texts:
 Kubota's self-portrait is displayed on a small monitor that viewers can see through a vulva shaped opening of a purple bag. A fan, placed inside the bag to keep the equipment cool, added pulsating movements. The bag had been given to her by her first boyfriend, Takehisa Kosugi, whom she used to support by working three jobs. Video Poem challenges male authority by her use of her ex- boyfriend's bag.Meta Marcel: Window Series
This series references Marcel Duchamp's wood-framed 'Fresh Widow'. This series includes four separate video works which are projected behind a plywood box with glass windows framing a twenty-four inch monitor. Meta Marcel: Window (Snow), 1976-1977:  Kubota met Duchamp during a snowstorm while both were on a flight en route to Buffalo, NY in the year of his death, 1968. The video screen is filled with 'snow'– the effect achieved by image distortion on a television set, and the window pane is substituted for black leather, and the video is appropriately called Snow. This piece was part of Kubota's Meta-Marcel series. Meta Marcel: Window (Flowers), 1983: Footage of flowers. Meta Marcel: Window (Stars), 1983: Footage of stars.Meta Marcel: Window (Snow With Computer Writing), 1991. River, 1979-1981
Consists of three monitors suspended screen-down over a crescent shaped metal structure filled with water. The videotapes playing on the monitors reflect in the water and the structure. It was first shown at the Whitney Museum of American Art. It was restored in 2017 by


type: original

texts:
 the Shigeko Kubota Video Art Foundation, and installed in 2018 at MIT, and then SculptureCenter in New York, for the exhibition ‘Before Projection’. Other Installations and Sculptures
 Fluxus Suitcase, 1964: Aluminum suitcase sent from Japan to George Maciunas in New York as mail art. Kubota has shown it as a memorial to George Macinuas and Al Robbins in recent years.Fluxus Napkins, 1965: Original paper napkins with collage made for a Fluxus dinner organized by George Maciunas for Kubota, Chieko Shiomi, Takako Saito, and Nam June Paik. Fluxus Pills, 1966: Empty gelatin pill capsules in a plastic box made for George Maciunas. Video Poem, 1968-1976: Kubota's color-synthesized tape Self-Portrait is encased within a nylon bag with zippered openings, which rests on a wooden pedestal. The bag was made by the Japanese artist Takehisa Kosugi (1963). Three Mountains, 1976-1979: Three freestanding plywood structures: two mountains with monitors inside, one of a pyramid with a monitor inside. The tapes include footage of a Grand Canyon helicopter trip; a drive on Echo Cliff, Arizona; and a Teton sunset. Video Relief, 1979-1981: Two plywood panels with round lenses and one with painted calligraphy– each showing the video Shigeko in Berlin (1979).Rock Video: Cherry Blossom, 1981
 Berlin Diary: Thanks to My Ancestors, 1981: Wood rope helps fasten a sheet of pink crystal with Japanese calligraphy of Kubota's ancestor's names on a five-inch monitor. Video Haiku– Hanging Piece, 1981: A round


texts:
 television with a closed circuit camera hangs over a round, concave plastic mirror ( diameter) so that the image is visible in the mirror. Green Installation, 1983: A large plywood structure that resembles a two-sided, freestanding staircase has five monitors  playing a color videotape of the Arizona landscape on each side. Niagara Falls I, 1985;Niagara Falls II, 1987;Niagara Falls III, 1987. A freestanding wall with many monitors projecting images of the four seasons, and covered in mirror shards. A speaker plays a recording of the waterfall at Niagara Falls. A sprinkler system hangs over the piece and pumps water from pipes over the wall to a basin below the sculpture.Rock Video: Cherry Blossoms: 1986, 12:54 min, color, silent: A five-inch monitor is embedded in a boulder and shows a single-channel video of cherry blossoms. Shards of Mirrors are placed around the rock. Dry Mountain, Dry Water, 1987-88: Seven plywood sculptures are covered with Mylar mirrors and shaped like rocks and abstract 3-D geometrical shapes. Video projectors on the wall and floor show a two-channel video of cherry blossoms. Adam and Eve, 1989-1991:  Two life-sized robot figures with eight embedded monitors total are paced near each other. Behind the Video is Video Byobu II (Cherry Blossoms)
 Video Byobu I (Cherry Blossoms), 1988;  Video Byobu II (Cherry Blossoms), 1991; Video Byobu III (Cherry Blossoms), 1991. Bird I, 1991, and Bird II, 1992: Videos of birds in sculptural installation.Study for Wheel, 1990


