Chuck Dixon Bemoans the Liberal Blacklist. And Tony Isabella.

Chuck Dixon

The writer Chuck Dixon, well known for his gritty comic book work, and someone I happen to like quite a lot, recently teamed up with writer Paul Rivoche for a Wall Street Journal piece entitled “How Liberalism Became Kryptonite for Superman: A graphic tale of modern comic books’ descent into moral relativism.” Among other things, their piece decries the treatment of conservative comics creators—a breed at least as endangered these days as Sumatran Tigers.

Is their outcry an attempt to get right-wing readers to purchase their recent adaptation of Amity Shlaes’ The Forgotten Man? Sure. Why not? And if that’s the case, is their argument any less valid?

Tony Isabella thinks so.

“Chuck Dixon is being willfully dishonest in his attempt to plug his new book,” writes Isabella in a post entitled “Dishonest Dixon” over at Harlan Ellison’s website.

As people have pointed out elsewhere, there are a lot of reasons why comics’ writers (and artists) find themselves without work or as much work as they'd like or the kind of work they'd like.

If there were an overwhelming anti-conservative bias in comics, Bill Willingham and Ethan Van Scriver would not be two of the most sought-after creators in comics...and Dixon's liberal counterparts like myself and Mike W. Barr would have more work than they could handle.

A significant portion of Dixon's work on DC and Marvel heroes violates the very morality whose lack he decries in his whiny little essay. I don't put much stock in his claims. But, then, facts do have a well-known liberal bias.

For those of you unfamiliar with their accomplishments, Chuck Dixon was among the better Batman writers of the last quarter century (see his work on Detective Comics). Chuck and artist Graham Nolan co-created the villain Bane, too, while his Marvel work included long, impressive runs on The Punisher and Savage Sword of Conan.

Tony Isabella

Tony Isabella was an editor and writer at Marvel whose work in the 1970s included Ghost Rider, Captain America and Daredevil. He left Marvel to join DC in 1977 where he created and scripted Black Lightning and has generously contributed on more than one occasion to projects I’ve been involved in. And his frothing hatred of Republicans—at least as far as anyone perusing his daily Facebook posts would surmise—appears as limitless as Galactus’s hunger.

“Was Tony ever told he should not send in pitches because of his political beliefs?” Chuck responded in an email to me. “Were editors ever threatened with termination for putting his name on a proposal? Was he ever denied work because he refused to apologize to an editor over a political disagreement?

“My experience is my experience,” Chuck continues. “I cannot explain why Bill [Willingham] and Ethan [Van Scriver] continue to get work. I only know why I was denied work.”

Aardwolf Publishing to release Dave Cockrum's Final FUTURIANS

Contributed art from Ray Lago

Dave Cockrum’s final, never-before-seen FUTURIANS story has everything you loved about Dave’s X-Men work—and more. But Aardwolf Publishing wasn’t satisfied just assembling a sensational graphic novel scripted and penciled by Cockrum, and inked by his X-Men collaborator Bob Wiacek—we also recruited the industry’s royalty to create pin-ups, write-ups, and signed and remarqued bookplates: Neal Adams, Neil Gaiman, Jim Lee, Ray Lago, Ricardo Vilagran, Adam Kubert, Andy Kubert, Bill Sienkiewicz, Walt Simonson, Mark Wheatley, Mark McKenna, and Mike “Bru-Hed” Pascale are just some of the sensational team adding many delicious extras to this project, which also sees the professional return of Paty Cockrum (Amazing Spider-Man, Claws of the Cat) on colors.

Pre-order the hard copy graphic novel now and receive the expanded digital version FREE. You will also have exclusive opportunities to purchase inexpensive original art and signed bookplates from our all-star team--as well as Dave's personal items (his pen, his sword, his personal file copy of X-Men #94).

U.S. Price for THE FUTURIANS RETURN is $25.00 (customers outside of the U.S. will be billed for additional shipping). You can even ask Aardwolf to reserve the book for just $10.00. Are we good guys or what?

To participate in this special pre-Kickstarter offer, PayPal your reserve money to sales@aardwolfpublishing.com and note “Futurians Reserve.”

