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Day 224 of the 365 days challenge.
Little-known fact about me: I design jewelry! I make my own handmade chain, I can do those weird beading stitches, you name it. I used to subsidize my photography with money I earned designing jewelry, but then my photography started earning me way more than my jewelry, and so it kind of went by the wayside. I do occasionally take commissions, when people remember it's something I do. (Just got one in fact!)
As a result, I became really well aquainted with the spiritual properties traditionally associated with each stone. I don't really believe in it, but I keep the right stones around because.. well.. I mean, why does an atheist wear a cross? I don't know. I just like them around, it's comforting. And sometimes I make presents for my friends out of the stones which seem to remind me of my favorite qualities about them.
Anyway, this is malachite.
Malachite's gift is assisting one to be comfortable in changing situations.
Excellent stone for identifying, recognizing and releasing negative experiences, especially one that you cannot recall.
This is particularly useful for people on a spiritual path, or in recovery, for releasing guilt.
How does one make amends for that which you have no recollection or knowledge? Malachite will help you clear the past that you may have no conscious awareness of, yet remains a burden you are carrying.
It can be helpful in gaining insight into the cause of specific conditions, such as relationships, resentments, and anxiety so that you can release them.
“Baby, if tonight is the last night
Can’t you accept this love, even if it’s childish?
Just because you created this waiting and obsession
Doesn’t mean I’ve never held resentment toward you
Please stop playing with my brand new heart
My innocent heart.” (www.kpoplyrics.net/nature-girls-english-romanized-lyrics....)
The lyrics above are the English translation of Nature’s song “Girls,” from the site “Kpop Lyrics.Net.” I took all ten of these images for this project on a walk, where I only had myself and this song for company. During my walk, I lost myself through the haunting atmosphere of Nature’s “Girls.” My images were heavily influenced by the gothic ambiance of the song, and the aesthetic of the accompanying music video. This is why I edited all of my images in the style of black and white. I didn’t face any particular challenges for this project. However, my goal with shooting and editing was to show a different side of myself. I wanted to demonstrate that I’m not just a “one trick pony” per say. With that, I sincerely hope you all enjoy my photography series.
“I’m just a girl in front of love
Love Really really
Makes me silly silly
I feel so ridiculous, I feel so ridiculous
My heart is Really really
Hot like chilly chilly
I keep getting more childish
I’m just a girl in front of love
Because I want to hear the words, “I love you”
I’ll probably be crying again, alone tonight
Please stop playing with my brand new heart
My innocent heart.” (www.kpoplyrics.net/nature-girls-english-romanized-lyrics....)
This majestic castle was built over 700 years ago, and was inspired by Roman, Constantinople, and Arthurian architecture. It sits on the intersection of the River Seiont, and the Menai Strait, and was a symbol of British rule over the Welsh; to the Welsh it was also a source of resentment towards the British.
This horse galloped into the paddock after a long ride at the end of a hot day.
First, it tried to cool off by rolling in the sand, then headed to the farm shed - but the farm dog chased it out again.
The horse got agitated and started a set of exercises to show its discontent and resentment.
Stamping on the ground fiercely it raised a cloud of dust, capturing the afternoon sun sneaking in through the trees and creating the perfect setting for this series of photos.
Coptic Christians in Cairo Egypt living in El Zabaleen, or garbage city. For generations families would work together to collect all the rubbish from the streets of Cairo and take it back to their homes. They then sift and sort through all the items which are then sold on to merchants. 85% of all solid waste is thus recycled from the city.
Families used to own pigs that used to eat the organic waste but everyone of them was slaughtered during 2009 during the outbreak of the H1N1 'swine' flu, even though there were no cases reported in Egypt. It was the only country that carried out a mass cull, and was also reported that it was done in an inhumane manner. This increased tension and resentment with the Government.
Eight vertical curved and truncated elements stand along a high black hole. They are covered with questions about threats to the future of the human species:
Could weapons of mass destruction and rivalries between states or populations lead to the disappearance of
Could an excessive increase of human population and social inequalities lead to the disappearance of
Could aggressivity, resentment, contempt, greed and hate lead to the disappearance of
Could pollution of human origin and excessive biodiversity loss lead to the disappearance of
Could excessive greenhouse gas emissions of human origin lead to the disappearance of
Could an excessive exploitation of natural resources lead to the disappearance of
Could an excessive deforestation and the melting of permafrost and glaciers lead to the disappearance of
Could religious wars and an excessive instrumentalization of gods lead to the disappearance of
Technique: wood, paper, cardboard. Size: 150 x 95 x 95 cm.
SHIR KHAN, AFGHANISTAN - JUNE 03: Afghan children walk past German soldiers on June 3, 2010 in Shir Khan, Afghanistan. Germany has more than 4,500 military forces in Afghanistan as part of the US-led International Security Assistance Force. Amid growing public resentment towards the prolonged mission in Afghanistan, the German parliament, the Bundestag, voted in February for extension of Germany's military mission in Afghanistan and the deployment of additional 859 troops.
It was when I got to this image in my review of my most recent batch of uploads that I was suddenly gripped by a mortal dread that I had jeopardized the existence of my Flickr account. I broke out in a cold sweat.
For all I knew, the 28,868 photos I've placed here and the incalculable amount of time I have devoted to creating the images and writing about them might go down the tubes instantaneously. That could happen if the powers that be were to conclude that my photo of a famous print of Custer's Last Stand constituted a repeat violation of Flickr's community standards so grave that it required summary application of the virtual death penalty.
