.<mask>'s medical experience and skill helped ease the transition of leadership following Miss Mason's quick illness. Later life and death

<mask> met Andrew Stritmatter aboard a ship of missionaries that departed for China in 1873. As her five-year contract with the WFMS came to a close, <mask> and Stritmatter were married in Shanghai on November 19, 1877, by Bishop I. W. Wiley. Soon after their marriage, the couple moved to the southern part of China to a place known as Jiujiang. Although her marriage resulted in the end of her commission to the WFMS, <mask> continued to practice medicine in her new location. The couple had two sons named Edward and Albert,  both born in China. About two years after their relocation, Stritmatter contracted tuberculosis which led the couple to begin the journey back to the United States in October 1880.The long journey resulted in Stritmatter's untimely death one month later in Denver, Colorado. He died before arriving at his family home in Ohio. <mask> remained in Colorado following her husband's death to raise her two children and continue

masks: Combs Combs Combs Combs Combs Combs Combs Combs Combs


title: Lucinda L. Combs

texts:
 practicing medicine. She never remarried. After practicing medicine in Denver for six years, <mask> moved to Columbus, Ohio to be close to her late husband's family and to spend the remainder of her days. She died in her son's home on April 23, 1919, in Franklin County, Ohio at the age of 68 years old. She was buried at Union Cemetery in Columbus, Ohio.Legacy
Three months prior to her marriage, <mask> was joined at her mission station by <mask> King. The pair of physicians worked alongside each other for three months before <mask> relocated to Jiujiang with her husband. King consequently took over her responsibilities as the primary physician at the Woman's hospital. In 1879, <mask> King successfully treated the wife of <mask>, Viceroy of the province of Chih-li. The connection between King and the powerful family of the Viceroy resulted in the funding and construction of a surgery unit and medical dispensary. Publications
<mask> published many works during her studies and throughout her medical career. During her time at Women's Medical College of Pennsylvania, she published a 22-page handwritten thesis on the study of medical hysteria.Additionally, she wrote several pieces for the Women's Missionary Methodist Episcopal Church monthly newspaper called The Heathen Woman's Friend. In this, <mask> published three distinct works describing her life as a missionary titled: "A Bright Day at the Peking Hospital", "The Peking Hospital", and "A Morning's Visit at the Peking Hospital". References

1849 births
1919 deaths
People from Cazenovia, New York
Cazenovia College alumni
American Methodists
19th-century American women physicians
19th-century American physicians
20th-century American women physicians
20th-century American physicians
American physicians
Physicians from New York (state)
Woman's Medical College of Pennsylvania alumni
American Methodist missionaries
Female Christian missionaries
Christian medical missionaries
Methodist missionaries in China
American expatriates

masks:
Combs
Combs
Leonora
Combs
Leonora
Li Hongzhang
Combs
Combs


title: Shareef Cousin

texts:
<mask> (born 1979) is an African-American man from New Orleans who was convicted of the first-degree murder of Michael Gerardi in 1996 and sentenced to death as a juvenile in Louisiana. At age 17, he became the youngest condemned convict to be put on death row in Louisiana, and one of the youngest in the United States. Cousin was convicted almost solely on the basis of one eyewitness identification provided by a woman who was the date of the victim, who said he was one of three black males who accosted them. No physical evidence linked him to the crime scene. A number of other witnesses insisted Cousin had been playing in a youth league basketball game at the time of the murder. A video of the game was also presented at court. During appeals, a number of instances of prosecutorial misconduct and suppression of exculpatory evidence were discovered in the case.The primary eyewitness initially told police she could not identify the shooter as she wasn't wearing her glasses, but this statement was not disclosed to the defense. Another prosecution witness testified that he was coerced to falsely implicate Cousin in exchange for a reduced sentence on other charges. Cousin's conviction and death sentence were  overturned in 1998. The DA dropped the case, saying there was not sufficient evidence for a second trial. No one else has been prosecuted for the murder. The case of <mask> <mask> is frequently cited as an example of the unreliable nature of eyewitness testimony. Crime
On March 2, 1995, Michael Gerardi took a woman named Connie Babin on their first date to the Port of Call restaurant in the French Quarter of New Orleans.After dinner, the couple left the restaurant to return to Gerardi's vehicle parked around the corner. Three black teenage males approached the vehicle. Gerardi yelled at his date to run away, which she did. As she was running, she turned around and saw one of the teens shoot Gerardi in the face. Investigation
On March 28, 1995, the police arrested 16-year-old <mask> <mask>, a resident of the city. He had been named by James Rowell, a former

masks:
Shareef Cousin
Shareef
Cousin
Shareef
Cousin


title: Shareef Cousin

texts:
 friend who was seeking leniency for charges he faced arising from several robberies. Police put Cousin in a line-up and Babin picked him out.Trial
Babin testified at trial that she was "absolutely positive" that she had seen <mask> commit the murder. James Rowell was also called to testify against Cousin. Rowell was expected to testify for the prosecution that Cousin had bragged about the murder to him. However, when Rowell took the stand, he denied having the conversation with Cousin and instead told the jury that he was only saying what his attorney and the district attorney told him to say, alleging they threatened him with a long jail sentence if he didn't give them Shareef. Rowell also alleged that the prosecutors told him to lie about whether or not he had a deal, noting they scheduled his own hearing so it would not take place until after Cousin's trial, in order to conceal the deal from the defense. In response, the prosecution called the lawyer and a police detective who was present for Rowell's deposition. Those witnesses testified to what Rowell had previously said.Shareef's defense team presented witnesses, including two Parks and Recreation supervisors, who testified that Cousin had played in a basketball game in another part of the city and was being driven home by his coach at the time the crime was committed. There was also video footage of Cousin playing in a basketball game during the time of the murder. Prosecutors argued that the date and time stamp could be inaccurate if it was set incorrectly. Detective Anthony Small listed two additional witnesses who supposedly positively identified Cousin as the murderer, but they were never called to testify. It later came to light that the detective had lied about having additional witnesses in order to get the warrant. Cousin was convicted of first-degree murder by the jury and sentenced to death. Misconduct allegations and appeal

After the trial, the defense uncovered a number of instances of misconduct by the prosecution.Among them was statement made by Connie Babin on the night of the


title: Shareef Cousin

texts: murder where she explained to police that she did not get a good look at the gunman or his accomplices because of the distance and would not be able to identify him. She also said that she was not wearing her glasses on the night of the murder and could see only patterns and shapes. Other discrepancies also were revealed: She told police the shooter was "slightly shorter" than Gerardi; Cousin is 4 in. taller than the victim. The prosecutors did not disclose these statements to the defense. This information was crucial to the defense, as Babin's identification of Cousin was the only evidence linking him to the murder. The attorneys received the statement from an anonymous source.The prosecutor also withheld other witness statements from the defense. A local bird watcher witnessed the crime through his binoculars and took down a license plate number. He reported the tip through the Crime Stoppers tip line. Evidence was also discovered that the prosecution may have taken steps to prevent a number of defense witnesses from testifying. The defense was unable to locate during the trial four witnesses whom it had planned to call to testify. It was later discovered that the prosecution instructed these witnesses to go to the district attorney's office and remain there for the duration of the trial. The location of those witnesses was not disclosed to Cousin or his attorney.Upon questioning, the prosecutor said that he had taken them there for their own comfort as it was hot outside. Time magazine reported that the trial took place during one of the coldest Januarys in New Orleans history. <mask> filed an appeal, which reached the Louisiana Supreme Court, on the basis of the Brady violations, which is the failure of the prosecution to disclose potentially exculpatory evidence to the defense. His appeal also identified the improper use of the testimony of Rowell's attorney and the police officer. While the use of witnesses to impeach witness testimony is legal, it can only be used to show the credibility of the witness. The prosecutors in this case used their memory


title: Shareef Cousin

texts:
 of Rowell's earlier statements to attempt to prove Shareef's guilt. Their statements were determined to be hearsay evidence and therefore should not have been allowed.The fact that the statements by Rowell and Babin, proven to be unreliable, were the only evidence against Cousin led to the Louisiana Supreme Court overturning Cousin's conviction in 1998. It ordered a new trial on the grounds that evidence was mishandled and improperly used by the prosecution. The supreme court referred to it as "a flagrant misuse" of evidence. A few months later, Harry Connick Sr., the DA at the time, decided to drop the case, citing lack of evidence to pursue it any further. Disciplinary Board

