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8mm and Super 8 film editor purchased new by me in 1974. Took it out of box for probably first time in 20 years today and found the original sales docket from Michaels in Melbourne for $29.50.
iPad photo
Representatives of striking independent truck drivers meet with Vice President Walter Mondale (seated, center) June 29, 1979 at the White House in an attempt to reach an agreement to end the work stoppage.
Mondale aide Jack Watson is standing immediately behind Mondale.
Truckers had been on strike since early June in what began as scattered halts to trucking over rising fuel prices and other independent trucker grievances.
The following day Watson released a plan that he called a “final offer” that included an Interstate Commerce Commission (ICC) rule permitting truckers to “pass through” rising fuel costs to businesses.
Other aspects of plan included support by the Carter administration for federal legislation ending a six-state refusal to increase the minimum weights of truck loads to the federal 80,000 lbs. that caused loads of some truckers to be lightened or partially off-loaded.
Other provisions included a federal promise for equal fuel distribution across the country, a coordinated federal program to ensure safety for truckers and a federal working party to find solutions to other problems of independent truckers.
The proposal fell short of the independent trucker representatives demands, but the strike was already crumbling with an increasing number of trucks on the road and blockades of oil terminals and food distribution centers dismantled.
By July 7th, a group representing 21 independent trucker associations voted to return to work. “We lost our bargaining power because so many truckers went back to work,” said Bill Hill of the Independent Truckers Unity Coalition to the Washington Post.
“Economically, we’re in bad condition to continue the strike right now,” he continued. Hill estimated fewer than 20 percent of the truckers were still on strike at that time.
The Independent Truckers Association that had initially publicized the strike nationwide and attempted to continue, but the back-to-work horse was already out of the barn. The ITA was initially formed in 1962 by Overdrive magazine editor Mike Pankhurst.
The strike had been spurred by a fuel crisis spurred by the revolution in Iran that led to prices increasing dramatically.
A previous nationwide strike by independents occurred during the 1973-74 gas crisis.
At the time, independent truck drivers’ rates were still subject to federal regulation and many earned a good living, but that would soon be challenged not by gas prices, but by deregulation.
Business Insider reported October 21, 2019:
“In the mid-20th century, truck drivers had to buy specific routes to move a certain type of product from one location to the other. But goods exempt from regulation moved at rates 20% to 40% below similar products that were regulated, according to Thomas Gale Moore, then a senior fellow at Stanford University's conservative public policy think tank Hoover Institution.
“Ultimately, that meant consumers were paying more because trucking was an industry with little competition and high barriers to entry. But it also meant truck drivers were better paid.
“The Motor Carrier Act of 1980 removed many of the cumbersome regulations that the previous law, passed in 1935, had put in place. Most notably, it allowed new trucking companies to open with relative ease and removed many of the route regulations. Companies also had more control over changing their rates.
“The law was passed by President Jimmy Carter, who declared that the MCA would save consumers as much as $8 billion ($25 billion in 2018 dollars) each year.
“Following the passing of the MCA, truck drivers' salaries tumbled. From 1977 to 1987, mean truck driver earnings declined 24%, according to research by Wayne State University economics professor Michael Belzer. And from 1980 to the present day, a Business Insider analysis found that median trucking wages have sunk as much as 35.8% in some metropolitan areas.
"’To be able to be a truck driver used to be quite a good blue-collar, middle-class job, but over the past 40 years, it has kind of dwindled away,’ Gordon Klemp, principal of the National Transportation Institute, previously told Business Insider.
“Unions also lost much of their power. Membership in Teamsters, which was once one of the most powerful unions around, has declined dramatically. In 1974, Belzer wrote that there were 2,019,300 truckers in Teamsters. Now, there are 75,000.
“When truck drivers were largely in Teamsters, work stoppages were common — and sometimes quite dramatic. In 1970, a nationwide trucker strike went on for more than a month, dealing a serious economic blow in cities like Chicago and St. Louis.
“In Cleveland, Ohio, the impacts even became one of domestic security as rock-throwing protesters drew 3,000 National Guardsmen to the city. "Helmeted troops, armed with M‐1 rifles, were stationed in pairs on some overpasses, while other guardsmen rumbled along on patrol in quarter‐ton trucks," reported The New York Times on May 1, 1970.
“The strike led to a pay increase of nearly 30% for all Teamsters truckers. The average nationwide hourly pay of $4 got a $1.10/hour bump, the Times reported.
The issue of the “barrier states” was not resolved until Surface Transportation Assistance Act of 1982 established the needed federal minimum for truck weight limits. This Act standardized truck size and weight limits across the country for traffic on the Interstate Highway System.