You, my Flicker followers, are probably as astonished to learn that Flickr's compliance folks took issue with one of my images as I was when I received the notice a while ago.
Here is the notice as translated from the original Portuguese, the language I've selected in order to hold on to some of what I learned during my two years of university-level study of that language.
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Hi, By joining Flickr, you have agreed to abide by Flickr's Terms of Service and Community Guidelines. www.flickr.com/help/guidelines www.flickr.com/help/terms
Your account has been brought to our attention and, upon review, we have determined that its contents were a violation because it contains a collection of confidential material.
This may include images of war events or graphic crimes copied from the media or news reports. It is forbidden to send screenshots or videos of news and other sources.
As a reminder, only content you've photographed or created is allowed on Flickr.
As a result, we remove content of this nature from your account.
Please ensure that any remaining uploads containing similar material are removed as soon as possible.
Please be aware that any subsequent violation of Flickr's Community Guidelines or Terms may result in termination of your account without notice. Best regards, Flickr Team.
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Does anyone see the glaring due-process deficiency here?
Because Flickr failed to identify the offending image, I have no idea which of my more than 28,000 images allegedly violated the standards cited in the notice. How, then, can I possibly "ensure that any remaining uploads containing similar material are removed as soon as possible"?
Frankly, I'm not aware of ever having uploaded "confidential material. . . . [that] may include images of war events or graphic crimes copied from the media or news reports."
Tell me, have you ever come across anything matching that description in my photostream?
For that matter, if images are copied from the media or news reports, how can they be considered confidential? Did Flickr's moderators mean to use a different word beginning with the letter "C"? Were they grasping for the word "copyrighted"?
I did not appeal this to Flickr because I have no reason to believe that a bureaucracy that bungled a takedown notice this badly would give me a fair hearing. For all I know someone could pull the plug on my account in retaliation for my perceived impertinence and I'd be screwed.
Hence, out of an abundance of caution, I have decided to self-censor my photo of a painting of Custer's Last Stand that was probably as ubiquitous as urban pigeons in its day. That's because the painting itself is one big image of a "war event." Depending on one's perspective, the painting also depicts "crimes" (i.e., homicide) on a massive scale.
If anyone is aware of any Flickr community standards that prohibit venting about Flickr itself, please let me know right away. This minor piece of dissent isn't worth the life of my Flickr account!
Here's what I had to say about the now obscured image. If you wish to see it, Flicker has left me no choice but to tell you to search for it yourselves.
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This is yet another piece I did not buy when I was making the rounds of antique and vintage stores in Astoria over the weekend.
It is a piece of Americana that seems downright transgressive by today's standards.
It appears that there are scads of this print for sale on eBay and elsewhere at any given time. I've established that style of the Anheuser-Busch label changed over the years, but I didn't find any examples online with a label identical to this one. My sense is that it dates to the first half of the 20th century.
There is a story behind this image:
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Craig Johnson on Custer, and the painting that ornamented barroom walls across America, then vanished.
October 2, 2020 By Craig Johnson
Questionable, inebriated art critics have referred to Custer’s Last Fight as the most viewed piece of artwork in the history of America. You may not know the artist, but I can assure most of you that you’ve seen his work in either a bar, saloon, restaurant, garage or rumpus room across the country.
The story of Cassilly Adams’ 1885 painting approaches the drama of the historic moment it represents and is something I’ve wanted to write about for some time. Although I’ve been interested in the Battle of the Little Big Horn, I never have developed the mania that seems to overtake those who fall under the spell of the historic incident that took place on the rolling hills of eastern Montana just up the road from my ranch. There has been so much written and re-written on the subject that I’ve avoided it like a mountain that seemed too tall to have to climb until I stumbled onto a story that triggered my interest.
I have seen reproductions of the painting hanging in every bar and saloon in the West, but I stumbled onto its story in the Norman Maclean Reader, a collection of essays, letters, and other writings by, in my estimation, one of the most eminent men of letters in the West, the man who gave us A River Runs Through It. A portion of the book is dedicated to an unfinished Custer manuscript that the great writer either gave up on, or one which he simply discovered he didn’t have time to write. The Cassilly Adams painting is referred to numerous times and its social implications intrigued me to the point that I started off on the first of many steps in climbing mount Custer.
The trick to approaching any monumental and controversial aspect of history is to find an access point, a facet that provides an entrance that might not have been used before or affords a perspective that endows the subject matter with a fresh point of view.
A shirttail ancestor of the Adam’s family of Boston fame, Cassilly was a Civil War veteran who studied at the Boston Academy of Arts and the Cincinnati Art School before settling in St. Louis. At 9.5 by 16.5 feet, his most epic work took a year to complete whereupon it toured the country where citizens could relive the battle at two bits a pop.
The painting, however, didn’t realize the profits the owners imagined, so it was sold to a saloonkeeper in St. Louis where it hung on the wall until the establishment went bankrupt, at which point Adolphus Busch, the head of a fledgling brewery named Anheuser Busch, acquired the painting in exchange for a $35,000 beer bill.
He then rolled it up, stuck it under his arm, and carried it back to the fledgling brewery where he instructed his advertising department that they were going to reproduce the painting in order to advertise their beer. The company began distributing lithographs, prints, and posters wherever Budweiser beer was sold, the theory being that the brewery in St. Louis would be a much greater and going concern once the marketing campaign had run its course—and boy howdy, did it ever.