In June 2005, prosecutor Roger Jordan was disciplined by the Louisiana Supreme Court for his misconduct in Cousin's case. His license to practice law was suspended for three months. However, the suspension was deferred on condition of good conduct for one year.According to defense attorney Clive Stafford Smith, Regina Small told him that her husband, Detective Anthony Small who was involved in the Cousin case, had called the Crime Stoppers tip line to report Cousin after police had already identified the teen as a suspect. This led to the arrest of the teen. The detective collected the $10,500 reward. Civil suit
<mask> filed a civil suit against a number of employees of the police department and district attorney's office. He alleged a number of violations of his civil rights. He alleged that the prosecution withheld a number of exculpatory statements, coerced and intimidated Rowell, and took steps to prevent his own defense witnesses from testifying on his behalf by illegally detaining them. The courts ruled against him on the basis that prosecutors have absolute immunity.See also
List of revoked death sentences
List of exonerated death row inmates
List of wrongful convictions in the United States

References

External links
 TIME Magazine article
"Interview with Neal Conan", NPR

Overturned convictions in the United States
Living people
People wrongfully convicted of murder
1979


title: Al Capp

texts:
<mask> (September 28, 1909 – November 5, 1979), better known as <mask>, was an American cartoonist and humorist best known for the satirical comic strip Li'l Abner, which he created in 1934 and continued writing and (with help from assistants) drawing until 1977. He also wrote the comic strips Abbie an' Slats (in the years 1937–45) and Long Sam (1954). He won the National Cartoonists Society's Reuben Award in 1947 for Cartoonist of the Year, and their 1979 Elzie Segar Award, posthumously for his "unique and outstanding contribution to the profession of cartooning". Comic strips dealt with urban experiences in the northern states of the USA until the year Capp introduced "Li'l Abner". Although Capp was from Connecticut, he spent 43 years teaching the world about Dogpatch, reaching an estimated 60 million readers in more than 900 American newspapers and 100 more papers in 28 countries internationally. M. Thomas Inge says Capp made a large personal fortune through the strip and "had a profound influence on the way the world viewed the American South". Early life
<mask> was born in New Haven, Connecticut, of East European Jewish heritage.He was the eldest child of Otto Philip Caplin (1885–1964) and Matilda (Davidson) Caplin (1884–1948). His brothers, Elliot and Jerome, were cartoonists, and his sister, Madeline, was a publicist. <mask>'s parents were both natives of Latvia whose families had migrated to New Haven in the 1880s. "My mother and father had been brought to this country from Russia when they were infants", wrote Capp in 1978. "Their fathers had found that the great

masks:
Alfred Gerald Caplin
Al Capp
Capp
Capp


title: Al Capp

texts: promise of America was true — it was no crime to be a Jew." 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. In August 1919, at the age of nine, Capp was run down by a trolley car and had his left leg amputated above the knee.According to his father Otto's unpublished autobiography, young <mask> was not prepared for the amputation beforehand; having been in a coma for days, he suddenly awoke to discover that his leg had been removed. He was eventually given a prosthetic leg, but only learned to use it by adopting a slow way of walking which became increasingly painful as he grew older. The childhood tragedy of losing a leg likely helped shape Capp's cynical worldview, which was darker and more sardonic than that of the average newspaper cartoonist. "I was indignant as hell about that leg", he revealed in a November 1950 interview in Time magazine. "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." The prevailing opinion among his friends was that Capp's Swiftian satire was, to some degree, a creatively channeled, compensatory response to his disability. Capp's father, a failed businessman and an amateur cartoonist, introduced him to drawing as a form of therapy.He became quite proficient, advancing mostly on his own. Among his earliest influences were Punch cartoonist–illustrator Phil May and American


title: Al Capp

texts: comic strip cartoonists Tad Dorgan, Cliff Sterrett, Rube Goldberg, Rudolph Dirks, Fred Opper, Billy DeBeck, George McManus, and Milt Gross. At about this same time, Capp became a voracious reader. According to Capp's brother Elliot, <mask> had finished all of Shakespeare and George Bernard Shaw by the time he turned 13. Among his childhood favorites were Dickens, Smollett, Mark Twain, Booth Tarkington, and later, Robert Benchley and S. J. Perelman. Capp spent five years at Bridgeport High School in Bridgeport, Connecticut, without receiving a diploma. He liked to joke about how he failed geometry for nine straight terms.His formal training came from a series of art schools in the New England area. Attending three of them in rapid succession, the impoverished <mask> 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 last before launching his career. <mask> already had decided to become a cartoonist. "I heard that Bud Fisher (creator of Mutt and Jeff) got $3,000 a week and was constantly marrying French countesses", <mask> said. "I decided that was for me." In early 1932, <mask> hitchhiked to New York City. He lived in "airless rat holes" in Greenwich Village and turned out advertising strips at $2 each while scouring the city hunting for jobs.He eventually found work at the Associated Press when he was 23 years old. By March 1932, <mask> was drawing Colonel Gilfeather, a single-panel, AP-owned property created in 1930 by Dick Dorgan. <mask> changed the focus and

masks: Alfred Capp Capp Capp Capp Capp Capp


title: Al Capp

texts: title to Mister Gilfeather but soon grew to hate the feature. He left the Associated Press in September 1932. Before leaving, he met Milton Caniff and the two became lifelong friends. Capp moved to Boston and married Catherine Wingate Cameron, whom he had met earlier in art class. She died in 2006 at the age of 96.Leaving his new wife with her parents in Amesbury, Massachusetts, he subsequently returned to New York in 1933, in the midst of the Great Depression. "I was 23, I carried a mass of drawings, and I had nearly five dollars in my pocket. People were sleeping in alleys then, willing to work at anything." There he met Ham Fisher, who hired him to ghost on Joe Palooka. During one of Fisher's extended vacations, <mask>'s Joe Palooka story arc introduced a stupid, coarse, oafish mountaineer named "Big Leviticus," a crude prototype. (Leviticus was much closer to <mask>'s later villains Lem and Luke Scragg than to the much more appealing and innocent Li'l Abner.) Also during this period, Capp was working at night on samples for the strip that eventually became Li'l Abner.He based his cast of characters on the authentic mountain-dwellers he met while hitchhiking through rural West Virginia and the Cumberland Valley as a teenager. (This was years before the Tennessee Valley Authority Act brought basic utilities such as electricity and running water to the region.) Leaving Joe Palooka, <mask> sold Li'l Abner to United Feature Syndicate (later known as United Media). The feature was launched on Monday, August 13, 1934, in eight North American newspapers—including the New York

masks: Capp Capp Capp


title: Al Capp

texts:
 Mirror—and was an immediate success. <mask>. Caplin eventually became "<mask>" because the syndicate felt the original would not fit in a cartoon frame. <mask> had his name changed legally in 1949. His younger brother, Elliot Caplin, also became a comic strip writer, best known for co-creating the soap opera strip The Heart of Juliet Jones with artist Stan Drake and conceiving the comic strip character Broom-Hilda with cartoonist Russell Myers.Elliot also authored several off-Broadway plays, including A Nickel for Picasso (1981), which was based on and dedicated to his mother and his famous brother. Li'l Abner