texts:
 Jogging Lady, 1993: Footage of women running marathons playing on monitors stacked to resemble a human form. Tree I and Tree II, 1993: Sculptures of a tree whose branches have become resting places for television monitors. Pissing Boy, 1993: A sculpture of a robot urinating into a tin. Kubota has said the sculpture is of Nam June Paik. Sexual Healing, 1998
 Nam June Paik I and II, 2007: An installation of metal piping sculptures with video monitors attached that suggest Nam June Paik's body. Footage of Kubota and Paik on vacation in Miami in 1996 plays on these monitors, and the video serves as a homage to Paik. Videography
 Marcel Duchamp and John Cage: 1972, 28:27 min, b&w and color, sound: <mask> Kubota recorded the Reunion performance of Marcel Duchamp and John Cage, a chess match in which music was produced by a series of photoelectric cells underneath the chessboard, triggered sporadically by normal game play.Kubota assembled this video using her own photographs and video. Reunion turned out to be the last public meeting of these artists. With her footage, <mask> Kubota developed this videotape, a video-sculpture, and a book called, Marcel Duchamp and John Cage, which she reportedly later placed on Duchamp's grave in Rouen, Normandy. Broken Diary: Europe on 1/2 Inch a Day: 1972, 30:48 min, b&w and color, sound: Europe on 1/2 Inch a Day is the first of <mask> <mask>'s series of video diaries. Kubota used a Portapak to create the video travel diary of her travels through

masks: Shigeko Shigeko Shigeko Kubota


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 Amsterdam, Paris, and Brussels– which includes footage of underground performances, Kubota's meeting with Joseph Beuys in Düsseldorf, graffiti, and a visit to Marcel Duchamp's grave in Rouen, Normandy, which inspired her later sculptural work, Video Chess'. Riverrun– Video Water Poem: 1972: When filming Broken Diary: Europe on 1/2 Inch a Day Kubota took footage of her boat trips on the Seine, the Rhine, the Amsterdam canal, and the Venice Canal. Riverrun includes this footage and footage from boat trips on the Hudson.The video includes audio excerpts from James Joyce's Finnegans Wake. My Father (<mask> Kubota), 1973-1975: In the film she explains that when she found out her father had died of cancer she decided to film herself mourning. In the footage, Kubota cries while watching videos she recorded of her father watching TV at his home in Japan. Video Girls and Video Songs for Navajo Sky: 1973, 31:56 min, b&w and color, sound: In 1973, <mask> Kubota began experimenting with image processing equipment at WNET's TV Lab and produced Video Girls and Video Songs for Navajo Skies. The video is a surreal diary of Kubota's stay with a Navajo family on a reservation in Chinle, Arizona with footage of the family and the surrounding landscape. " Allan 'n' Allen's Complaint: Nam June Paik and <mask> Kubota: 1982, 28:33 min, color, sound
 Trip to Korea: 1984, 9:05 min, color, sound: The story of Nam June Paik's first trip to Korea after thirty-four years of being in the USA. Video includes