The eighteen-nineties were an interesting period in American history. Following the depression of ’93 when advertising was just beginning to take hold nationally, campaigns combined with manufacturing to become consumer driven, big business. Even though Libby Custer’s campaign to revitalize her husband’s reputation had been in full swing for decades, it now seemed like a perfect pairing with Budweiser, the beer of action, even if George Armstrong Custer was a teetotaler.
In the painting flaxen tousled Custer is depicted swinging a sabre even though the 7th Cavalry as an expeditionary force had not been issued them and the general had cut off all his hair the night before. The rest of the painting itself is not without controversy, with a number of historical inaccuracies, not the least of which is a somewhat foreign topography that has the Lakota/Cheyenne village on both sides of the Little Big Horn River which may have been borrowed from the highly successful Buffalo Bill’s Wild West recreation backdrops of the day.
The son of the artist, William Apthorp Adams, stated that models were posed by Sioux Indians in their war paint and also by cavalrymen in the costume of the period. If such is the case, the soldiers fared much better in that the warriors of the Northern Plains appear to have arrived via Rorke’s Drift, by way of the Everglades.
It’s no surprise that the influence of the Zulu war in Africa would’ve held stead in the artist’s imagination in that the two comparably technologically advanced and colonializing countries had been knocked for a loop by what were then seen then as primitive tribesman.
The Seminole headdresses are little more difficult to explain.
Even Ernest Hemingway mentions the advertising device in For Whom the Bell Tolls when Robert Jordan remembers his grandfather remarking, “Custer was not an intelligent leader of cavalry, Robert.” His grandfather had said. “He was not even an intelligent man.”
He remembered that when his grandfather said that he felt resentment that any one should speak against that figure in the buckskin shirt, the yellow curls blowing, that stood on the hill holding a service revolver as the Sioux closed in around him in the old Anheuser-Busch lithograph that hung on the poolroom wall in Red Lodge.
With an initial run of over 15,000 prints and 18 subsequent editions totaling well over a million copies, Adolphus Busch, having realized the commercial potential of the painting had waned, presented Custer’s Last Fight to the 7th Cavalry in Fort Riley, Kansas in 1896 in a fit of philanthropic zeal. Later, the headquarters was relocated to Fort Grant and the painting decamped along with them but was then lost or misplaced. Abandoned to antiquity, it was rediscovered by Col. John K. Herr in 1934 while on maneuvers in the abandoned Arizona fort, rolled onto a flagpole and stuffed in the rafters of a derelict building. By then in poor condition, it was restored by the W.P.A. in Boston and was returned to the 7th where it hung on the wall in the officer’s club in Fort Bliss, Texas.
At this point I’d like to tell you where you could visit the painting and access its artistic merits yourself, but such is not the case in that on the velvety night of June 13, 1946, there was a fire in the officer’s club and the painting was destroyed.
Or was it?
Herein lies the better part of being an author of fiction, and my first step up mount Custer.
Rocinha slum - favela - , Río de Janeiro, Brazil. An agency arranges tours of the favelas and spends part of the gains is on charity in the favelas, mostly on building schools. This means that you're actually welcome - even though some of the young men, reasonably enough, showed signs of resentment.
These are photos from a school.
"Humor is the great thing, the saving thing. The minute it crops up, all our irritations and resentments slip away, and a sunny spirit takes their place."
(Mark Twain)
sorry my darling Nasher ...a special photo will come for you... but for now... at least here is a smile ;)
Thomas Wolsey (c. March 1473[1] – 29 November 1530; sometimes spelled Woolsey) was an English political figure and cardinal of the Roman Catholic Church. When Henry VIII became king of England in 1509, Wolsey became the King's almoner.[2] Wolsey's affairs prospered, and by 1514 he was the controlling figure in virtually all matters of state and extremely powerful within the Church. The highest political position he attained was Lord Chancellor, the King's chief adviser. In that position, he enjoyed great freedom, and was often depicted as an alter rex (other king).
Within the Church, he became Archbishop of York, the second most important seat in England, and then was made a cardinal in 1515, giving him precedence, even over the Archbishop of Canterbury. His main legacy is from his interest in architecture, in particular his old home of Hampton Court Palace, which stands today.
Thomas Wolsey was born circa 1473, the son of Robert Wolsey of Ipswich and his wife Joan Daundy.[2] His father was widely thought to have been a butcher[3] and a cattle dealer,[4] but sources indicate that Robert Wolsey died at the Battle of Bosworth Field and was a significant casualty. Robert may have been a respected and wealthy cloth merchant, and the butcher story was perhaps invented to demean Wolsey and show how high he had climbed in terms of status.
Thomas Wolsey attended Ipswich School[5] and Magdalen College School before studying theology at Magdalen College, Oxford. On 10 March 1498, he was ordained a priest in Marlborough,[6] Wiltshire and remained in Oxford, first as the Master of Magdalen College School before quickly being appointed the dean of divinity. Between 1500 and 1509 he held the living of Church of Saint Mary, Limington, in Somerset.[7] In 1502, he left and became a chaplain to Henry Deane, archbishop of Canterbury, who died the following year.[2] He was then taken into the household of Sir Richard Nanfan, who trusted Wolsey to be executor of his estate. After Nanfan's death in 1507, Wolsey entered the service of Henry VII.