What began as a hillbilly burlesque soon evolved into one of the most imaginative, popular, and well-drawn strips of the twentieth century. Featuring vividly outlandish characters, bizarre situations, and equal parts suspense, slapstick, irony, satire, black humor, and biting social commentary, Li'l Abner is considered a classic of the genre. The comic strip stars Li'l Abner Yokum—the simple-minded, loutish but good-natured, and eternally innocent hayseed who lives with his parents—scrawny but superhuman Mammy Yokum, and shiftless, childlike Pappy Yokum. "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. That was a fortunate coincidence, of course, that the name should

masks:
Alfred G
Al Capp
Capp


title: Al Capp

texts: pack a backwoods connotation. But it's a godly conceit, really, playing off a godly name—Joachim means 'God's determination', something like that—that also happens to have a rustic ring to it."The Yokums live in the backwater hamlet of Dogpatch, Kentucky. Described by its creator as "an average stone-age community", Dogpatch mostly consists of hopelessly ramshackle log cabins, pine trees, "tarnip" fields, and "hawg" wallows. Whatever energy Abner had gone 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. This newsworthy event made the cover of Life on March 31, 1952. 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!) Scraggs, Available Jones, <mask>, Earthquake McGoon, and a host of others. Especially notable, certainly from a G.I.point of view, are the beautiful, full-figured women such as Daisy Mae, Wolf Gal, Stupefyin' Jones, and Moonbeam McSwine (a caricature of his wife Catherine, aside from the dirt), all of whom found their way onto the painted noses of bomber planes during World War II and the Korean War. Perhaps Capp's most popular creations were the Shmoos, creatures whose incredible usefulness and generous nature made them a threat to civilization as we know it. Another famous character was Joe Btfsplk, who wants to


title: Al Capp

texts: be a loving friend but is "the world's worst jinx", bringing bad luck to all those nearby. Btfsplk (his name is "pronounced" by simply blowing a "raspberry" or Bronx cheer) always has an iconic dark cloud over his head. Dogpatch residents regularly combat the likes of city slickers, business tycoons, government officials, and intellectuals with their homespun simplicity. Situations often take the characters to other destinations, including New York City, Washington, D.C., Hollywood, tropical islands, the moon, Mars, and some purely fanciful worlds of Capp's invention, including El Passionato, Kigmyland, The Republic of Crumbumbo, Skunk Hollow, The Valley of the Shmoon, Planets Pincus Number 2 and 7, and a miserable frozen wasteland known as Lower Slobbovia, a pointedly political satire of backward nations and foreign diplomacy that remains a contemporary reference. According to cultural historian Anthony Harkins: "Indeed, Li'l Abner incorporates such a panoply of characters and ideas that it defies summary.Yet though <mask>'s storylines often wandered far afield, his hillbilly setting remained a central touchstone, serving both as a microcosm and a distorting carnival mirror of broader American society." The strip's popularity grew from an original eight papers to eventually more than 900. At its peak, Li'l Abner was estimated to have been read daily in the United States by 60 to 70 million people (the U.S. population at the time was only 180 million), with adult readers far outnumbering children. Many communities, high schools, and colleges staged Sadie Hawkins dances


title: Al Capp

texts:
 patterned after the similar annual event in the strip. Li'l Abner has one odd design quirk that has puzzled readers for decades: the part in his hair always faces the viewer, no matter which direction Abner is facing. In response to the question "Which side does Abner part his hair on? ", <mask> would answer: "Both."<mask> 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 later years, <mask> always claimed to have effectively created the miniskirt, when he first put one on Daisy Mae in 1934. Parodies, toppers, and alternate strips
Li'l Abner also features a comic strip-within-the-strip: Fearless Fosdick is a parody of Chester Gould's Dick Tracy. It first appeared in 1942, and proved so popular that it ran intermittently during the next 35 years. Gould was parodied personally in the series as cartoonist "Lester Gooch"—the diminutive, much-harassed and occasionally deranged "creator" of Fosdick. The style of the Fosdick sequences closely mimicks Tracy, including the urban setting, the outrageous villains, the galloping mortality rate, the crosshatched shadows, and even the lettering style. In 1952, Fosdick was the star of his own short-lived puppet show on NBC, featuring the Mary Chase marionettes.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 as "Mary Worm", Peanuts {with "Peewee" a parody of Charlie Brown with "Croopy" parody


title: Al Capp

texts: of Snoopy" {1968} drawn by Bedley Damp a parody of Charles Schulz}, Rex Morgan, M.D., Little Annie Rooney, and Little Orphan Annie (in which Punjab became "Punjbag," an oleaginous slob). Fearless Fosdick—and Capp's other spoofs such as "Little Fanny Gooney" (1952) and "Jack Jawbreaker"—were almost certainly an early inspiration for Harvey Kurtzman's Mad Magazine, which began in 1952 as a comic book that specifically parodied other comics in the same distinctive style and subversive manner. 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. "I called him 'Hal Fascinatra.' I remember my news syndicate was so worried about what his reaction might be, and we were all surprised when he telephoned and told me how thrilled he was with it. He always made it a point to send me a spent condom whenever he happened to see me in a restaurant..." (from Frank Sinatra, My Father by Nancy Sinatra, 1985).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. <mask> was just as likely to parody himself; his self-caricature made frequent, tongue-in-cheek appearances in Li'l Abner. The gag was often at his own expense, as in the above 1951 sequence showing <mask>'s interaction with "fans" (see excerpt), or in his 1955 Disneyland parody, "Hal Yappland".

masks: Capp Capp


title: Al Capp

texts:
 Just about anything could be a target for <mask>'s satire—in one storyline Li'l Abner is revealed to be the missing link between ape and man. In another, the search is on in Dogpatch for a pair of missing socks knitted by the first president of the United States. In addition to creating Li'l Abner, <mask> 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 (a.k.a. Small Change), and Advice fo' Chillun.Critical recognition
According to comics historian Coulton Waugh, a 1947 poll of newspaper readers who claimed they ignored the comics page altogether revealed that many confessed to making a single exception: Li'l Abner. "When Li'l Abner made its debut in 1934, the vast majority of comic strips were designed chiefly to amuse or thrill their readers. Capp turned that world upside-down by routinely injecting politics and social commentary into Li'l Abner. The strip was the first to regularly introduce characters and story lines having nothing to do with the nominal stars of the strip. The technique—as invigorating as it was unorthodox—was later adopted by cartoonists such as Walt Kelly [Pogo] and Garry Trudeau [Doonesbury]", wrote comic strip historian Rick Marschall. According to Marschall, Li'l Abner gradually evolved into a broad satire of human nature. In his book America's Great Comic Strip Artists (1989), Marschall's analysis revealed a decidedly misanthropic subtext.Over the years, Li'l Abner has been


title: Al Capp

texts: adapted to radio, animated cartoons, stage production, motion pictures, and television. <mask> has been compared, at various times, to Mark Twain, Dostoevski, Jonathan Swift, Lawrence Sterne, and Rabelais. 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". John Updike, comparing Abner to a "hillbilly Candide", added that the strip's "richness of social and philosophical commentary approached the Voltairean". Charlie Chaplin, William F. Buckley, <mask>, Harpo Marx, Russ Meyer, John Kenneth Galbraith, Ralph Bakshi, Shel Silverstein, Hugh Downs, Gene Shalit, Frank Cho, Daniel Clowes, and (reportedly) even Queen Elizabeth have confessed to being fans of Li'l Abner. Li'l Abner was also the subject of the first book-length scholarly assessment of an American comic strip ever published. Li'l Abner: A Study in American Satire by Arthur Asa Berger (Twayne, 1969) contained serious analyses of <mask>'s narrative technique, his use of dialogue, self-caricature, and grotesquerie, the place of Li'l Abner in American satire, and the significance of social criticism and the graphic image."One of the few strips ever taken seriously by students of American culture," wrote Professor Berger, "Li'l Abner is worth studying ... because of Capp's imagination and artistry, and because of the strip's very obvious social relevance." It was