De-regulated and de-unionized, four out of five truckers are now independent owner-operators. Many more work for small non-union trucking companies. The two groups mostly eke out a living from what was once was a good blue-collar job.
For more information and related images, see flic.kr/s/aHsmQJFzet
The photographer is unknown. The image is an Associated Press photograph housed in the D.C. Library Washington Star Collection.
MMMay14_Day 20 Hollyburn skirt- the rest is RTW. MMMay14 begins to be a drag- I think I have used all the weather-appropriate me-mades and the weather does not get warmer, so I can't wear any of my summery ones (I was counting on them when I made my pledge!).
Snore Number Two.
editor(s) unknown. Toronto, Coach House Press, april 197o. 6oo copies.
not atall common, a 2-1/4 x 2-3/4 minibook casebound in phlorescent orangered covers with Jerry Ofo's cover graphic.
identified contributors are Edd Benton, Marc Chinoy, Maryrose Coleman, Ken Coupland, Robert Fones, Kenneth McRitchie, bpNichol, Jerry Ofo, D.M.Price, Andrew Robinson, Michael Tims. mostly, the names're left off the works inside
of particular interest in here is Nichol's 13 pp "TOTAL ASSAULT" SCRAPTURES lost sequence, consisting of multi-layered panelscapes with typed, letraset & drawn lettering, the narrative & characters moving between the interreferencing layers. Nichol's admittedly simplistic graphic style probably reaches its greatest sophistication here, especially in that areas of drawing become areas of shaped type.
as well, D.M.Price's also-13pp DEADCAT SPONSORS LEGISLATION is beautifully drawn & lettered, a series of related graphics in continuous-line-stylee drawing mode with interspersed shapes (imagine comics drawn by Freddie Hundertwasser).
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CARMINE INFANTINO
Flash 137
Carmine Infantino
BornMay 24, 1925
NationalityAmerican
Area(s) Penciller, Editor
Notable works Flash (Barry Allen)
Awards National Cartoonists Society Award, various Alley awards
Carmine Infantino (born May 24, 1925) is an American comic book artist and editor who was a major force in the Silver Age of Comic Books. He was inducted into the Comic Book Hall of Fame in 2000.
Early life and career
Carmine Infantino was born in Brooklyn, New York City.
He attended Public Schools 75 and 85 in Brooklyn before going on the High School of Industrial Arts (now the High School of Art and Design) in Manhattan. During his freshman year of high school, Infantino began working for the quirkily named Harry "A" Chesler, whose studio was one of a handful of comic-book "packagers" who created complete comics for publishers looking to enter the emerging field in the 1930s-1940s Golden Age of Comic Books. As Infantino recalled
“I used to go around as a youngster into companies, go in and try to meet people -- nothing ever happened. One day I went to this place on 23rd Street, this old broken-down warehouse, and I met Harry Chesler. Now, I was told he was a mean guy and he used people and he took artists. But he was very sweet to me. He said, 'Look, kid. You come up here, I'll give you a dollar a day, just study art, learn, and grow.' That was damn nice of him, I thought. He did that for me for a whole summer.”
Infantino, who also attended night classes at the Art Students League, became an art assistant at Quality Comics the following summer. Later, at Timely Comics, the Golden Age precursor of Marvel, Infantino got his first job drawing comics. With friend and high-school classmate Frank Giacoia penciling, Infanto inked the debut of the feature "Jack Frost" in USA Comics #1 (Aug. 1941). Infantino would eventually work for several publishers during the decade, drawing Airboy and the Heap for Hillman Periodicals; working for packager Jack Binder, who supplied Fawcett Comics; briefly at Holyoke; then landing at DC Comics, where he became a regular atist of the Golden Age Flash, Black Canary, Green Lantern and Justice Society of America.
During the 1950s, Infantino freelanced for Joe Simon and Jack Kirby's company, Prize Comics, drawing the series Charlie Chan, which in particular shows the influence both of Kirby's and Milton Caniff's art styles. Back at DC, during a lull in the popularity of superheroes, Infantino drew Westerns, mysteries, science fiction comics. As his style evolved, he began to shed both the Kirbyisms and the gritty shading of Caniff, and develop a clean, linear style.
The Silver Age
In 1956, DC editor Julius Schwartz assigned writer Robert Kanigher and artist Infantino to the company's first attempt at reviving superheroes: an updated version of the Flash that would appear in issue #4 (Oct. 1956) of the try-out series Showcase. Infantino designed the now-classic red uniform with yellow detail, striving to keep the costume as streamlined as possible, and he drew on his design abilities to create a new visual language to depict the Flash's speed, making the figure a red and yellow blur. The eventual success of the new, science-fictiony Flash heralded the wholesale return of superheroes, and the beginning of what fans and historians call the Silver Age of comics.