It was to Wolsey’s advantage that Henry VII had introduced measures to curb the power of the nobility and was prepared to favour those from more humble backgrounds.[8] Henry VII appointed Wolsey royal chaplain.[9] In this position Wolsey was secretary to Richard Foxe, who recognized Wolsey's innate ability and dedication and appreciated his industry and willingness to take on tedious tasks.[10] Thomas Wolsey’s remarkable rise to power from humble origins can be attributed to his high level of intelligence and organisation, his extremely industrious nature, his driving ambition for power, and the rapport he was able to achieve with the King. In April 1508, Wolsey was sent to Scotland to discuss rumours of the renewal of the auld alliance with King James IV.[11]
Wolsey's rise coincided with the accession of the new monarch, Henry VIII, whose character, policies and diplomatic mindset differed significantly from those of his father. In 1509, Henry appointed Wolsey to the post of Almoner,[2] a position that gave him a seat on the Privy Council, providing an opportunity to raise his profile and to establish a rapport with the King.[12] A factor in Wolsey's rise was that the young Henry VIII was not particularly interested in the details of governing during his early years.[13] Under the tight personal monarchy of Henry VII, Wolsey was unlikely to have obtained so much trust and responsibility.
The primary counsellors whom Henry VIII inherited from his father – Richard Foxe (Bishop of Winchester) and William Warham (Archbishop of Canterbury) – were cautious and conservative, advising the King to be a careful administrator like his father. Henry soon appointed to his Privy Council individuals more sympathetic to his own views and inclinations. Until 1511, Wolsey was adamantly anti-war; however, when the King expressed his enthusiasm for an invasion of France, Wolsey was able to adapt to the King's mindset and gave persuasive speeches to the Privy Council in favour of war. Warham and Foxe, who failed to share the King’s enthusiasm for the French war, fell from power (1515/1516) and Wolsey took over as the King's most trusted advisor and administrator. In 1515, Warham resigned as Lord Chancellor, probably under pressure from the King and Wolsey, and Henry appointed Wolsey in his place.[14]
Wolsey carefully tried to destroy or neutralise the influence of other courtiers. He was blamed for the fall of Edward Stafford, 3rd Duke of Buckingham, in 1521; and in 1527 he prosecuted Henry's close friend William Compton and Henry's ex-mistress Anne Stafford, Countess of Huntingdon, through the ecclesiastical courts for adultery. In the case of Charles Brandon, Duke of Suffolk, Wolsey attempted to win his favour instead, by his actions after the Duke secretly married Henry’s sister Mary Tudor, Queen of France, much to the King’s displeasure. Wolsey advised the King not to execute the newlyweds, but to embrace them.
Wolsey's rise to a position of great secular power paralleled increased responsibilities in the Church. He became a Canon of Windsor in 1511, the same year that he became a member of the Privy Council. In 1514 he was made Bishop of Lincoln, and then Archbishop of York in the same year. Pope Leo X made him a cardinal in 1515, with the titular church S. Cæciliæ trans Tiberim. As tribute to the success of his campaign in France and subsequent peace negotiations, Wolsey was further rewarded by the church: in 1523 he became Prince-Bishop of Durham.
The war against France in 1512–14 was the most significant opportunity for Wolsey to demonstrate his talents in the foreign policy arena. A convenient justification for going to war came in 1511 in the form of a plea for help from Pope Julius II, who was beginning to feel threatened by France. England formed an alliance with the Pope, Ferdinand V of Spain, and Maximilian I, Holy Roman Emperor against Louis XII of France.
The first campaign against France was not a success, partly due to the unreliability of the alliance with Ferdinand. Henry learned from the mistakes of the campaign and in 1513, still with papal support, launched a joint attack on France with Maximilian, successfully capturing two French cities and causing the French to retreat. Wolsey's ability to keep a large number of troops supplied and equipped for the duration of the war was a major factor in its success. Wolsey also had a key role in negotiating the Anglo-French treaty of 1514, which secured a temporary peace between the two nations. Under this treaty, the French king, Louis XII would marry Henry’s young sister, Mary. In addition England was able to keep the captured city of Tournai and to secure an increase in the annual pension paid by France.[16]
Meanwhile, a turnover of rulers in Europe threatened to diminish England’s influence. Peace with France in 1514 had been a true achievement for Wolsey and the King. With Henry’s sister, Mary, married to the French King, Louis XII, an alliance was formed, but Louis was not in good health. Less than three months later, Louis died and was replaced by the young and ambitious Francis I.
Queen Mary had allegedly secured a promise from Henry that if Louis died, she could marry whomever she pleased.[citation needed] On Louis' death, she secretly married Charles Brandon, 1st Duke of Suffolk, with Francis I's assistance, which prevented another marriage alliance. As Mary was the only princess Henry could use to secure marriage alliances, this was a bitter blow. Wolsey then proposed an alliance with Spain and the Holy Roman Empire against France.
The death of King Ferdinand of Spain, the father-in-law of Henry VIII, and England's closest ally, in 1516 was a further blow. Ferdinand was succeeded by Charles V, who immediately proposed peace with France. On the death of Maximilian I, Holy Roman Emperor, in 1519, Charles was elected in his stead; thus Charles ruled a substantial portion of Europe and English influence became limited on the continent.
Wolsey, however, managed to assert English influence through another means. In 1517, Pope Leo X sought peace in Europe to form a crusade against the Ottoman Empire. In 1518 Wolsey was made Papal Legate in England, enabling him to work for the Pope’s desire for peace by organising the Treaty of London. The Treaty showed Wolsey as the arbiter of Europe, organising a massive peace summit involving twenty nations. This put England at the forefront of European diplomacy and drew her out of isolation, making her a desirable ally. This is well illustrated by the Anglo-French treaty signed two days afterwards.