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Capp
Al Hirschfeld
Capp


title: Al Capp

texts:
 reprinted by the University Press of Mississippi in 1994. The 1940s and 1950s

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. Making no secret of his own disability, Capp openly joked about his prosthetic leg his whole life. In 1946, <mask> created a special full-color comic book, <mask>p by Li'l Abner, to be distributed by the Red Cross to encourage the thousands of amputee veterans returning from the war. Capp also was 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 fundraising appeals, and entertained crippled and paraplegic children in children's hospitals with inspirational pep talks, humorous stories, and sketches.In 1940, an RKO movie adaptation starred Granville Owen (later known as Jeff York) as Li'l Abner, with Buster Keaton taking the role of Lonesome Polecat, and featuring a title song with lyrics by Milton Berle. A successful musical comedy adaptation of the strip opened on Broadway at the St. James Theater on November 15, 1956, and had a long run of 693 performances, followed by a nationwide tour. The stage musical, with music and lyrics by Gene de Paul and Johnny Mercer, was adapted into a Technicolor motion picture at Paramount in 1959 by producer Norman Panama and director

masks:
Capp
Al Cap


title: Al Capp

texts: Melvin Frank, with a score by Nelson Riddle. Several performers repeated their Broadway roles in the film, most memorably Julie Newmar as Stupefyin' Jones and Stubby Kaye as Marryin' Sam. Other highlights of that decade included the 1942 debut of Fearless Fosdick as Abner's "ideel" (hero); the 1946 Lena the Hyena Contest, in which a hideous Lower Slobbovian gal was ultimately revealed in the harrowing winning entry (as judged by Frank Sinatra, Boris Karloff, and Salvador Dalí) drawn by noted cartoonist Basil Wolverton; and an ill-fated Sunday parody of Gone With the Wind that aroused anger and legal threats from author Margaret Mitchell, and led to a printed apology within the strip. In October 1947, Li'l Abner met Rockwell P. Squeezeblood, head of the abusive and corrupt Squeezeblood Comic Strip Syndicate. The resulting sequence, "Jack Jawbreaker Fights Crime!", was a devastating satire of Jerry Siegel and Joe Shuster's notorious exploitation by DC Comics over Superman. It was later reprinted in The World of Li'l Abner (1953). (Siegel and Shuster had earlier poked fun at <mask> in a Superman story in Action Comics #55, December 1942, in which a cartoonist named "<mask>" invents a comic strip featuring the hillbilly "Tiny Rufe".) In 1947, <mask> earned a Newsweek cover story. That same year the New Yorker's profile on him was so long that it ran in consecutive issues. In 1948, <mask> 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

masks:
Capp
Al Hatt
Capp
Capp


title: Al Capp

texts: was endangered. The much-copied storyline was a parable that was metaphorically interpreted in many different ways at the outset of the Cold War.Following his close friend Milton Caniff's lead (with Steve Canyon), <mask> had recently fought a successful battle with the syndicate to gain complete ownership of his feature when the Shmoos debuted. As a result, he reaped enormous financial rewards from the unexpected (and almost unprecedented) merchandising phenomenon that followed. As in the strip, Shmoos suddenly appeared to be everywhere in 1949 and 1950—including a Time cover story. A paperback collection of the original sequence, The Life and Times of the Shmoo, became a bestseller for Simon & Schuster. Shmoo dolls, clocks, watches, jewelry, earmuffs, wallpaper, fishing lures, air fresheners, soap, ice cream, balloons, ashtrays, comic books, records, sheet music, toys, games, Halloween masks, salt and pepper shakers, decals, pinbacks, tumblers, coin banks, greeting cards, planters, neckties, suspenders, belts, curtains, fountain pens, and other Shmoo paraphernalia were produced. A garment factory in Baltimore turned out a whole line of Shmoo apparel, including "Shmooveralls". The original sequence and its 1959 sequel The Return of the Shmoo have been collected in print many times since, most recently in 2011, always to high sales figures.The Shmoos later had their own animated television series. 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


title: Al Capp

texts: 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. Li'l Abner was censored for the first time, but not the last, in September 1947 and was pulled from papers by Scripps-Howard. The controversy, as reported in Time, centered on Capp's portrayal of the United States Senate. Edward Leech of Scripps said, "We don't think it is good editing or sound citizenship to picture the Senate as an assemblage of freaks and crooks ... boobs and undesirables." Capp criticized Senator Joseph McCarthy in 1954, calling him a "poet". "He uses poetic license to try to create the beautifully ordered world of good guys and bad guys that he wants," said <mask>."He seems at his best when terrifying the helpless and naïve." <mask> received the National Cartoonists Society's Billy DeBeck Memorial Award in 1947 for Cartoonist of the Year. (When the award name was changed in 1954, Capp also retroactively received a Reuben statuette.) He was an outspoken pioneer in favor of diversifying the NCS by admitting women cartoonists. Originally, the Society had disallowed female members. <mask> briefly resigned his membership in 1949 to protest their refusal of admission to Hilda Terry, creator of the comic strip Teena. According to Tom Roberts, author of <mask>: His Life and Art (2007), Capp delivered a stirring speech that was instrumental in changing those rules.The NCS finally accepted female members the following year. In December

masks:
Capp
Capp
Capp
Alex Raymond


title: Al Capp

texts:
 General Bullmoose, the robust, ruthless, and ageless business tycoon. The blustering Bullmoose, who seemed to own and control nearly everything, justified his far-reaching and mercenary excesses by saying "What's good for General Bullmoose is good for everybody!" Bullmoose's corrupt interests were often pitted against those of the pathetic Lower Slobbovians in a classic mismatch of "haves" versus "have-nots". This character, along with the Shmoos, helped cement Capp's favor with the Left, and increased their outrage a decade later when <mask>, a former Franklin D. Roosevelt liberal, switched targets. Nonetheless, General Bullmoose continued to appear, undaunted and unredeemed, during the strip's final right-wing phase and into the 1970s. Feud with Ham Fisher
After <mask> 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 <mask> had "stolen" his idea.For years, Fisher brought the characters back to his strip, billing them as "The ORIGINAL Hillbilly Characters" and advising readers not to be "fooled by imitations". (In fact, Fisher's brutish hillbilly character—Big Leviticus, created by <mask> in Fisher's absence—bore little resemblance to Li'l Abner.) According to a November 1950 Time article, "<mask> 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." "Fisher repeatedly brought Leviticus

masks: Capp Capp Capp Capp Capp


title: Al Capp

texts: and his clan back, claiming their primacy as comics' first hillbilly family — but he was missing the point. It wasn't the setting that made Capp's strip such a huge success. It was <mask>'s finely tuned sense of the absurd, his ability to milk an outrageous situation for every laugh in it and then, impossibly, to squeeze even more laughs from it, that found such favor with the public," (from Don Markstein's Toonopedia).The <mask>-Fisher feud was well known in cartooning circles, and it grew more personal as <mask>'s strip eclipsed Joe Palooka in popularity. Fisher hired away <mask>'s top assistant, Moe Leff. After Fisher underwent plastic surgery, Capp included a racehorse in Li'l Abner named "Ham's Nose-Bob". 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). Instead of using Vermin's tired characters, Abner inventively peopled the strip with hillbillies. A bighearted Vermin told his slaving assistant: "I'm proud of having created these characters!! They'll make millions for me!!And if they do — I'll get you a new light bulb!!" Traveling in the same social circles, the two men engaged in a 20-year mutual vendetta, as described by the New York Daily News in 1998: "They crossed paths often, in the midtown watering holes and at National Cartoonists Society banquets, and the city's gossip columns were full of their snarling public donnybrooks." In 1950,