Harlan Ellison At 80 Is...

…still the guy I turn to in a pinch, still the finest writer many of you have never read because of the evanescent nature of popular culture (so hop to it!), and still the finest writer *I* have ever read after a half century of plodding about on this planet reading everything.

…the man who said, "The chief commodity a writer has to sell is his courage. And if he has none, he is more than a coward. He is a sell-out and a fink and a heretic, because writing is a holy chore."

...a singular force of nature, the consummate bar raiser, Kryptonite to the forces of Bullshit, and my friend.

All love and respect on your 80th birthday, sensei.

Cliff

Dillashaw Beats Barao Like a Rented Mule

T.J. Dillashaw plants Renan Barao

T.J. Dillashaw delivered the single most impressive win I've ever seen last nighty as he overcame ridiculous Vegas odds against him and knocked out Renan Barao to win the title.

But this was no ordinary win.

All fight fans understand that when you're up four rounds to nothing in a five-round outing, you really don't have to do much more than survive the 5th. But Dillashaw's the real deal. He continued to take chances. This was a fight to the finish, and that's what we saw.

Barao (who was 32-1 in his MMA career, and 7-0 in his UFC career) has been called the current, best pound-for-pound fighter in the world. So what does that make T.J., who beat him like a rented mule?

Standing or on the ground, Dillashaw dominated Barao

Ready for a change of pace? See my recent post on the amazing Oneta Bobbett who is helping abuse victims.

Oneta Bobbett: Rebuilding the Abused

Oneta Bobbett: Committed to helping others.

I’m delighted to know Oneta Bobbett, a courageous and dedicated advocate for survivors of domestic violence. Ten years ago, Onetta helped found Jaden’s Ladder to assist victims with life-enhancing programs and the kind of support that builds confidence in former victims while fostering self-reliance.

A former beauty pageant winner, Oneta says was thrilled to represent the State of New Hampshire, where she was raised, in the Mrs. United States pageant. But today, it's all about her family and helping others.

“I named Jaden’s Ladder after my son Jaden,” Oneta told me. “The name Jaden means ‘God has heard.’ He hears when we cry out and we have to hear those crying out. It’s important to maintain a commitment to mankind—especially those in trouble—and to help people in the times of their greatest needs.”

Oneta’s commitment to others comes from personal experiences. On her website, she explains that she had once found herself in an abusive relationship. The experience left her with filled with doubt and confusion, asking herself what she had done wrong to land her in such a situation.

Eventually her boyfriend and long-time friend became her worst enemy. Her abuser, the man she thought she loved, beat and choked her. It was then that she believed she'd lose her life to his hands. Luckily, on that day, Oneta's sister was anxiously trying to contact her and sent police to her house when she felt "something was wrong". From that day on, Oneta vowed to get stronger and make better choices in life.

Oneta Bobbett’s commitment 10 years ago has made a difference in people’s lives ever since. And that’s what it’s all about.

Seth's Son Wants Daddy to Live Forever. Let's Help.

Please take the 10 minutes to register as a bone marrow donor. I did. It was painless, effortless and one day I might get the call allowing me to save someone's parent... or child.

I know Seth. He's a good guy. We have to save him. And by registering you're increasing the chances for all Lukemia victims.

Share this message please. People from the same background as Seth will have the greatest likelihood of being a match.

What’s Stan Lee Really Worth? Neal Adams?

The artist Dick Ayers passed away on Sunday and another very fine artist and friend Neal Adams called me this morning out of concern. I hope he won't mind my mentioning this.

“Do you know Dick’s widow’s situation?” Neal asked. I told him I didn’t. And when we hung up I thought about how genuine and special Neal is. He has a busy studio to run and deadlines to meet and his own family concerns, and he avoids funerals and memorial services like they're the Third Pandemic. But he’s always the first to inquire regarding the welfare of the widow and the family—and the first to organize help if needed.