It was partly this peace treaty that caused conflict between France and Spain. In 1519, when Charles V ascended to the throne of the Holy Roman Emperor, Francis I, the King of France, was infuriated. He had invested enormous sums in bribing the electorate to elect him as emperor, and thus, he used the Treaty of London as a justification for the Habsburg-Valois conflict. Wolsey appeared to act as mediator between the two powers, both of whom were vying for England’s support.
Another of his diplomatic triumphs was the Field of the Cloth of Gold, in 1520. Wolsey organised much of this grandiose meeting between Francis I of France and Henry VIII, accompanied by some five thousand followers. Though it seemed to open the door to peaceful negotiations with France, if that was the direction the King wished to go, it was also a chance for a lavish display of English wealth and power before the rest of Europe. With both France and Spain vying for England’s allegiance, Wolsey could choose the ally that better suited his policies. Wolsey chose Charles mainly because England's economy would suffer from the loss of the lucrative cloth trade industry between England and the Netherlands had France been chosen instead.
Under Wolsey's guidance, the chief nations of Europe sought to outlaw war forever among Christian nations. Mattingly (1938) studied the causes of wars in that era, finding that treaties of nonaggression such as this one could never be stronger than the armies of their sponsors. When those forces were about equal, these treaties typically widened the conflict. That is, diplomacy could sometimes postpone war, but could not prevent wars based on irreconcilable interests and ambitions. What was lacking, Mattingly concludes, was a neutral power whose judgements were generally accepted either by impartial justice or by overwhelming force
The Treaty of London is often regarded as Wolsey’s finest moment, but it was abandoned within a year. Wolsey developed links with Charles in 1520 at the Field of the Cloth of Gold. Later at the Calais Conference (1521) Wolsey signed the Secret Treaty of Bruges (1521) with Charles, stating that they would join Spain in a war against France if France refused to sign the peace treaty; ignoring the Anglo-French treaty of 1518. Wolsey's relationship with Rome was also ambivalent. Despite his links to the papacy, Wolsey was strictly Henry’s servant. Though the Treaty of London was an elaboration on Pope Leo's ambitions for European peace, it was seen in Rome as a vain attempt by England to assert her influence over Europe and steal some papal thunder. Furthermore, Wolsey’s peace initiatives prevented a crusade to the Holy Land, which was the catalyst for the Pope’s desire for European peace.
Cardinal Lorenzo Campeggio, who represented the Pope at the Treaty of London, was kept waiting for many months in Calais before being allowed to cross the Channel and join the festivities in London; thereby, Wolsey was asserting his independence of Rome. An alternative hypothesis is that Campeggio was kept waiting until Wolsey received his legacy, thus asserting Wolsey's attachment to Rome.
Though the English gain from the wars of 1522–23 was minimal, their contribution certainly aided Charles in his defeat of the French, particularly in 1525 at the Battle of Pavia, where Charles' army captured the French king, Francis I. Henry then felt there was a realistic opportunity for him to seize the French crown, which the kings of England had long laid claim to. Parliament, however, refused to raise taxes. This led Wolsey to devise the Amicable Grant, which was met with even more hostility, and ultimately led to his downfall. In 1525, after Charles had abandoned England as an ally, Wolsey began to negotiate with France, and the Treaty of the More was signed with the Regent of France during Francis' captivity, his mother, Louise of Savoy.
The closeness between England and Rome can be seen in the formulation of the League of Cognac in 1526. Though England was not a part of it, the League was organized in part by Wolsey with papal support. Wolsey’s plan was that the League of Cognac, composed of an alliance between France and some Italian states, would challenge Charles’ League of Cambrai. This initiative was both a gesture of allegiance to Rome and an answer to growing concerns about Charles V's dominance over Europe.
The final blow to this policy came in 1529, when the French made peace with Charles. Meanwhile, the French also continued to honour the "Auld Alliance" with Scotland, stirring up hostility on England's border. With peace between France and the Emperor, there was no one to free the Pope from Charles, who had effectively held Clement VII captive since the Sack of Rome in 1527. Therefore there was little hope of securing Henry an annulment from his marriage to Charles’ aunt, Catherine of Aragon. Since 1527, Wolsey’s foreign policy had been dominated by his attempts to secure an annulment for his master, and, by 1529, none of his endeavours had succeeded.
Henry's marriage to Catherine of Aragon had produced no sons who survived infancy; the Wars of the Roses were still within living memory, leading to the fear of a power struggle after Henry's death. His daughter Mary was not considered capable of holding the country together and continuing the Tudor dynasty because England, until then, had not accepted a queen regnant (with the exception, perhaps, of Empress Matilda, who fought and lost a long civil war in an attempt to keep her throne).
Henry expressed the belief that Catherine's inability to produce a viable male heir was due to her being the widow of his elder brother, Arthur, Prince of Wales, which, he professed, violated Biblical proscription and cursed his marriage as incestuous. He also believed that the papal dispensation for his marriage to Catherine was invalid because it was based upon the claim that Catherine was still a virgin after her first husband's death. Henry argued that Catherine's claim was not credible, and thus, the original papal dispensation must be withdrawn and their marriage annulled. Henry's motivation has been attributed to his determination to have a son and heir, and to his desire for Anne Boleyn, one of his wife's maids-of-honour. Catherine had no further pregnancies after 1519; Henry began annulment proceedings in 1527.