masks: Capp Capp Capp Capp


title: Al Capp

texts: <mask> wrote a nasty article for The Atlantic, entitled "I Remember Monster". The article recounted <mask>'s days working for an unnamed "benefactor" with a miserly, swinish personality, who <mask> claimed was a never-ending source of inspiration when it came time to create a new unregenerate villain for his comic strip. The thinly-veiled boss was understood to be Ham Fisher. Fisher retaliated, doctoring photostats of Li'l Abner and falsely accusing Capp of sneaking obscenities into his comic strip. Fisher submitted examples of Li'l Abner to Capp's syndicate and to the New York courts, in which Fisher had identified pornographic images that were hidden in the background art.However, the X-rated material had been drawn there by Fisher. <mask> was able to refute the accusation by simply showing the original artwork. In 1954, when <mask> was applying for a Boston television license, the Federal Communications Commission (FCC) received an anonymous packet of pornographic Li'l Abner drawings. The National Cartoonists Society (NCS) convened an ethics hearing, and Fisher was expelled for the forgery from the same organization that he had helped found; Fisher's scheme had backfired in spectacular fashion. Around the same time, his mansion in Wisconsin was destroyed by a storm. On December 27, 1955, Fisher committed suicide in his studio. The feud and Fisher's suicide were used as the basis for a lurid, highly fictionalized murder mystery, Strip for Murder by <mask> Collins.Another "feud" seemed to be looming when, in one run of Sunday strips in 1957, <mask> lampooned the comic strip

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Capp
Capp
Capp
Capp
Max Allan
Capp


title: Al Capp

texts:
 Mary Worth as "Mary Worm". The title character was depicted as a nosy, interfering busybody. <mask>, 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). Later, the "feud" was revealed to be a collaborative hoax that <mask> and his longtime pal Saunders had cooked up together. The <mask>-Saunders "feud" fooled both editors and readers, generated plenty of free publicity for both strips—and <mask> and Saunders had a good laugh when all was revealed. Personality
<mask> is often associated with two other giants of the medium: Milton Caniff (Terry and the Pirates, Steve Canyon) and Walt Kelly (Pogo). The three cartoonists were close personal friends and professional associates throughout their adult lives, and occasionally, referenced each other in their strips.According to one anecdote (from <mask>p Remembered, 1994), <mask> 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. Kelly retaliated by giving away Capp's baby grand piano. 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!" (Beetle Bailey creator Mort Walker confirmed the story, relating a slightly expanded version in his autobiography, Mort Walker's Private Scrapbook,

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Allen Saunders
Capp
Capp
Capp
Capp
Al Cap
Capp


title: Al Capp

texts:
 2001.) Milton Caniff offered another anecdote (from Phi Beta Pogo, 1989) involving <mask> and Walt Kelly, "two boys from Bridgeport, Connecticut, nose to nose," onstage at a meeting of the Newspaper Comics Council in the sixties. "Walt would say to <mask>, 'Of course, <mask>, this is really how you should draw Daisy Mae, I'm only showing you this for your own good.'Then Walt would do a sketch. <mask>, of course, got ticked off by this, as you can imagine! So he retaliated by doing his version of Pogo. Unfortunately, the drawings are long gone; no recording was made. What a shame! Nobody anticipated there'd be this dueling back and forth between the two of them ..."

Although he was often considered a difficult person, some acquaintances of Capp have stressed that the cartoonist also had a sensitive side. In 1973, upon learning that 12-year-old Ted Kennedy Jr., the son of his political rival Ted Kennedy Sr., had his right leg amputated, Capp wrote the boy an encouraging letter that gave candid advice about dealing with the loss of a limb, which Capp himself had experienced as a boy.One of Capp's grandchildren recalls that at one point, tears were streaming down the cartoonist's cheeks while he was watching a documentary about the Jonestown massacre. Also, it is reported that Capp gave money anonymously to charities and "people in need" at various points in his life. Sexual misconduct claims
In her autobiography, American actress Goldie Hawn stated that Capp sexually propositioned her on a casting couch and exposed himself to her when she was 19 years old. When she refused his

masks: Capp Al Al Capp


title: Al Capp

texts:
 advances, Capp became angry and told her that she was "never gonna make anything in your life" and that she should "go and marry a Jewish dentist. You'll never get anywhere in this business." Two biographies, one about Goldie Hawn and the other about Grace Kelly, describe Capp as trying to force Kelly into having sex with him, and he later tried to do the same with Hawn. In 1971, investigative journalist Jack Anderson wrote that <mask> had exposed his genitals to four female students at the University of Alabama.In 1972, after an incident at the University of Wisconsin–Eau Claire, Capp was arrested. He pleaded guilty to a charge of attempted adultery, while charges of indecent exposure and sodomy were dropped. He was fined US$500 (). In 2019, Jean Kilbourne was inspired by the MeToo movement to publish in Hogan’s Alley her own experience of being groped and sexually solicited by <mask> while doing freelance writing and research work for him in contemplation of a permanent job in 1967. Production methods
Like many cartoonists, Capp made extensive use of assistants (notably Andy Amato, Harvey Curtis, Walter Johnson, and Frank Frazetta). During the extended peak of the strip, the workload grew to include advertising, merchandising, promotional work, public service comics, and other specialty work—in addition to the regular six dailies and one Sunday strip per week. From the early 1940s to the late 1950s, there were scores of Sunday strip-style magazine ads for Cream of Wheat using the Abner characters, and in the 1950s, Fearless Fosdick became a spokesman for Wildroot Cream-Oil

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texts: hair tonic in a series of daily strip-style print ads.The characters also sold chainsaws, underwear, ties, detergent, candy, soft drinks—including a licensed version of <mask>'s moonshine creation, Kickapoo Joy Juice—and General Electric and Procter & Gamble products, all requiring special artwork. No matter how much help he had, Capp insisted on his drawing and inking the characters' faces and hands—especially of Abner and Daisy Mae—and his distinctive touch is often discernible. "He had the touch," Frazetta said of Capp in 2008. "He knew how to take an otherwise ordinary drawing and really make it pop. I'll never knock his talent." 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. A 1950 cover story in Time even included photographs of two of his employees, whose roles in the production were detailed by Capp.Ironically, this highly irregular policy (along with the subsequent fame of Frank Frazetta) has led to the misconception that his strip was "ghosted" by other hands. The production of Li'l Abner has been well documented, however. In point of fact, Capp maintained creative control over every stage of production for virtually the entire run of the strip. <mask> originated the stories, wrote the dialogue, designed the major characters, rough penciled the preliminary staging and action of each panel, oversaw the finished pencils, and drew and inked the hands and faces of the


title: Al Capp

texts:
 characters. Frazetta authority David Winiewicz described the everyday working mode of operation in Li'l Abner Dailies: 1954 Volume 20 (Kitchen Sink, 1994):