masks: Shigeko Shigeko Shigeko


texts: footage of Nam June Paik's family, and his visits to a Korean village, and a graveyard where his ancestors lay.SoHo Soap/Rain Damage: 1985, 8:25 min, color, sound:  Video of Kubota's co-op studio at 110 Mercer Street, New York, and rain damage during a storm. Bodies that matter: on the discursive limits of "sex". New York: Routledge. 1993. Butler, Judith. Gender trouble: feminism and the subversion of identity. New York: Routledge.1990. Butler, Judith. Undoing gender. New York: Routledge. 2004. Cross, Lowell. "Reunion": John Cage, Marcel Duchamp, Electronic Music and Chess".Leonardo Music Journal. 9: 1999. 35–42. Gever, M. "Pressure Points: Video in the Public Sphere," Art Journal 45.3, 1985. Gewen, Barry. "State of the Art". New York Times.2005. Goldberg, RoseLee. Performance: live art since 1960. New York: Harry N. Abrams Publishers. 1998. Jacob, Mary Jane ed. <mask> Kubota: Video Sculpture.New York: American Museum of the Moving Image, 1991. Includes: Roth, Moria, "The Voice of Shigeko Kubota:' A Fusion of Art and Life, Asia and America,'" and Hanley, JoAnn, "Reflections in a Video Mirror." Mark, Lisa, WACK! Art and the Feminist Revolution. Cambridge, MA: MIT Press. 2007. O'Dell, Kelly, Fluxus Feminus, MIT Press (TDR) Vol.41. No. 1, 1997. 43–60. Ruhrberg, Karl; Honnef, Klaus; Fricke, Christiane; Manfred Schneckenburger, Ingo F. Walther, Art of the 20th century. Taschen. 2000.596. Sackler, Arthur M. American film. American Film Institute. 24–28. 1980. Schneider,Rebecca, The


texts:
 Explicit Body in Performance. New York: Routledge, 1997.Smith, Roberta, "Review/Art; Sleek Video Sculptures By <mask> Kubota". The New York Times. (24 May 1991), 26. Stiles, Kristine, "Between Water and Stone: Fluxus Performance, A Metaphysics of Acts," in Armstrong and Rothfuss, In the Spirit of Fluxus. Warr, Tracey, and Amelia Jones. The Artist's Body. London: Phaidon.2000. Yoshimoto, Midori. "Self-exploration in Multimedia : the Experiments of <mask> Kubota," in Into performance: Japanese Women Artists in New York. New Brunswick, N.J., Rutgers University Press. 2005. External links
 EAI: Biography of <mask> Kubota and a list of video works by the artist. <mask> Kubota in the Video Data Bank
 Kubota performing one of her Vagina Paintings
 Interview with Phong Bui in Brooklyn Rail from September 2007
 http://www.fungcollaboratives.org/ny-gallery/artists/sexual-healing/exhibition-description/

1937 births
2015 deaths
20th-century Japanese women artists
21st-century Japanese women artists
Japanese contemporary artists
The New School alumni
Japanese video artists
Japanese women sculptors
Japanese performance artists
Fluxus
Artists from Niigata

masks: Shigeko Shigeko Shigeko Shigeko


texts:
<mask><mask> (born April 16, 1979) is an American sociologist and professor of sociology at Brandon University. Educational background
<mask> received his B.A. summa cum laude in 2002 from Northeastern Illinois University, with a major in sociology and a minor in criminal justice. <mask> was selected as the NEIU 2002 spring commencement speaker  He received an M.A. in Sociology with a concentration in Criminology in 2004 from Northern Illinois University  <mask> continued his graduate studies in Justice Studies at Arizona State University. In 2008, he graduated from ASU with a Doctoral Degree in Justice Studies. Appointments and positions
While studying toward his M.A.he was an instructor at NIU. From 2004 to 2008 <mask> was a part-time instructor and a teaching assistant at ASU. After receiving his PhD in Justice Studies in 2008, <mask> began his career as an assistant professor of sociology at the University of British Columbia, Okanagan campus where he taught for six years. In 2014, <mask> relocated to Wilfrid Laurier University where he was granted tenure and promoted to the position of Associate Professor of Law & Society. He relocated to Brandon University in 2015 where he is presently a professor of sociology

In November 2016, <mask> held the Public Visiting Scholar position in the Department of Criminology at WLU, a position offered to a scholar with "innovative research with public appeal". In 2019, <mask> held the Endowed Chair of Criminology and Criminal Justice position at St. Thomas University in Fredericton, New Brunswick, Canada. The Endowed Chair at STU is "offered to a scholar with a well-established record of research."<mask> is a member of various editorial boards, e.g., including the editorial board of The Annual Review of Interdisciplinary Justice

masks:
Christopher J
. Schneider
Schneider
Schneider
Schneider
Schneider
Schneider
Schneider
Schneider
Schneider
Schneider


texts:
 Research (IJR), Canada's only interdisciplinary journal of justice studies. <mask> is a member of the Brandon, MB John Howard Society Board of Directors