I didn’t know Dick Ayers. I was a fan, of course, and I had purchased several drawings from him over the years, which I treasure. He was a nice man, a happy man, and a fine artist. Dick and I would sit and chat at conventions, but we weren’t pals. But Neal’s example has been kicking me into action for most of my adult life. So I made some inquiries.

Stan Lee was the first to reply. I received a return email within moments of my query to him (at 7:30 California time).

What’s the big deal? Lots of folks are up early and return email and phone messages. Nearly 23% do it within a reasonable amount of time, according to a study never conducted at the University of Michigan.

Stan will be 92 in December. And he has more going on than most three people you know. And he’s wealthier than the 20 richest people you've ever known all together. But he always responds immediately, and he's always been available to help with matters big and small when asked. And I've asked plenty.

Call it solid time management. Call it three-quarters of a century of professionalism. Or maybe Stan's parents just raised him right.

Neal Adams and Stan Lee.

Websites and magazine writers often speculate regarding celebrity bank accounts. There are people who like to count other people’s money. Go figure.

As for Dick Ayer’s widow, Stan didn't know her situation either. But if she’s in trouble, there’s people who will help.

So what’s Stan Lee worth? Neal Adams?

It has nothing to do with money.

Voting Opens for The Inkwell Awards

The following press release is courtesy of artist Bob Almond, director of the Inkwell Awards. Want to participate? Visit http://www.inkwellawards.com Bob can be reached at dmralmond@gmail.com

(New Bedford, MA/USA—April 14, 2013) The Inkwell Awards, a non-profit organization devoted to educating and promoting the art of inking, invites the public to vote for the industry's best of the past year. The official public ballot will be available on the Inkwell Awards' homepage from April 15 through April 30. Voting is open to everyone, whether fans or professional peers. The winners will be announced at the live awards ceremony at Heroes Con in Charlotte, NC June 20-22 on Saturday the 21st at 12:30 pm. 

As with last year, the ballot will still list the nominees for the Joe Sinnott Hall of Fame lifetime achievement award, which were chosen by the internal and separate Hall of Fame Nomination Committee (made up of the core committee, former committee members, ambassadors, contributors and existing Hall of Fame award recipients). To avoid a “popularity contest” where recent names have more influence than past masters, the two winners have been chosen by the HoF Nomination Committee rather than the public and will be announced at the ceremony. Current nominees are listed as a courtesy. Past Hall of Fame award recipients include Joe Sinnott, Terry Austin & Dick Giordano, Klaus Janson & Al Williamson, Wallace Wood & Kevin Nowlan, Mark McKenna & Scott Williams, and last year, Dick Ayers & Murphy Anderson. 

“We’re so excited for this event, where everyone’s hard work will pay off and the best of the best ink artists and their work will be recognized,” said Bob Almond, founder and director of The Inkwell Awards (AKA "The Inkwells"). "Inkers have their own fans and followers, and often go unsung or glossed over in traditional awards events. Ours caters specifically to ink artists and allows several to be recognized and appreciated in various categories.” 

Ballots and instructions can be viewed at The Inkwells' web site beginning on tax day, April 15. A direct link will additionally be posted on their Facebook group page, where people may also ask any questions. 

The Inkwell Awards is an official 501(c)3 non-profit organization whose mission is to educate and promote the art form of comic-book inking, as well as annually recognize and award the best ink artists and their work. Now in its seventh year, the organization is overseen by a committee of industry professionals and assisted by various professional ambassadors and numerous contributors. They sponsor the Dave Simons Inkwell Memorial Scholarship Fund for the Kubert School and host the Joe Sinnott Hall of Fame Award.

The Gift that Keeps Giving from Artie Simek

Sensei Carlos Varon—my long-distance dobro from Legend Shotokan (thanks to our shared O’Sensei Richard Lenchus)—recently contacted me with a generous gift of comics and related books. When I asked him how he stumbled upon this little treasure trove, he told me they were once a gift from Artie Simek.

Sadly, you have to be a certain age, and a certain type of fan, to get goose flesh when the name Artie Simek is mentioned. But I certainly did.