There was also a separate line of comic book titles published by the Caplin family-owned Toby Press, including Shmoo Comics featuring Washable Jones. Cartoonist Mell Lazarus, creator of Miss Peach and Momma, wrote a comic novel in 1963 entitled The Boss Is Crazy, Too which was partly inspired by his apprenticeship days working with <mask> and his brother Elliot at Toby. In a seminar at the Charles Schulz Museum on November 8, 2008, Lazarus called his experience at Toby "the five funniest years of my life".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. <mask> detailed his approach to writing and drawing the stories in an instructional course book for the Famous Artists School, beginning in 1956. In 1959, <mask> 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". Frazetta, later famous as a fantasy artist, assisted on the strip from 1954 to December 1961. Fascinated by Frazetta's abilities, <mask> 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). After editors complained about the stylistic changes, the strip's previous look was


title: Al Capp

texts:
 restored. During most of his tenure with <mask>, Frazetta's primary responsibility—along with various specialty art, such as a series of Li'l Abner greeting cards—was tight-penciling the Sunday pages from studio roughs.This work was collected by Dark Horse Comics in a four-volume hardcover series entitled <mask>'s Li'l Abner: The Frazetta Years. In 1961, <mask>, complaining of declining revenue, wanted to have Frazetta continue with a 50% pay cut. "[<mask>] said he would cut the salary in half. Goodbye. That was that. I said goodbye," (from Frazetta: Painting with Fire). However, Frazetta returned briefly a few years later to draw a public service comic book called Li'l Abner and the Creatures from Drop-Outer Space, distributed by the Job Corps in 1965.Public service works
Capp provided specialty artwork for civic groups, government agencies, and charitable or nonprofit organizations, spanning several decades. The following titles are all single-issue, educational comic books and pamphlets produced for various public services:

<mask> by Li'l Abner— Public service giveaway issued by the Red Cross (1946)
Yo' Bets Yo' Life!— Public service giveaway issued by the U.S. Army (circa 1950)
Li'l Abner Joins the Navy— Public service giveaway issued by the Dept. of the Navy (1950)
Fearless Fosdick and the Case of the Red Feather— Public service giveaway issued by Red Feather Services, a forerunner of United Way (1951)
The Youth You Supervise— Public service giveaway issued by the U.S. Department of Labor (1956)
Mammy Yokum and the Great Dogpatch Mystery!— Public service giveaway issued

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texts:
 by the Anti-Defamation League of B'nai B'rith (1956)
Operation: Survival!— Public service giveaway issued by the Dept. of Civil Defense (1957)
Natural Disasters!— Public service giveaway issued by the Department of Civil Defense (1957)
Martin Luther King and the Montgomery Story— Public service giveaway issued by The Fellowship of Reconciliation (1958)
Li'l Abner and the Creatures from Drop-Outer Space— Public service giveaway issued by the Job Corps (1965)

In addition, Dogpatch characters were used in national campaigns for the U.S. Treasury, the Cancer Foundation, the March of Dimes, the National Heart Fund, the Sister Kenny Foundation, the Boy Scouts of America, Community Chest, the National Reading Council, Minnesota Tuberculosis and Health Association, Christmas Seals, the National Amputation Foundation, and Disabled American Veterans, among others. Public figure
In the Golden Age of the American comic strip, successful cartoonists received a great deal of attention; their professional and private lives were reported in the press, and their celebrity was often nearly sufficient to rival their creations. As Li'l Abner reached its peak years, and following the success of the Shmoos and other high moments in his work, <mask> Capp achieved a public profile that is still unparalleled in his profession, and arguably exceeded the fame of his strip. "Capp was the best known, most influential and most controversial cartoonist of his era," writes publisher (and leading Shmoo collector) Denis Kitchen."His personal celebrity transcended comics, reaching the public and influencing


title: Al Capp

texts: the culture in a variety of media. For many years he simultaneously produced the daily strip, a weekly syndicated newspaper column, and a 500-station radio program..." He ran the Boston Summer Theatre with The Phantom cartoonist Lee Falk, bringing in Hollywood actors such as Mae West, Melvyn Douglas, and Claude Rains to star in their live productions. He even briefly considered running for a Massachusetts Senate seat. Vice President Spiro Agnew urged Capp to run in the Democratic Party Massachusetts primary in 1970 against Ted Kennedy, but <mask> ultimately declined. (He did, however, donate his services as a speaker at a $100-a-plate fundraiser for Republican Congressman Jack Kemp.) Besides his use of the comic strip to voice his opinions and display his humor, <mask> was a popular guest speaker at universities, and on radio and television. He remains the only cartoonist to be embraced by television; no other comic artist to date has come close to Capp's televised exposure.<mask> appeared as a regular on The Author Meets the Critics (1948–'54) and made regular, weekly appearances on Today in 1953. He was also a periodic panelist on ABC and NBC's Who Said That? (1948–'55), and co-hosted DuMont's What's the Story? (1953). Between 1952 and 1972, he hosted at least five television shows–three different talk shows called The <mask> Show (1952 and 1968) and <mask> (1971–'72), <mask>'s America (a live "chalk talk," with <mask> providing a barbed commentary while sketching cartoons, 1954), and a CBS game show called Anyone Can Win (1953). He also hosted similar vehicles on the

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texts: radio—and was a familiar celebrity guest on various other broadcast programs, including NBC Radio's long-running Monitor with its famous Monitor Beacon audio signature, as a commentator dubbed "An expert of nothing with opinions on everything." His frequent appearances on NBC's The Tonight Show spanned three emcees (<mask>, Jack Paar, and Johnny Carson), from the 1950s to the 1970s.One memorable story, as recounted to Johnny Carson, was about his meeting with then-President Dwight D. Eisenhower. As <mask> was ushered into the Oval Office, his prosthetic leg suddenly collapsed into a pile of disengaged parts and hinges on the floor. 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!" (<mask> also spoofed Carson in his strip, in a 1970 episode called "The Tommy Wholesome Show".) <mask> portrayed himself in a cameo role in the Bob Hope film That Certain Feeling, for which he also provided promotional art. He was interviewed live on Person to Person on November 27, 1959, by host Charles Collingwood. He also appeared as himself on The Ed Sullivan Show, Sid Caesar's Your Show of Shows, The Red Skelton Show, The Merv Griffin Show, The Mike Douglas Show, and guested on Ralph Edwards' This Is Your Life on February 12, 1961, with honoree Peter Palmer.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. Capp was

masks:
Steve Allen
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title: Al Capp

texts: impersonated by comedians Rich Little and David Frye. Although Capp's endorsement activities never rivaled Li'l Abner's or Fearless Fosdick's, he was a celebrity spokesman in print ads for Sheaffer Snorkel fountain pens (along with colleagues and close friends Milton Caniff and Walt Kelly), and—with an irony that became apparent later—a brand of cigarettes (Chesterfield). Capp resumed visiting war amputees during the Korean War and Vietnam War. He toured Vietnam with the USO, entertaining troops along with Art Buchwald and George Plimpton. He served as chairman of the Cartoonists' Committee in President Dwight D. Eisenhower's People-to-People program in 1954 (although Capp had 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 <mask>, requesting inflatable shmoos as part of "Operation: Little Vittles". Candy-filled shmoos were air-dropped to hungry West Berliners by America's 17th Military Airport Squadron during the humanitarian effort. "When the candy-chocked shmoos were dropped, a near-riot resulted," (reported in Newsweek—October 11, 1948). In addition to his public service work for charitable organizations for the handicapped, <mask> also served on the National Reading Council, which was organized to combat illiteracy. He published a column