Showcase #4 (Oct. 1956): The Silver Age starts. Art by Carmine Infantino and Joe Kubert.
Infantino continued to work for Schwartz in his other features and titles, most notably "Adam Strange" in Strange Adventures, replacing Mike Sekowsky. In 1964, Schwartz was made responsible for reviving the faded Batman titles. Writer John Broome and artist Infantino jettisoned the sillier aspects that had crept into the series (such as (Ace the Bathound, and Bat-Mite) and gave the "New Look" Batman and Robin a more detective-oriented direction and sleeker draftsmanship that proved a hit combination. Other features and characters Infantino drew at DC include "The Space Museum", and Elongated Man
For his work in this period, he tied for the 1958 National Cartoonists Society award for the Comic Book Division.
After Wilson McCoy, the artist of The Phantom comic strip, died, Infantino finished one of his last stories. Infantino was a candidate for taking over the Phantom Sunday strip after McCoy's death, but the job was instead given to Sy Barry.
DC Comics editorial director
In 1967, Infantino was tasked with designing covers for the entire DC line. When DC was sold to Kinney National Company, Infantino was promoted to editorial director. He started by hiring new talent, and promoting artists to editorial positions. He hired Dick Giordano away from Charlton Comics, and made artists Joe Orlando, Joe Kubert and Mike Sekowsky editors. New talents such as Neal Adams and Denny O'Neil were injected into the company.
Infantino was made publisher in 1971, during a time of declining circulation for DC's comics. Infantino attempted a number of changes, including the launch of starting several new titles. Older characters including Green Lantern, Green Arrow, Superman, Wonder Woman and, again, Batman were revamped to mixed results.
The same year he was made publisher, Infantino scored a major coup in signing on Marvel Comics' star artist, Jack Kirby. Beginning with Jimmy Olsen, Kirby created his Fourth World saga that wove through that existing title and three new series he created. With sales of his comics landing below expectations, however, the titles were eventually canceled and a few years later Kirby went back to working at Marvel Comics.
In an effort to raise revenue, Infantino raised the cover price of DC's comics from 15 to 25 cents, simultaneously raising the page count by adding reprints and new backup features. Marvel met the price increase, then dropped back to 20 cents; Infantino stayed at 25 cents, a decision that ultimately proved bad for over-all sales.
After working with writer Mario Puzo on the Superman movie, Infantino collaborated with Marvel on the historic company-crossover publication Superman vs. Spider-Man. Yet before sales on that hit book had been recorded, Warner Communications replaced Infantino with Jenette Kahn, a person new to the comics field. Mr. Infantino returned to drawing freelance.
Later career
Infantino later drew for a number of titles for Warren Publishing and Marvel, including the latter's Star Wars, Spider-Woman, and Nova. In the 1980s, he again drew the Flash for DC. As of 2005, Infantino is retired, although he is often a guest at comic book conventions. Vanguard Productions published his autobiography The Amazing World of Carmine Infantino (ISBN 1-887591-12-5).
Awards
Infantino's awards include:
*1958 National Cartoonists Society Award, Best Comic Book
*1961 Alley Award, Best Single Issue: The Flash #123 (with Gardner Fox)
*1961 Alley Award, Best Story: "Flash of Two Worlds", The Flash #123 (with Gardner Fox)
*1961 Alley Award, Best Artist
*1962 Alley Award, Best Book-Length Story: "The Planet that Came to a Standstill!", Mystery in Space #75 (with Gardner Fox)
*1962 Alley Award, Best Pencil Artist
*1963 Alley Award, Best Artist
*1964 Alley Award, Best Short Story: "Doorway to the Unknown", The Flash #148 (with John Broome)
*1964 Alley Award, Best Pencil Artist
*1964 Alley Award, Best Comic Book Cover (Detective Comics #329 with Murphy Anderson)
*1967 Alley Award, Best Full-Length Story: "Who's Been Lying in My Grave?", Strange Adventures #205 (with Arnold Drake)
*1967 Alley Award, Best New Strip: "Deadman" in Strange Adventures (with Arnold Drake)
*1969 special Alley Award for being the person "who exemplifies the spirit of innovation and inventiveness in the field of comic art"
Categories: | American comics artists | Batman artists | Comic book editors | DC Comics executives | Flash (comics) artists |
It would seem that Lichtenstein was even less original than many of his existing detractors had thought.