Areas of research
<mask>'s research is qualitative and focuses on how developments in media and technology contribute to changes in social interaction and social control. His book Policing and Social Media: Social Control in an Era of New Media illustrates the process by which new information technology—namely, social media—and related changes in communication formats have affected the public face of policing and police work in Canada. Policing and Social Media has been well received by an array of critics that include academics, police practitioners, journalists, and activists. Policing and Social Media reached No. 1 on Amazon's list of Hot New Releases in Canadian politics. According to a review in the academic journal Symbolic Interaction, "Policing and Social Media is essential reading for scholars of media and crime."A review in the Police Journal: Theory, Practice and Principles said "This book is timely and of major importance given the increasingly central role social media now occupies in global policing, governance and accountability discourses. Alexandre Turgeon writes in the American Review of Canadian Studies: "In light of the many high-profile and recent police shootings in the United States, and the way that they were framed on YouTube and other social media sites, this book is a significant contribution on the field of policing and information". The book has also been profiled extensively in news media. A review in Canadian news magazine Maclean's called Policing and Social Media "surprisingly populist". Community activist and freelance writer Tom Sandborn (in a review he wrote published in the Vancouver

masks: Schneider Schneider


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 Sun), called the book "important" continuing "<mask> has done a fine job with this study, and anyone in Canada who cares about policing, privacy, civil liberties and personal freedom should read it". Sandborn, however also lamented that <mask>'s “prose style is unfortunately a bit fusty and mannered, as is so often true of those who write from a faculty office.”  Likewise, Maclean's described the book as “dense with academic terminology”. Tom Sandborn suggests that <mask> misses the mark because “he unfortunately pays more attention to how Canadian police forces use various net platforms to communicate with the public than to how those same cyber entities can be tapped by government spies to illicitly harvest information about Canadians”.While some reviews were positive, others noted some weaknesses with <mask>'s approach. <mask>. O’Conner noted a “substantial critique of the book is that <mask>’s analysis is limited to texts. At times, the author makes claims regarding police intent without conducting interviews with officers about their own social media use. While text analysis is a completely valid methodological approach, interviewing officers would have provided a more well-rounded picture of the impact social media is having on policing.”  Likewise, Sarah Lageson sounds a note of caution about the book: “Because <mask> relies heavily on qualitative media analysis, readers might sense they are receiving a second-order interpretation of what happened. We don’t get direct ethnographic insight into the internal processes of police departments as they grapple with using social media in their own PR and investigatory work.”

<mask>'s work has focused on the impact of social media on crime related matters including vigilante justice and crowd sourced-policing efforts

masks:
Schneider
Schneider
Schneider
Schneider
Christopher D
Schneider
Schneider
Schneider


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 online. Much of this research has examined the role of social media in relation to the 2011 Vancouver Stanley Cup riot Some of this research is cited in Policing Canada in the 21st Century: New Policing for New Challenges a 2014 Council of Canadian Academies report that addresses the external and internal challenges facing Canada's police. Other related research has explored the impact of social media on policing and police work in Canada.<mask>'s research has also focused on popular culture and social control. Some of this work has examined the relationships between media and popular culture including the framing and censorship of rap music and the use of mobile phone ringtones as individual ways to manage identity. Other work in the area of popular culture has explored celebrity news coverage and TMZ and beards