title: Al Capp

texts: ("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. I pointed out that a kid could enjoy Sesame Street without learning how to read, but he couldn't enjoy comic strips unless he could read; and that a smaller investment in getting kids to read by supplying them with educational matter in such reading form might make better sense." <mask>'s academic interests included being one of nineteen original "Trustees and Advisors" for "Endicott, Junior College for Young Woman", located in Pride's Crossing (Beverly), Massachusetts, which was founded in 1939.<mask> is listed in the 1942 Mingotide Yearbook, representing the first graduating class from Endicott Junior College. The yearbook entry includes his credential as a "Cartoonist for United Feature Syndicate" and a resident of New York City. "Comics," wrote Capp in 1970, "can be a combination of the highest quality of art and text, and many of them are." Capp produced many giveaway educational comic books and public services pamphlets, spanning several decades, for the Red Cross, the Department of Civil Defense, the Department of the Navy, the U.S. Army, the Anti-Defamation League, the Department of Labor, Community Chest (a forerunner of United Way), and the Job Corps. Capp's studio provided special artwork for various civic groups and nonprofit organizations as well. Dogpatch characters were used in national campaigns for the Cancer Foundation, the March of Dimes, the National Heart Fund, the


title: Al Capp

texts:
 Boy Scouts of America, Minnesota Tuberculosis and Health Association, the National Amputation Foundation, and Disabled American Veterans, among others. They were also used to help sell Christmas Seals.In the early 1960s, <mask> regularly wrote a column entitled <mask>'s Column for the newspaper The Schenectady Gazette (currently The Daily Gazette). He was the Playboy interview subject in December 1965, in a conversation conducted by <mask>. In August 1967, <mask> was the narrator and host of an ABC network special called Do Blondes Have More Fun? In 1970, he was the subject of a provocative NBC documentary called This Is <mask>. The 1960s and 1970s
<mask> and his family lived in Cambridge, Massachusetts, near Harvard during the entire Vietnam War protest era. The turmoil that Americans were watching on their television sets was happening live—right in his own neighborhood. Campus radicals and "hippies" inevitably became one of Capp's favorite targets in the sixties.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"). The sequence implicitly labeled Baez a limousine liberal, a charge she took to heart, as detailed years later in her 1987 autobiography, And A Voice To Sing With: A Memoir. Another target was Senator Ted Kennedy, parodied as "Senator O. Noble McGesture", resident of "Hyideelsport". The

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Alvin Toffler
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texts: town name is a play on Hyannisport, Massachusetts, where a number of the Kennedy clan have lived. Capp became a popular public speaker on college campuses, where he reportedly relished hecklers. He attacked militant antiwar demonstrators, both in his personal appearances and in his strip. He also satirized student political groups.The Youth International Party (YIP) and Students for a Democratic Society (SDS) emerged in Li'l Abner as "Students Wildly Indignant about Nearly Everything!" (SWINE). 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. The remaining 96% detest them as heartily as I do." <mask>'s increasingly controversial remarks at his campus speeches and during television appearances cost him his semi-regular spot on the Tonight Show. His contentious public persona during this period was captured on a late sixties comedy LP called <mask> On Campus. 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 "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 [30, 40, 50—all crossed out] the Hill!! ", and "If You Like Crap, You'll Like Capp!"


title: Al Capp

texts: Highlights of the strip's final decades include "Boomchik" (1961), in which America's international prestige is saved by Mammy Yokum, "Daisy Mae Steps Out" (1966), a female-empowering tale of Daisy's brazenly audacious "homewrecker gland", "The Lips of Marcia Perkins" (1967), a satirical, thinly-veiled commentary on venereal disease and public health warnings, "Ignoble Savages" (1968), in which the Mob takes over Harvard, and "Corporal Crock" (1973), in which Bullmoose reveals his reactionary cartoon role model, in a tale of obsession and the fanatical world of comic book collecting. The cartoonist visited John Lennon and Yoko Ono at their 1969 Bed-In for Peace in Montreal, and their testy exchange later appeared in the documentary film Imagine: John Lennon (1988). Introducing himself with the words "I'm a dreadful Neanderthal fascist. How do you do? ", <mask> sardonically congratulated Lennon and Ono on their Two Virgins nude album cover: "I think that everybody owes it to the world to prove they have pubic hair.You've done it, and I tell you that I applaud you for it." Following this exchange, Capp insulted Ono ("Good God, you've gotta live with that? "), and was asked to "get out" by Lennon publicist Derek Taylor. Lennon allowed him to stay, however, but the conversation had soured considerably. On <mask>'s exit, Lennon sang an impromptu version of his song "The Ballad of John and Yoko" with a slightly revised, but nonetheless prophetic lyric: "Christ, you know it ain't easy / You know how hard it can be / The way things are goin' / They're gonna crucify Capp! " Despite his


title: Al Capp

texts: political conservatism in the last decade of his life, Capp is reported to have been liberal in some particular causes; he supported gay rights, and did not tolerate any attempts at homophobic jokes. He is also said to have supported Martin Luther King Jr. and the fight for racial equality in American society, although he was very sceptical of the tactics of the Black Panthers and Malcolm X.In 1968, a theme park called Dogpatch USA opened at Marble Falls, Arkansas, based on <mask>'s work and with his support. The park was a popular attraction during the 1970s, but was abandoned in 1993 due to financial difficulties. By 2005, the area once devoted to a live-action facsimile of Dogpatch (including a lifesize statue in the town square of Dogpatch "founder" General Jubilation T. Cornpone) had been heavily stripped by vandals and souvenir hunters, and was slowly being reclaimed by the surrounding Arkansas wilderness. On April 22, 1971, syndicated columnist Jack Anderson reported allegations that in February 1968 <mask> had made indecent advances to four female students when he was invited to speak at the University of Alabama. Anderson and an associate 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. The following month, <mask> was charged in Eau Claire, Wisconsin, in connection with another alleged incident following his April 1 lecture at the University of Wisconsin-Eau Claire. <mask> was accused of propositioning a married woman in his hotel room.Although no sexual act was


title: Al Capp

texts: alleged to have resulted, the original charge included "sodomy". As part of a plea agreement, <mask> pleaded guilty to the charge of "attempted adultery" (adultery was a felony in Wisconsin) and the other charges were dropped. <mask> was fined $500 and court costs. In a December 1992 article for The New Yorker, Seymour Hersh reported that President Richard Nixon and Charles Colson had repeatedly discussed the <mask> case in Oval Office recordings that had recently been made available by the National Archives. Nixon and <mask> were on friendly terms, Hersh wrote, and Nixon and Colson had worked to find a way for <mask> to run against Ted Kennedy for the U.S. Senate. "Nixon was worried about the allegations, fearing that <mask>'s very close links to the White House would become embarrassingly public", Hersh wrote. "The White House tapes and documents show that he and Colson discussed the issue repeatedly, and that Colson eventually reassured the president by saying that he had, in essence, fixed the case.Specifically, the president was told that one of Colson's people had gone to Wisconsin and tried to talk to the prosecutors." Colson's efforts failed, however. The Eau Claire district attorney, a Republican, refused to dismiss the attempted adultery charge. In passing sentence in February 1972, the judge rejected the D.A. 's motion that <mask> agree to undergo psychiatric treatment. The resulting publicity led to hundreds of papers dropping his comic strip, and <mask>, already in failing health, withdrew from public speaking. Celebrity biographer James Spada has claimed that

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texts: similar allegations were made by actress Grace Kelly.However, no firsthand allegation has ever surfaced. "From beginning to end, <mask> was acid-tongued toward the targets of his wit, intolerant of hypocrisy, and always wickedly funny. After about 40 years, however, <mask>'s interest in Abner waned, and this showed in the strip itself," according to Don Markstein's Toonopedia. On November 13, 1977, <mask> retired with an apology to his fans for the recently declining quality of the strip, which he said had been the best he could manage due to declining health. "If you have any sense of humor about your strip—and I had a sense of humor about mine—you knew that for three or four years Abner was wrong. Oh hell, it's like a fighter retiring. I stayed on longer than I should have," he admitted, adding that he couldn't breathe anymore."When he retired Li'l Abner, newspapers ran expansive articles and television commentators talked about the passing of an era. People magazine ran a substantial feature, and even the comics-free New York Times devoted nearly a full page to the event", wrote publisher Denis Kitchen. Capp's final years were marked by advancing illness and by family tragedy. In October 1977, one of his two daughters died; a few weeks later, a beloved granddaughter was killed in a car accident. A lifelong chain smoker, Capp died in 1979 from emphysema at his home in South Hampton, New Hampshire. Capp is buried in Mount Prospect Cemetery in Amesbury, Massachusetts. Engraved on his headstone is a stanza from Thomas Gray: The plowman homeward plods his weary way / And leaves