Born on January 6, 1916, Arthur “Artie” Simek was what folks once called a calligrapher and what comics jargon calls a letterer. Starting with Timely (Marvel’s precursor) in the 1940’s, Artie didn’t receive his first confirmed credits until years later on both a 12-page Batman-Superman story in World’s Finest #91 as well as in Batman #112 (both in 1957). He went on to letter DC’s Showcase and House of Secrets, then shows up in 1959 on Marvel’s Kid Colt, Outlaw. 

Along with Sam Rosen, Artie was one of Marvel’s two principal letterers: The two hand lettered the word balloons and sound effects in nearly every seminal Marvel title, and likely designed many logos. If you ever hold a Fantastic Four #1 in your hands, those are Artie’s letters. His last lettering job was on Giant-Size Defenders #5 (July 1975). He died while working on the book.

Sensei Carlos Varon grew up in Elmhurst, Queens, NY. One Halloween, he and a few of his friends knocked on a door and shouted “trick or treat!”  “Imagine my surprise to get a comic book,” write Carlos. “How cool was that?” The other kids seemed a little disappointed in getting a book and not candy, but Carlos was thrilled—and Artie Simek saw that in his face. “He invited me into his home,” said Carlos, who was instantly amazed to see the many drawings and an active art board. “I can still recall the pile of comics and storyboards on display. He told me he worked on Marvel Comics as a letterer and I was not sure about that, but he took the time to explain and even offered me a few of his full-size storyboards. As a dumb, young kid, I said no thank you. Boy was I naïve!”

But over time, Simek gave young Carlos a number of books that he had worked on. “My collection really grew from that visit,” says Sensei Varon.

And now mine has, thanks to Carlos’ generous gift.

I never had the pleasure of meeting Artie, but my friend Gene Colan once described him as “a real Norman Rockwell character. Artie Simek could play the spoons. He'd have two spoons in his hand, and he would flip them around, they would bop up against each other, and before you knew it, there was a melody there. He was wonderful.”

Harlan Ellison Gives Comic Book Babylon a Rave Review

I've been waiting 35 years for the letter I received last week from Harlan Ellison regarding my latest book. He writes (and I am ossified to read):

I found COMIC BOOK BABYLON an imperial hoot. Have now read it three times, and Susan has read it once. It takes me time to read it, because every name you drop, every anecdote you tell, sparks drift-rememberances of my own...and I pause...and I think...and I smile or frown. It is an Aladin's treasure cavern of piquant down-low and memory. It is--as you well know, you schmachler--one helluva book! And I am dead-chuft to be in it. As always, you are a mensch and a Solid Brother! All love from us here in the Trembling Terrain, to all of you there in the Apple Vicinity. Yer pal, Harlan

If you haven't ordered COMIC BOOK BABYLON yet, I urge you to do so. AardwolfPublishing continues to offer the hardcopy with a guarantee of delighted or your money back. It's also selling fairly well via Amazon for the Kindle, but I make pennies on that and, let's be honest: holding a book in your hands is nicer than holding a Kindle.

He Created the X-Men… And You Can Have *His* Comics

Dave Cockrum's personal X-Men comics are being offered to the public. Have a look.

It's Will Eisner's Birthday.

Born on this day in 1917, Will Eisner is someone I'd have missed had my own heroes not informed me of his importance. Singing hosannas of one sort or another to the previous generation of creative pioneers is one of the obligations that writers and artists share, as far as I'm concerned. Ripping techniques alone is hardly homage.

Mark Ellis, the excellent writer of modern pulp fiction and come-back quips, who I've grown fond of, summed it up (and brought the date to my attention) on his Facebook post:

WILL EISNER [was] a man who was just as influential in both the art and business of comics as Jack Kirby. Although he was justly famous as the creator of THE SPIRIT, Will was a a true pioneer...he continued to explore and expand the parameters of comics storytelling. He's credited with creating the term of "graphic novel".

According to Will, he coined the term on the fly, and had no idea he was basically creating a new publishing category.

Me? I touched Will several times. The first occasion was a chance meeting in San Diego, where famed bookseller Bud Plant introduced us. The next time was when Harlan Ellison put us together on the phone because Aardwolf was seeking the perfect cover artist for a project.