Publications

Books
Hannem, S., & <mask>, C.J. (2022). Defining Sexual Misconduct: Power, Media, #MeToo. Regina, Canada: University of Regina Press. Hannem, S, Sanders, C.B., <mask>, C.J., Doyle, A., & Christensen, T. (eds) (2019).Security and Risk Technologies in Criminal Justice: Critical Perspectives. Toronto, ON: Canadian Scholars. <mask>, C.J. (2016). Policing and Social Media: Social Control in an Era of New Media. Lanham, MD: Lexington Books | Rowman & Littlefield. Hanemaayer, A., & <mask>, C.J.(eds) (2014). The Public Sociology Debate: Ethics and Engagement. Vancouver, BC: University of British Columbia Press. Altheide, D., & <mask>, C.J. (2013). Qualitative Media Analysis Second Edition. Newbury Park, CA: Sage.Aguiar, L., & <mask>, C.J. (eds) (2012). Researching Amongst Elites: Challenges and Opportunities in Studying Up. London: Ashgate. Keynote Address
 <mask>, C.J. (2019). 2017 Couch-Stone Symposium Keynote Address: The Interaction Order in the

masks: Schneider Schneider Schneider Schneider Schneider Schneider Schneider Schneider


texts:
 Twenty-first Century and the Case of Police Legitimacy.Studies in Symbolic Interaction: 50th Anniversary Issue, Vol 50: 97–115. Awards
 2021 Harper College Distinguished Alumni Award, in recognition of “alumni who have distinguished themselves in their careers and in their service to community.”
 2020 Emerald Literati Outstanding Author Contribution Award, in recognition of “authors who have contributed something new or of significant value to the body of knowledge, either in terms of approach or subject matter.”
 2017 Canadian Criminal Justice Association, Public Education Award, "Recognizes persons who significantly advance public understandings in Canada for the need for, and elements of, a humane, effective criminal justice system." 2016 Society for the Study of Symbolic Interaction, Early-In-Career-Award, "Honors those scholars who have made significant contributions within the first ten years since the completion of their PhDs." 2013 The Confederation of University Faculty Associations of British Columbia, Distinguished Academics Early-In-Career Award, for "outstanding contributions made by scholars at relatively early stages." 2011 University of British Columbia, Award for Teaching Excellence and Innovation
 2010 University of British Columbia, Award for Public Education Through Media for "actively and creatively sharing research expertise via news media." 2002 American Society of Criminology, Division of Critical Criminology Graduate Student Paper of the Year Award, "recognizes and honors outstanding theoreotical or empirical critical criminological scholarship by a graduate student." References

1979 births
Living people
American sociologists
Sociologists of law
Northern Illinois University alumni
Arizona State University alumni
University of British Columbia


texts:
<mask> (14 October 1927 – 17 July 2014), better known by his screen name <mask>, was an Indian film director who worked in Malayalam cinema. He has directed more than 141 films in his career which began in the mid-1960s. He is often referred to as Hitmaker <mask> due to the commercial success of his films. In 2012, he was awarded the J. C. Daniel Award, Kerala government's highest honour for contributions to Malayalam cinema

Sasikumar holds record for directing  most films (141) after Telugu film director Dasari Narayana Rao (151), most films having the same actor as hero Prem Nazir in 84 films and the most films directed in a year, 15 films in 1977. He died in 2014 at the age of 86. Early life
He was born on 14 October 1927 to N L Varkey and Mariya in Allappuzha, Kerala. He had displayed a great flair for acting in dramas even when he was a boy of 10.He completed his school education from Leo Thirteenth High school, Alleppey and St. Ephrem's School, Mannanam. During his college life he had represented Kerala University football team. He passed out as a graduate in economics from Sacred Hearts College, Thevara. Career

Early work
During his studies in the schools and colleges, he had proved his flair for acting in dramas especially of the Shakespearean genre. Later on, Kunchacko of Udaya Studios, Alleppey, identified his talent and gave him a role to act in his film Visappinte Vili in which he acted as villain against the Evergreen Hero, Prem Nazir. This happened to be the first film in Malayalam in which a villain fights with the hero without a dupe and that role was performed with aplomb by Sasikumar. Subsequently, in addition to acting in several films produced by Udaya Studios he worked as the assistant director of