Catherine, however, maintained that she had been a virgin when she married King Henry. Because Catherine was opposed to the annulment and a return to her previous status as Dowager Princess of Wales, the annulment request became a matter of international diplomacy, with Catherine's nephew, Charles V, pressuring the Pope to not annul his aunt's marriage. Pope Clement VII was presented with a problem: he could either anger Charles or else anger Henry. He delayed announcing a decision for as long as possible; this infuriated Henry and Anne Boleyn, who began to doubt the papal legate Wolsey's loyalty to the State over the Church.
Wolsey appealed to the Pope for an annulment on three fronts. Firstly, he tried to convince the Pope that the original papal dispensation was void as the marriage clearly went against words in the Bible, in the book of Leviticus. Secondly, Wolsey objected to the original dispensation on technical grounds, and claimed it was incorrectly worded. (However, shortly afterwards, a correctly worded version was found in Spain). Thirdly, Wolsey wanted the Pope to allow the final decision to be made in England, which of course, as papal legate, he would supervise.
In 1528 the Pope decided to allow two papal legates to decide the outcome in England: Wolsey and Cardinal Campeggio. Wolsey was confident of the decision. However, Campeggio took a long time to arrive, and when he finally did arrive he delayed proceedings so much, the case had to be suspended in July 1529, effectively sealing Wolsey's fate.
During his fourteen years of chancellorship, Cardinal Wolsey had more power than any other Crown servant in English history. As long as he was in the King’s favour, Wolsey had a large amount of freedom within the domestic sphere, and had his hand in nearly every aspect of its ruling. For much of the time, Henry VIII had complete confidence in him, and as Henry's interests inclined more towards foreign policy, he was willing to give Wolsey a free hand in reforming the management of domestic affairs, for which Wolsey had grand plans.
Wolsey made significant changes to the taxation system, devising, with the treasurer of the Chamber, John Heron, the "Subsidy". This revolutionary form of tax was based upon accurate valuations of the taxpayer’s wealth, where one shilling was taken per pound from the income. The old fixed tax of 15ths and 10ths had meant that those who earned very little money had to pay almost as much in tax as the wealthy. With the new income tax the poorer members of society paid much less. This more efficient form of taxation enabled Wolsey to raise enough money for the King’s foreign expeditions, bringing in over £300,000. Wolsey was also able to raise considerable amounts of capital through other means, such as through "benevolences" and enforced loans from the nobility, which raised £200,000 in 1522.
As a legal administrator Wolsey reinvented the equity court, where the verdict was decided by the judge on the principle of "fairness". As an alternative to the Common Law courts, Wolsey re-established the position of the prerogative courts of the Star Chamber and the Court of Chancery. The system in both courts concentrated on simple, inexpensive cases, and promised impartial justice. He also established the Court of Requests (although this court was only given this name later on) for the poor, where no fees were required. Wolsey’s legal reforms were popular, and overflow courts were required to attend to all the cases. Many powerful individuals who had felt themselves invincible under the law found themselves convicted; for example, in 1515, the Earl of Northumberland was sent to Fleet Prison and in 1516 Lord Abergavenny was accused of illegal retaining.
Wolsey also used his courts to tackle national controversies, such as the pressing issue of enclosures. The countryside had been thrown into discord by the entrepreneurial actions of landlords enclosing areas of land and converting from arable farming to pastoral farming, requiring fewer workers. The Tudors valued stability, and this mass urban migration represented a serious crisis. Wolsey conducted national enquires in 1517, 1518 and 1527 into the presence of enclosures. In the course of his administration he used the court of Chancery to prosecute two hundred and sixty-four landowners, including peers, bishops, knights, religious heads, and Oxford colleges. Enclosures were seen as directly linked to rural unemployment and depopulation, vagrancy, food shortages and, accordingly, inflation. This pattern was repeated with many of Wolsey’s other initiatives, particularly his quest to abolish enclosure. Despite spending significant time and effort in investigating the state of the countryside and prosecuting numerous offenders, Wolsey freely surrendered his policy during the parliament of 1523 to ensure that Parliament passed his proposed taxes for Henry’s war in France. Enclosures remained a problem for many years.
Wolsey used the Star Chamber to enforce his 1518 policy of Just Price, which attempted to regulate the price of meat in London and other major cities. Those found to be charging excessive amounts were prosecuted by the Chamber. After the bad harvest of 1527, Wolsey took the initiative of buying up surplus grain and selling it off cheaply to the needy. This act of generosity greatly eased disorder and became common practice after a disappointing harvest.
Although it would be difficult to find a better example of abuses in the Church than the Cardinal himself, Wolsey appeared to make some steps towards reform. In 1524 and 1527 he used his powers as papal legate to dissolve thirty decayed monasteries where corruption had run rife, including abbeys in Ipswich and Oxford. However, he then used the income to found a grammar school in Ipswich (The King's School, Ipswich) and Cardinal College in Oxford. The college in Oxford was renamed King's College after Wolsey's fall. Today, it is known as Christ Church. In 1528 he began to limit the benefit of clergy.
Wolsey died five years before Henry's dissolution of the monasteries began.