I have no anecdotes beyond some very strange things that occurred later at Will's memorial service (which I've detailed in "Four Days at the Races" in my book ComicBook Babylon). I was just grateful to know Will for the the five or six total minutes that I received. You'd have been, too.

The Future Is Now

When Will People Start Dropping *My* Name?

Adam-Troy Castro, the excellent writer of numerous Hugo-, Nebula- and Stoker-nominated SF and horror tales (to say nothing of four Spider-Man novels) has a review of my ComicBook Babylon in the forthcoming issue of SCI FI (out in about 60 days). He was kind enough to share the generous review with me which said, among other things:

Much of [Meth's book] deals with the shameful neglect many of the four-color field’s most important creators experienced when health or fashion no longer smiled on them… There are many illustrations by Michael Netzer, who manages to capture not just the physical appearances, but also the personalities, of the luminaries under discussion.

Meth… doesn’t mince words. If he admires somebody, he is unsparing in his praise; if he considers somebody a jackass or a momser or a shnorrer, he puts his mockery on the page.

If you haven't ordered the book yet, Aardwolf Publishing now has signed physical copies. And Amazon is still giving away selling the digital version for just 99-cents so there's no excuse not to read it. And someone whispered to me that Marvel is none to happy about it.

In other news, Michael Netzer and I are teaming up again for a 5-page story in the forthcoming Jewish Comix Anthology. The project will also include work from Robert Crumb, Joe Kubert, Harvey Pekar, Art Spiegelman, and Will Eisner. It was a genuine honor to be invited into this prestigious collection. If you’d like to take a look at or participate in their Kickstarter (and I hope you do), click here.

The Worst Good Rats’ Show I Ever Attended

Mickey could play and chew gum at the same time.

The first Good Rats show I attended was during the abysmal days of the Carter administration. My pals and I hitch-hiked down Rt. 46 to Dizzy Duncan’s in Parsippany, NJ, a standing-room-only affair that we were legally too young to walk into, but if one didn’t know how to shimmy up the drainpipe and slip in through the torn shingles on the roof their street their cred was dead zero. I was 16 and looked 14 and recall trying to suck the beer out of my baseball cap after some mook in biker's garb spilled a Budweiser on my head. I stood by the stage, my nose as high as guitarist John Gatto’s heels, and got a gander of Mickey Marchello, whose bird's nest of a beard and obviously mad eyes made him look like La Barbe bleue. Front and center, Peppi Marchello was screaming, “I’m a Mean Mother.” It was love at first sight citing.

Nearly four decades later, I’ve stopped counting how many Rats’ shows I’ve been to. It’s like trying to remember all of your kid’s birthdays. Blame it on good living. And the worst Good Rats’ show I’ve ever attended? No such animal. They were all primal events. This is a family affair, boys and girls, as in Manson meets Adams.

What am I talking about? Come see for yourself. My pal Peppi sings with the angels now but his boys are still doing it and rumor has it Gene Marchello will be soaring on lead guitar and dueling vocals at the upcoming show at the Tap Room at the Somerset Hills Hotel, 200 Liberty Corner Road, Warren, NJ, on March 21.

Double your money back if not satisfied. Just take it up with the management.

Artists' rendering. Have you seen these men?

Comics' Soft White Underbelly

I've had warm and generous responses to Comic Book Babylon since its release as an e-book for the Kindle and other platforms. Want one? Visit Amazon by clicking here.

The physical paperback can be purchased from Aardwolf Publishing. Visit the Aardwolf site if you'd like one. There are still signed/#'d copies available.

This blog entry will be a repository of links for press about the book. Thus:


The Real Heroes and Villains in Comic Books is an in-depth review from the excellent writer Bob Duggan at BigThink.com

You Might Come to Comic Book Babylon for the scandal, but you'll stay for the people is an insightful review from Jack Abramowitz on ComicsBulletin.com

Bob Layton on Meth is an interview courtesy of Westfield Comics.