masks:
Nambiathusseril Varkey John
Sasikumar
Sasikumar


texts:
 Kunchacko in those films.It was Kunchacko who identified that Sasikumar had in his repertoire the necessary talent and skills required for a director of movies. Later on, he joined Merryland Studios, owned by the veteran director-producer P. Subramaniam. It was under his tutelage that Sasikumar was transformed into a great director. While in Merryland he worked with many renowned actors of that time, including T. K. Balachandran, Prem Nazir and Thikkurissi Sukumaran Nair. He worked as associate director to P. Subramaniam in addition to acting in some roles himself. Sasikumar still considers P.Subramanyam as a fatherly icon who had showered upon him fatherly affection and regards during his tenure at Merryland. The first independent film directed by Sasikumar was a documentary, namely ONAKKAZHCHA for Fertilisers and Chemicals Travancore Limited (FACT) regarding the use and effectiveness of fertilizers in agriculture.Peak years
Following the advice of his friend Prem Nazir, Sasikumar went to Chennai in the 1960s. He directed Thommante Makkal and Porter Kunjali for Thomas Pictures in 1965. He also directed, along with P. A. Thomas, the movie Kudumbini (1964) for Thomas Pictures, which received a Certificate of Merit at the annual National Film Awards. Subsequently, he directed an art film,  Kavalam Chundan, which was a flop. As a result,a dejected Sasikumar decided to give up film direction and return to Kerala to join his father's oil mill business. It was Prem Nazir who encouraged him to return to Chennai where he directed the commercial film Jeevitha Yaathra which became a major hit. After this, Sasikumar understood that he couldn't make an art film like Kavalam Chundan with producers' money.But after his change of style from


texts:
 art to commercial films he never looked back. Sasikumar went on to direct a long list of films, most of which succeeded at the box office. He was fondly called Hitmaker by the Malayalam film fraternity. Along with Prem Nazir he helped many producers who had lost their land and jewellery through movie production. Sasikumar holds the record for the maximum number of hit films made in Malayalam. Eighty-four films which he directed had Prem Nazir as hero (a world record) and in 1977 he directed 15 films which all fared well at the box office (world record ). Sathyan, Prem Nazir, Adoor Bhasi, S. P. Pillai, Madhu, <mask>, Sheela, Vijayasree, K.R.Vijaya, Sharada, Vidhubala, Lakshmi, Sreelatha, <mask>, Sreevidya, Nanditha Bose, Unni Mary, Kamal Hassan, Mammootty, Sukumaran, Soman, Ravikumar, <mask>, Vincent, Sobhana, Shankar, Mohanlal and Suresh Gopi all acted in his films.Kaviyoor Ponnamma, who had acted in the role of a mother in his old movie Thommante Makkal which had a story with a Christian background acted in the same movie, remade with a Hindu background and retitled Swanthamevide Banthamevide taking the same role after 25 years. Some years later, Sasikumar remade the same movie under the title "Raja Vazhcha". It was Sasikumar who introduced a new sophisticated villain to the Malayalam film world in the form of "Silver Head" enacted by <mask> in one of his old films. During his long career in film he has directed more than 140 films in Malayalam and one film in Tamil. The trio consisting of <mask>, Sreekumaran Thampi and M.K Arjunan was the rage of the period 1969–1980. Acting
Sasikumar acted in small roles in films like Thiramala, Sreerama Pattabhishekam, Velakkaran, Thommante Makkal, Seetha, Snehadeepam, Umma, Bhakta Kuchela,

masks:
Jose Prakash
Jayabharathi
Jayan
Jose Prakash
Sasikumar


texts:
 Snapaka Yohannan, Kattumaina, Visappinte Vili, Oral Koodi Kallanayi etc. He has also written the story, cinema script and dialogue for many of his films.Style
<mask>'s films were not meant for active analysis by the intelligentsia or the critics, but for the common man especially the working class who sought some solace and relief from the hard and harsh realities of everyday life. His films occupied a special niche in this regard by providing wholesome entertainment to the masses. The themes of these films generally dealt with the problems of the common man and the injustice prevalent in society. Collaborators
<mask> launched the career of Malayalam film music composer Ravindran with his film Choola. The renowned Malayalam music director M. K. Arjunan became popular after scoring music for <mask>'s movie Rest House. Other films had music by other well-known composers – Devarajan, A. T. Ummer, Salil Chowdhury, Shyam, <mask> and M. S. Viswanathan. His lyricists included Vayalar Rama Varma, Sreekumaran Thampy, O. N. V. Kurup, P. Bhaskaran and K<mask>, but Sreekumaran Thampy has been the lyricist in most of his films.All the songs in his film Devadasi of which the music was scored by Salil Chowdhury became great hits even though the film was not released on account of some problems with its producer, Adoor Padmakumar. Senthil, the famous comedian in Tamil films, was introduced to film audiences through the film "Ithikkara Pakki" and <mask> Sreekumar, a comedian of Malayalam films, through his film "Chattambi Kalyani". <mask> was introduced to the Malayalam film world by Sasikumar through his movie "Pen Makkal". His assistants P. G. Viswambharan, G. Prem Kumar, Crossbelt Mani, Baby,Thampi Kannanthanam, and Asokan became successful