Although Lichtenstein had been using comic book imagery in his paintings since 1957, he did not do large canvases reproducing single comic strip panels featuring speech balloons until he painted Look Mickey in the summer of 1961 4 months after he had, by his own admission, seen Warhol's canvases. Warhol had been painting single comic strip panels featuring speech balloons since 1960 - a year earlier than Lichtenstein. It is possible that Lichtenstein, as Warhol suspected, had seen Warhol's paintings at Bonwit Teller, although Lichtenstein never mentioned it in interviews. In any case, Lichtenstein admitted having seen Warhol's cartoon paintings prior to doing his own single panel comic strip paintings featuring speech balloons (Look Mickey) and it is possible he was influenced by Warhol's work.
www.flickr.com/photos/deconstructing-roy-lichtenstein/395...
www.warholstars.org/warhol1/11roylichtenstein.html
ROY LICHTENSTEIN
The first time that Warhol's large canvases of comic strip characters were exhibited publicly was in April 1961 as part of a window display at the Bonwit Teller department store. Ted Carey discovered afterwards that Roy Lichtenstein was doing similar work.
Ted Carey:
"... I can remember one Saturday afternoon going into Castelli [Gallery], and I was in looking at a show, and Ivan said, 'Oh, I've got something to show you...' so, we went into the closet and he pulled out this big Pop Art painting, and I can't remember what it was, but it was a cartoon-type painting. And I said, 'It looks like Andy Warhol.' and he said, 'No, it's Roy Lichtenstein.' And I said, 'Well it looks very much like some paintings that Andy is doing.' 'Yes, we've heard that Andy is doing some paintings like this,' he said, 'Leo would like to see them. So, tell Andy to give us a call.'"1
When Carey told Warhol of Lichtenstein's paintings, Warhol thought Lichtenstein was copying his ideas.
Ted Carey:
"... So, I went home and called Andy - no, I think, I went right over to Andy's house... and so, I said, 'Prepare yourself for a shock.' And he said, 'What?' I said, 'Castelli has a closet full of comic paintings.' And he said, 'You're kidding?!' And he said, 'Who did them?' And I said, 'Somebody by the name of Lichtenstein.' Well, Andy turned white. He said, 'Roy Lichtenstein.' He said, 'Roy Lichtenstein used to... ' - as I remember, he used to be a sign painter for Bonwit Teller, and here's where I'm a little bit confused because Andy... couldn't get anybody to show his early cartoon paintings, so he went to Gene Moore and Gene Moore said, 'Well I can put the paintings in the windows...' He put them in the 57th Street window... As I remember, the implication was: Andy felt that Lichtenstein had seen the paintings in the window and gave him the idea to do his paintings. Now, whether this is true or not, I don't know, but at this time, this is what Andy had felt."2
Lichtenstein later denied that he had any knowledge of Warhol's comic strip paintings prior to doing his own:
Roy Lichtenstein:
"I saw Andy's work at Leo Castelli's about the same time I brought mine in, about the spring of 1961... Of course, I was amazed to see Andy's work because he was doing cartoons of Nancy and Dick Tracy and they were similar to mine."3
Although Lichtenstein maintains that he saw Warhol's paintings at Castelli's gallery in "about" the Spring of 1961, Castelli did not have any Warhol paintings at that time. The only place they had been exhibited was in April 1961 in the windows of Bonwit Teller. Lichtenstein implies that Castelli was stocking Warhol's work prior to his own, whereas Carey's comments indicate the opposite - and Carey's comments are supported by the recollections of both Leo Castelli and Ivan Karp. Although Lichtenstein had been using comic book imagery in his paintings since 1957, he did not do large canvases reproducing single comic strip panels featuring speech balloons until he painted Look Mickey in the summer of 1961 4 months after he had, by his own admission, seen Warhol's canvases. Warhol had been painting single comic strip panels featuring speech balloons since 1960 - a year earlier than Lichtenstein. It is possible that Lichtenstein, as Warhol suspected, had seen Warhol's paintings at Bonwit Teller, although Lichtenstein never mentioned it in interviews. In any case, Lichtenstein admitted having seen Warhol's cartoon paintings prior to doing his own single panel comic strip paintings featuring speech balloons (Look Mickey) and it is possible he was influenced by Warhol's work.
davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html
www.flickr.com/photos/deconstructing-roy-lichtenstein/
www.valleyadvocate.com/gbase/Arts/content?oid=oid:688
Two of my best editors, Francesco and Simon, make time waiting for our bi-annual "editorial retreat" dinner. Watch out, girls...these guys mean business.