Dan Jurgens on Meth is an interview courtesy of BleedingCool.com

Pop Culture Hounding Cliff Meth is a podcast on BleedingCool via Chris Thompson - a long and fun broadcast interview

The Comic Book Babylon Facebook page (join us!)

Booksteve Reviews Comic Book Bablyon

Observing Comic Book Babylon: Cliff Meth Speaks for the Old Guard (courtesy of FanboyPlanet.com)

Review of Comic Book Babylon at MyReviewer.com

LibraryThing Review of Comic Book Babylon

Dan Jurgens On Meth

reprinted from BleedingCool.com

Dan Jurgens, best known for his lengthy runs on various Superman titles, usually finds himself on the receiving end of a Q and A session. But the artist/writer extraordinaire who brought us such iconic works as “The Death of Superman” recently took some time out to interview author Clifford Meth, whose new book Comic Book Babylon (Aardwolf Publishing) is raising eyebrows.

Not to be confused with Tim Pilcher‘s recent book about DC Vertigo UK, Clifford Meth‘s Comic Book Babylon is a brutal and frenzied behind-the-scenes view into the lives of many of comics’ most important creators. Artists and writers like Alan Moore, Frank Miller, Walter Simonson, Joe Kubert and Harlan Ellison enter into some of their most candid conversations with Meth as the author also details, for the first time, his historic battle (alongside partner Neal Adams) to obtain royalties for X-Men co-creator Dave Cockrum.

Jurgens: We all have comics we remember because of the impression they made on us in our youth. Might’ve been the story, the art, the character, a combination of all that or the chocolate malt you spilled on it. What’s the one single comic you remember from your youth, the impression it made on you and why?

Meth: I remember my first comic book pretty much the way I remember the first girl I slept with, although the comic lasted longer in retrospect. But the first comic that was important to me wasCaptain America #156, which concluded a story arc that had begun with issue #153. Steve Englehart was a master script writer and he’d decided to explore the conundrum that existed as Cap was frozen before the conclusion of World War II (until the Avengers rescued him in the 1960’s) but nevertheless continued to battle Reds in the red-scared ’50s. The Englehart series, which benefitted from Sal Buscema’s very clean, very enjoyable story-telling, defined Captain America for me. America’s savior had to be beyond politics, impervious to prejudice, not really super-human—despite that Super Soldier bullshit—but ethically flawless. They just don’t make saviors like that anymore.

Jurgens: You’re well noted for your willingness to step up and help some of the greats who came before us. Why? What sent you on the that path?

Meth: I was fairly young when I recognized that standing up to a bully, regardless of the consequences, was the only way to walk through life. That can be applied anywhere from the schoolyard to geo-politics. Men of good conscience can’t enjoy their meals when someone else is starving, but that’s especially true if the starving guy had his meal ticket stolen by a corporation.

Jurgens: If you could be any super VILLAIN in the world, who would it be and why?

Meth: Magneto. Not Stan Lee’s Magneto, who was over-bearing and mad as a fox, but rather Chris Claremont’s Magneto. The way Chris wrote him, Magneto had a moral imperative. Who can fault a man for wanting to protect his own kind? Charles Xavier never gained my partisan loyalty, or even my verisimilitude for that matter. It was always Magneto.

Jurgens: Your ultimate creative team and dream project you’d have them create?

Meth: I would have to pick John Lennon, Paul McCartney, George Harrison and Ringo Star and create an album, with George Martin producing. The final song would have to be an anthem of some sort, ideally by John, with guest vocalists in the choir, and Peppi Marchello would be there, and so would Phil Ochs. And I would have Jeffrey Jones paint the album’s cover and Roger Dean paint the inside gatefold and Allen Ginsberg would do a broadside insert that Sergio Aragones would illuminate. There’d be a pullout poster by Steranko and portraits of all the participants by James Bama. Martin Scorsese would document the entire “the-making-of” for later release, which Harlan Ellison would narrate. And I’d write the liner notes.

Jurgens: Coke or Pepsi?

Meth: Coke. I never quite got over Peppi's boycott of Israel.

For more on Comic Book Babylon visit www.aardwolfpublishing.com