masks:
Sasikumar
Sasikumar
Sasikumar
Johnson
. Jayakumar
Jagathy
Jayabharathy


texts:
 independent directors later on. Some of the artists whom he had actively promoted and supported during his heyday have now become national icons and awardees. If cinema is considered a medium of entertainment Sasikumar has been an immense success. He created movies as per the zeitgeist.He gave the people of those times what they wanted and what they expected of him. And they wanted to see his movies again and again. World records
 Maximum number of films directed by any director: 141
 Maximum number of films having the same actor as hero : 84 (Prem Nazir)
 Maximum number of films directed in a year by any director in world cinema : 15 films in 1977

The Kerala state Government honoured him in the year 2013 by conferring on him the coveted J. C. Daniel Award for his manifold contributions to the Malayalam cinema. Death
Sasikumar suffered from age-related health problems towards the end of his life. He lost his wife following a period of brief illness and his son died subsequently following a heart attack. He died at a hospital in Kochi on 17 July 2014 at the age of 87. He was buried according to Christian rites at St. Michael's Church Alappuzha, his home-town.This doyen of Malayalam cinema is survived by his two children Usha <mask> and Sheela Robin. film for Woodlex furniture, Calicut: produced by Mr.Usman)

See also
List of Malayalam films from 1976 to 1980
List of Malayalam films from 1981 to 1985
List of Malayalam films from 1986 to 1990

References

External links

1927 births
2014 deaths
J. C. Daniel Award winners
Film directors from Kerala
Malayalam film directors
Artists from Alappuzha
Malayali people
20th-century Indian film directors
Malayalam screenwriters
Screenwriters from Kerala
20th-century Indian dramatists and


texts:
<mask> (born August 21, 1962 in Oldehove, Netherlands) is a Dutch photographer and artist. <mask> studied at the AKI Academy of Visual Arts in Enschede, the Netherlands. He graduated in 1991. <mask> is known for long term projects about urbanisation and long-term effects of warfare. His major projects include Trabant, the Warfare Project,  Relics of the Cold War, and Metropolis

Articles and reviews about <mask>' work have appeared in The New York Times, The Wall Street Journal and The New Yorker. Trabant
His first long-term project was Trabant. The Final Days of Production (1990–1992).<mask>, still being a student, photographed the production process of the Trabant car and made portraits of the Trabant workers. The book and exhibition of this project followed years later in 2007. Warfare project
<mask> opted for the black-and-white portrait in his photo projects on the long-term effects of warfare. This resulted in three books and exhibitions:

 Kabul (2002): Portraits of ISAF soldiers in Kabul, Afghanistan photographed with an antique Afghan box camera. The Never-Ending War (2004–2005): World War Two veterans from Russia, Germany, USA, UK, Poland, Belgium and the Netherlands. The series received a World Press Photo award in 2006. The Eyes of War (2007–2012): Blind victims of World War Two.For this project, he made portraits of dozens of people who had lost their eyesight as children, young adults or soldiers in the violence of WW2. Relics of the Cold War
In his book Relics of the Cold War (1998–2009) Roemers traced Cold War relics in former Eastern and Western Europe and then photographed them in situ. This generated a collection of images of tunnels, rusting tanks and abandoned nuclear missile launch pads. Metropolis
In Metropolis (2007–2015)  Roemers

masks:
Martin Roemers
Roemers
Roemers
Roemers
Roemers
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


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


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<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


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


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


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.