Wolsey’s position in power relied solely on maintaining good relations with Henry. He grew increasingly suspicious of the "minions"—young, influential members of the Privy chamber—particularly after infiltrating one of his own men into the group. He attempted many times to disperse them from court, giving them jobs that took them to the Continent and far from the King. After the Amicable Grant failed, the minions began to undermine him once again. Consequently, Wolsey devised a grand plan of administrative reforms, incorporating the notorious Eltham Ordinances of 1526. This reduced the members of the Privy Council from twelve to six, removing Henry's friends such as Sir William Compton and Nicholas Carew.
One of Wolsey’s greatest impediments was his lack of popularity amongst the nobles at court and in Parliament. Their dislike and mistrust partly stemmed from Wolsey’s excessive demands for money in the form of the Subsidy or through Benevolences. They also resented the Act of Resumption of 1486, by which Henry VII had resumed possession of all lands granted by the crown since 1455.[18] These lands had passed onto his heir, Henry VIII. Many nobles resented the rise to power of a low-born man, whilst others simply disliked that he monopolized the court and concealed information from the Privy Council.
When mass riots broke out in East Anglia, which should have been under the control of the Dukes of Norfolk and Suffolk, Henry was quick to denounce the Amicable Grant, and began to lose faith in his chief minister. During the relatively peaceful period in England after the War of the Roses, the population of the nation increased. With more demand for food and no additional supply, prices increased. Landowners were forced to enclose land and convert to pastoral farming, which brought in more profit. Wolsey’s quest against enclosure was fruitless in terms of restoring the stability of the economy.
The same can be said for Wolsey’s legal reforms. By making justice accessible to all and encouraging more people to bring their cases to court, the system was ultimately abused. The courts became overloaded with incoherent, tenuous cases, which would have been far too expensive to have rambled on in the Common Law courts. Wolsey eventually ordered all minor cases out of the Star Chamber in 1528. The result of this venture was further resentment from the nobility and the gentry.
As well as his State duties, Wolsey simultaneously attempted to exert his influence over the Church in England. As cardinal and, from 1524, lifetime papal legate, Wolsey was continually vying for control over others in the Church. His principal rival was William Warham, the Archbishop of Canterbury, who made it more difficult for Wolsey to follow through with his plans for reform. Despite making promises to reform the bishoprics of England and Ireland, and, in 1519, encouraging monasteries to embark on a programme of reform, he did nothing to bring about these changes.
In spite of having many enemies, Cardinal Wolsey retained Henry VIII's confidence until Henry decided to seek an annulment of his marriage to Catherine of Aragon, so that he could marry Anne Boleyn. Wolsey's failure to secure the annulment is widely perceived to have directly caused his downfall and arrest.
Ultimately, Anne Boleyn and her faction, it was rumored, convinced Henry that Wolsey was deliberately slowing proceedings, and as a result, he was arrested in 1529, and the Pope decided the official decision should be made in Rome anyway.
In 1529 Wolsey was stripped of his government office and property, including his magnificently expanded residence of Hampton Court, which Henry chose to replace the Palace of Westminster as his own main London residence. However, Wolsey was permitted to remain Archbishop of York. He travelled to Yorkshire for the first time in his career, but at Cawood in North Yorkshire, he was accused of treason and ordered to London by Henry Percy, 6th Earl of Northumberland. In great distress, he set out for the capital with his personal chaplain, Edmund Bonner. He fell ill on the journey, and died at Leicester on 29 November 1530, around the age of 60. "If I had served my God", the Cardinal said remorsefully, "as diligently as I did my king, He would not have given me over in my grey hairs."[19]
In keeping with his practice of erecting magnificent buildings at Hampton Court, Westminster and Oxford, Wolsey had planned a magnificent tomb at Windsor by Benedetto da Rovezzano and Giovanni da Maiano but he was buried in Leicester Abbey (now Abbey Park) without a monument. After his own even grander plans fell through, Henry VIII eventually intended the impressive black sarcophagus for himself, but Lord Nelson now lies in it, within the crypt of St. Paul's Cathedral. Henry often receives credit for artistic patronage that properly belongs to Wolsey.[20]
The longest day . . . the demolition time was kept secret all day causing a great resentment among the spectators. There was a real blackout of information on the internet. The Ministry of Misinformation kept up a running timescale going from 10 a.m. to 4 p.m. Absolute dross. Whoever planned the demolition did an absolutely rotten public relations job.
Coptic Christians in Cairo Egypt living in El Zabaleen, or garbage city. For generations families would work together to collect all the rubbish from the streets of Cairo and take it back to their homes. They then sift and sort through all the items which are then sold on to merchants. 85% of all solid waste is thus recycled from the city.
Families used to own pigs that used to eat the organic waste but everyone of them was slaughtered during 2009 during the outbreak of the H1N1 'swine' flu, even though there were no cases reported in Egypt. It was the only country that carried out a mass cull, and was also reported that it was done in an inhumane manner. This increased tension and resentment with the Government.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
Thomas Becket born circa 1118 at Cheapside, London, to Gilbert of Thierceville, Normandy, and Rosea or Matilda of Caen.[citation needed] His parents were of the upper-middle class near Rouen.