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texts:
 the world to darkness and to me (from Elegy Written in a Country Churchyard, 1751).Legacy
"Neither the strip's shifting political leanings nor the slide of its final few years had any bearing on its status as a classic; and in 1995, it was recognized as such by the U.S. Postal Service", according to Toonopedia. Li'l Abner was one of 20 American comic strips included in the Comic Strip Classics series of USPS commemorative stamps. <mask>, an inductee into the National Cartoon Museum (formerly the International Museum of Cartoon Art), is one of only 31 artists selected to their Hall of Fame. <mask> was also inducted into the Will Eisner Award Hall of Fame in 2004. Sadie Hawkins Day and double whammy are two terms attributed to <mask> that have entered the English language. Other, less ubiquitous Cappisms include skunk works and Lower Slobbovia.The term shmoo also has entered the lexicon, defining highly technical concepts in no fewer than four separate fields of science, including the variations shmooing (a microbiological term for the "budding" process in yeast reproduction), and shmoo plot (a technical term in the field of electrical engineering). In socioeconomics, a "shmoo" refers to any generic kind of good that reproduces itself, (as opposed to "widgets" which require resources and active production). In the field of particle physics, "shmoo" refers to a high energy survey instrument, as used at the Los Alamos National Laboratory to capture subatomic cosmic ray particles emitted from the Cygnus X-3 constellation. Capp also had a knack for popularizing certain uncommon

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texts: terms, such as druthers, schmooze, and nogoodnik, neatnik, etc. In his book The American Language, H.L. Mencken credits the postwar mania for adding "-nik" to the ends of adjectives to create nouns as beginning—not with beatnik or Sputnik—but earlier, in the pages of Li'l Abner. <mask>'s life and career are the subjects of a new life-sized mural commemorating the 100th anniversary of his birth.Created by resident artist Jon P. Mooers, the mural was unveiled in downtown Amesbury on May 15, 2010. According to the Boston Globe (as reported on May 18, 2010), the town has renamed its amphitheater in the artist's honor, and is looking to develop an Al Capp Museum. <mask> is also the subject of an upcoming WNET-TV American Masters documentary, The Life and Times of <mask>, produced by his granddaughter, independent filmmaker Caitlin Manning. Since his death in 1979, <mask> and his work have been the subject of more than 40 books, including three biographies. Underground cartoonist and Li'l Abner expert Denis Kitchen has published, co-published, edited, or otherwise served as consultant on nearly all of them. Kitchen is currently compiling a biographical monograph on <mask>. At the San Diego Comic Con in July 2009, IDW announced the upcoming publication of <mask>'s Li'l Abner: The Complete Dailies and Color Sundays as part of their ongoing The Library of American Comics series.The comprehensive series, a reprinting of the entire 43-year history of Li'l Abner, spanning a projected 20 volumes, began on April 7, 2010. <mask>, <mask>, Real Magazine (December 1952) "The REAL Powers in

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texts:
 America"
<mask>, <mask>, The World of Li'l Abner (1953) Farrar, Straus & Young
Leifer, Fred, The Li'l Abner Official Square Dance Handbook (1953) A.S. Barnes
Mikes, George, Eight Humorists (1954) <mask>, Tom, The Tom Lehrer Song Book, introduction by <mask> (1954) Crown Publishers
<mask>, <mask>, <mask>'s Fearless Fosdick: His Life and Deaths (1956) Simon & Schuster
<mask>, <mask>, <mask>'s Bald Iggle: The Life it Ruins May Be Your Own (1956) Simon & Schuster
Capp, <mask>, et al. Famous Artists Cartoon Course — 3 volumes (1956) Famous Artists School
Capp, <mask>, Life Magazine (January 14, 1957) "The Dogpatch Saga: <mask>'s Own Story"
Brodbeck, Arthur J, et al. "How to Read Li'l Abner Intelligently" from Mass Culture: Popular Arts in America, pp. 218–224 (1957) Free Press
Capp, <mask>, The Return of the Shmoo (1959) Simon & Schuster
Hart, Johnny, Back to B.C., introduction by <mask> (1961) Fawcett Publications
Lazarus, Mell, Miss Peach, introduction by <mask> (1962) Pyramid Books
Gross, Milt, He Done Her Wrong, introduction by <mask> (1963 Ed.) Dell Books
White, David Manning, and Robert H. Abel, eds. The Funnies: An American Idiom (1963) Free Press
White, David Manning, ed.From Dogpatch to Slobbovia: The (Gasp!) World of Li'l Abner (1964) Beacon Press
<mask>, <mask>, Life International Magazine (June 14, 1965) "My Life as an Immortal Myth"
Toffler, <mask>, Playboy Magazine (December 1965) interview with <mask>, pp. 89–100
Moger, Art, et al. Chutzpah Is, introduction by <mask> (1966) Colony Publishers
Berger, Arthur Asa, Li'l Abner: A Study in American Satire (1969) Twayne

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Allen Wingatehrer
Al Capp
Capp
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Al
Al
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Alvin
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title: Al Capp

texts:
 Publishers, (1994) Univ. Press of Mississippi
Sugar, Andy, Saga Magazine (December 1969) "On the Campus Firing Line with <mask>"
Gray, Harold, Arf! The Life and Hard Times of Little Orphan Annie, introduction by <mask> (1970) Arlington House
Moger, Art, Some of My Best Friends are People, introduction by <mask> (1970) Directors Press
<mask>, <mask>, The Hardhat's Bedtime Story Book (1971) Harper & Row
Robinson, Jerry, The Comics: An Illustrated History of Comic Strip Art (1974) G.P. Putnam's Sons
Horn, Maurice, The World Encyclopedia of Comics (1976) Chelsea House, (1982) Avon
Blackbeard, Bill, ed.The Smithsonian Collection of Newspaper Comics (1977) Smithsonian Inst. Press/Harry Abrams
Marschall, Rick, Cartoonist PROfiles No. 37 (March 1978) interview with <mask>
Capp, Al, The Best of Li'l Abner (1978) Holt, Rinehart & Winston
Lardner, Ring, You Know Me Al: The Comic Strip Adventures of Jack Keefe, introduction by <mask> (1979) Harcourt Brace Jovanovich
Van Buren, Raeburn, Abbie an' Slats — 2 volumes (1983) Ken Pierce Books
Capp, <mask>, Li'l Abner: Reuben Award Winner Series Book 1 (1985) Blackthorne
Marschall, Rick, Nemo, the Classic Comics Library No. 18, pp. 3–32 (April 1986)
Capp, <mask>, Li'l Abner Dailies — 27 volumes (1988–1999) Kitchen Sink Press
Marschall, Rick, America's Great Comic Strip Artists (1989) Abbeville Press
Capp, Al, Fearless Fosdick (1990) Kitchen Sink
Capp, <mask>, My Well-Balanced Life on a Wooden Leg (1991) John Daniel & Co.
Capp, Al, Fearless Fosdick: The Hole Story (1992) Kitchen Sink
Goldstein, Kalman, "<mask> and Walt Kelly: Pioneers of

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Al Capp
Al Capp
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