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Jeanne
Jeanne Mas
Jeanne Mas


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 <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


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<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


texts: corporation, he found financial reporting errors which shook investor confidence and briefly caused the Gillette stock to drop.When Mr. Gillette eventually died at age 77, Mr. Gaisman went on to become the leader of the Gillette Razor Corporation. In 1914, he also developed the autographic camera, a process where photographers could write small notes on the edge of their negatives. The rights to this process were purchased by George Eastman (of Eastman Kodak) in 1914 for the sum of $300,000. After his razorblade patent ran out in 1921, he continued to develop newer razorblade technologies in an effort to protect his patent. On November 21, 1922, he applied for a new patent on a newer razor technology with a double-edged safety blade that would fit into the Gillette handles, but the Gillette blades would not fit into his newer handles. On June 28, 1927, he was granted the patent for this newer "Probak" razor, and in 1928 he founded the Probak Razor Corporation. In 1932, at age 63 and still a bachelor, he moved from his Park Avenue apartment home to Hartsdale, NY after purchasing  of land from George Christiancy, former U.S. Minister to Peru and stockbroker.Shortly thereafter, he purchased  of adjacent undeveloped land from the Healy estate, the neighboring A.P. Theobald estate, and a tract from the Kuzmier estate, giving him a total of  along Ridge Road in Hartsdale. The Business Week magazine of 26 November 1930 described Mr. Gaisman as "... of medium height, of benign mien. He lives in a Park Avenue apartment in a state of contented batchelorhood [sic] ... He has voiced doubts as to whether any woman could live with him. The doubt applies to unconventional working habits and not to personal disposition. If he gets an idea in the middle of the night there is no more sleep for him.Like Gillette, Gaisman is an incurable inventor. Also like Gillette, Gaisman possesses a quality notoriously lacking in most inventors – shrewd executive ability." He retired from the Gilette Safety Razor Corporation in 1938, at which time he was reputed to be worth more than


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


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<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

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Lucinda L
. Combs Stritmatter
Combs
Combs
Lucy
Combs
Combs
Combs
Combs
Combs
Combs
Combs
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

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Combs
Combs
William Lockhart
Combs
Combs


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 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


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 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

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Combs
Combs
Leonora
Combs
Leonora
Li Hongzhang
Combs
Combs


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<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


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


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


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


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<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

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Alfred Gerald Caplin
Al Capp
Capp
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


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


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

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 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

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Alfred G
Al Capp
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


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


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 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


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".

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 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


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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 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

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Al Cap


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

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Al Hatt
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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


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

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Alex Raymond


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 1952, Capp published an article in Real magazine entitled "The REAL Powers in America" that further challenged the conventional attitudes of the day: "The real powers in America are women—the wives and sweethearts behind the masculine dummies...."

Highlights of the 1950s included the much-heralded marriage of Abner and Daisy Mae in 1952, the birth of their son "Honest Abe" Yokum in 1953, and in 1954 the introduction of Abner's enormous, long-lost kid brother Tiny Yokum, who filled Abner's place as a bachelor in the annual Sadie Hawkins Day race. In 1952, Capp and his characters graced the covers of both Life and TV Guide. The year 1956 saw the debut of Bald Iggle, considered by some Abner enthusiasts to be the creative high point of the strip, as well as Mammy's revelatory encounter with the "Square Eyes" Family—Capp's thinly-veiled appeal for racial tolerance. (This fable-like story was collected into an educational comic book called Mammy Yokum and the Great Dogpatch Mystery! and distributed by the Anti-Defamation League of B'nai B'rith later that year.) Two years later, Capp's studio issued Martin Luther King and the Montgomery Story, a biographical comic book distributed by the Fellowship of Reconciliation.Often, Capp had parodied corporate greed—pork tycoon J. Roaringham Fatback had figured prominently in wiping out the Shmoos. But in 1952, when General Motors president Charles E. Wilson, nominated for a cabinet post, told Congress "...what was good for the country was good for General Motors and vice versa", he inspired one of Capp's greatest satires—the introduction of


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 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

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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,

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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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Max Allan
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 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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Al Cap
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