Tom Smith of Editors performs live during the first night of 'Mencap's Little Noise Sessions' at Union Chapel on November 16, 2009 in London, England. (Photo by Simone Joyner/Getty Images)
Editors live @ Terminal 5 , NYC 01-17-08
all rights reserved: www.rockographer.com & www.metromix.com
Editors
City Sound 2014
Ippodromo del Galoppo Milan, Italy IT
20th July 2014
This image is copyright © Roberto Finizio. All right reserved. This photo must not be used under ANY circumstances without written consent.
for info and photos visit my website www.robertofinizio.it
Questa immagine è protetta da copyright © Roberto Finizio. Tutti i diritti sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
per info e materiale fotografico visita il mio sito www.robertofinizio.it
Salvat Editores (Barcelona) - 2002
Serie: Salvat Contemporánea
Título original: Lieber Fidel
“Querido Fidel...” así comienza una carta de Marita Lorenz escrita antes de su viaje a Cuba durante la primavera de 2000. Un viaje que la ayuda a rememorar su pasado como amante de Fidel y espía de la CIA. La vida de Marita parece sacada de una novela de espionaje: inquietante, desconcertante y, sin embargo, cierta.
“Te convertiré en la reina de Cuba”, le prometió Fidel en 1959. Marita tenía 19 años y se dirigía a la Habana en el barco de su padre cuando conoció al victorioso revolucionario, del que se enamoró perdidamente: Este flechazo supuso el comienzo de uno de los relatos más asombrosos y extravagantes de la historia. Amaba a Fidel y se quedó embarazada, pero seis meses más tarde en extrañas circunstancias pierde el hijo que esperaba. A partir de ese momento, la CIA vio en Marita el instrumento perfecto para eliminar a Fidel: “me dijeron que si mataba a Fidel, la cristiandad se salvaría de la invasión comunista”. Pero su amor era más fuerte que la misión que le habían encomendado y no fue capaz de ejecutarla. Marita aceptó colaborar con la CIA para saldar la deuda que tenía con la organización. Se formó como terrorista en la región pantanosa de los Everglades y conoció al verdugo del presidente JFK, Lee Harvey Oswald. La vida de Marita Lorenz discurre sobre una cuerda continuamente en suspensión. Una biografía que combina la pasión, el odio y la supervivencia y desvela algunas verdades ocultas.
Marita Lorenz nace en Bremen en 1939. Hija del capitán Heinrich F. Lorenz y de la actriz y espía Alice June Lofland, sobrevive a la guerra y al campo de concentración de Bergen-Belsen, lo que la convierte en una mujer fuerte. Al terminar la guerra, con sólo 7 años de edad, es violada por un soldado norteamericano. Viaja a E.E.U.U. con su madre y sus hermanos, aunque es en el barco de su padre donde se siente segura y donde conoce a Fidel. En este momento comienza su relación con la CIA, que se verá maltrecha cuando en 1963 declara que pocos días antes del asesinato de JFK se encontraba en Dallas con un comando financiado por la organización. Actualmente vive del subsidio del paro en un barrio pobre de Nueva York.
PLEASE DO NOT CLICK ON "YOUR PHOTOSTREAM" ON THE RIGHT.
To view my "Photo By Russell Kwock" Bay Area Sports Time Machine photo gallery, go here:
www.flickr.com/photos/golfbumsf/sets/72157628794754707/
No.
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Who : Gene Ransom / Point Guard, Berkeley High School (Berkeley, California)
(While in Flickr, click directly on the pic to enlarge it. Click on it a second time to bring it back to the small size.)
What : 35mm Negative Scan
Where : Richmond Auditorium, Richmond, California
When : 1973-1974
Event : Berkeley High vs. JFK-Richmond
Photographer : Russell Kwock / Berkeley High Photography Editor (Senior), 17 YO Shooter
www.facebook.com/russell.kwock
Image Source : Russell
Scanned By : Russell
Contributor : Russell
Russ-pedia Notes : Copyright Russell Kwock
Technical: Kodak Plus-X, straight ASA 125, Honeywell Strobonar 772, Nikon Nikkor 50mm F2.0, flash synch 1/125, F5.6
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"Photo By Russell Kwock"
*** San Francisco Bay Area Sports Photographer ***
Since 1971...
All photographs and videos are
COPYRIGHT RUSSELL KWOCK
More 35mm black/white sports pics from my photo vault will be added to Flickr...check back...
Oct. 2012 New: "Thailand - Asia Photo Blog"
www.flickr.com/photos/golfbumsf/sets/72157631862809626/
Updated: 2016 1224
Shot with the Leica Q-P.
Camera files settings - RAW and JPEGS (B/W).
Straight out of Camera (S.O.O.C.) JPEGS, tweaked in Apple Photos Editor.
What is a good text editor on Linux
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com