Passionate words from the angry king, reputedly either "Will no one rid me of this turbulent priest?", "Who will rid me of this meddlesome priest?", "Who will revenge me of the injuries I have sustained from one turbulent priest?", or even "What a band of loathsome vipers I have nursed in my bosom who will let their lord be insulted by this low-born cleric!", were interpreted as a royal command, and four knights—Reginald Fitzurse, Hugh de Moreville, William de Tracy, and Richard le Breton—set out to plot the murder of the archbishop. On Tuesday, December 29, 1170, they carried out their plan. Becket was murdered inside Canterbury Cathedral itself, in a spot near a door to the monastic cloister, the stairs into the crypt, and the stairs leading up into the quire of the cathedral, where the monks were chanting vespers. Several contemporary accounts of the murder exist; of particular note is that of Edward Grim, who was himself wounded in the attack.
One of Thomas's father's rich friends, Richer de L'aigle, was attracted to the sisters of Thomas. He often invited Thomas to his estates in Sussex. There, Thomas learned to ride a horse, hunt, behave, and engage in popular sports such as jousting. Beginning when he was 10, Becket received an excellent education in civil canon law at Merton Priory in England, and then overseas at Paris, Bologna, and Auxerre. Richerd was later a signer at the Constitution of Clarendon against Thomas.
Upon returning to the Kingdom of England, he attracted the notice of Theobald, archbishop of Canterbury, who entrusted him with several important missions to Rome and finally made him archdeacon of Canterbury and provost of Beverley. He so distinguished himself by his zeal and efficiency that Theobald commended him to King Henry II when the important office of Lord Chancellor was vacant.
Henry, like all the Norman kings, desired to be absolute ruler of his dominions, both Church and State, and could find precedents in the traditions of the throne when he planned to do away with the special privileges of the English clergy, which he regarded as fetters on his authority. As Chancellor, Becket enforced the king’s danegeld taxes, a traditional medieval land tax that was exacted from all landowners, including churches and bishoprics. This created both a hardship and a resentment of Becket among the English Churchmen. To further implicate Becket as a secular man, he became an accomplished and extravagant courtier and a cheerful companion to the king's pleasures. Young Thomas was devoted to his master's interests with such a firm and yet diplomatic thoroughness that scarcely anyone, except perhaps John of Salisbury, doubted his allegiance to English royalty.
King Henry even sent his son Henry, later the "Young King", to live in Becket's household, it being the custom then for noble children to be fostered out to other noble houses. Later that would be one of the reasons his son would turn against him, having formed an emotional attachment to Becket as a foster-father. Henry the Young King was reported to have said Becket showed him more fatherly love in a day than his father did his entire life.
Rocinha slum - favela - , Río de Janeiro, Brazil. An agency arranges tours of the favelas and spends part of the gains is on charity in the favelas, mostly on building schools. This means that you're actually welcome - even though some of the young men, reasonably enough, showed signs of resentment.
LIBYA Benghazi -- 14 May 2011 -- Since the Libyan revolution began in many of the liberated towns public artwork dipicting Colonal Gaddafi has began to appear like this image in Benghazi Libya. The images - which are a result of pent-up resentment against the hated Libyan dictator - are a ruthless satire of the bloody and violent regime which Col Gaddafi has used to repress the Libyan people for the past few decades -- Picture by Rory Mulholland | Lightroom Photos *Copy also available
Coptic Christians in Cairo Egypt living in El Zabaleen, or garbage city. For generations families would work together to collect all the rubbish from the streets of Cairo and take it back to their homes. They then sift and sort through all the items which are then sold on to merchants. 85% of all solid waste is thus recycled from the city.
Families used to own pigs that used to eat the organic waste but everyone of them was slaughtered during 2009 during the outbreak of the H1N1 'swine' flu, even though there were no cases reported in Egypt. It was the only country that carried out a mass cull, and was also reported that it was done in an inhumane manner. This increased tension and resentment with the Government.
Seoul appears beautiful on the outside, but for a foreign student from a low-income, third-world country, living in such an expensive city was a real challenge.
I stayed in two different gosiwons, each housing about 20 to 30 small rooms. These rooms were similar to the coffin homes in Hong Kong—slightly better, but still extremely cramped. Living there felt like being sealed in a box. While each room had an air conditioner, summers were still unbearably hot because the landlords, trying to cut electricity costs, rarely turned them on. At night, I could hear every conversation coming from the neighboring rooms. I constantly had to battle mosquitos before bed—and even after I’d fallen asleep. The worst part was the lack of natural light; there were no windows. Rent for one of those rooms was about $230 a month, which was way too expensive for what was provided. After a stressful day at work, returning to that room never made me feel any better.
Most of the people I met there were Vietnamese students, though occasionally I’d come across Chinese, Pakistanis, or even solitary, elderly Koreans. I became friends with one of them, and we’d often have small chats to pass the time.
Renting a standard apartment was nearly impossible. The deposit was always a massive amount—something I could never afford on my own. I often had to find roommates to share the cost, which made living conditions slightly better, but it came at the expense of privacy. Sharing the space could be frustrating. Once, I had a roommate who refused to shower because he believed taking a bath at night could lead to sudden death. He smelled awful, and I couldn't sleep because of it.
I also experienced a form of racism within my own community. While not always explicit, some South Vietnamese harbored resentment toward North Vietnamese. They blamed the North for the hardships in Vietnam while overlooking the deep corruption within the former South Vietnamese government, which lost the war despite massive support from its allies. Many also seemed to forget that they had lived under a dictatorship, not a democracy. It was both ironic and eye-opening to witness such prejudice coming from my own people.
P.S. The photo shows the view of the Han River from my perspective while working out in -4°C weather.
Wat Arun Ratchawararam Ratchawaramahawihan or Wat Arun ("Temple of Dawn") is a Buddhist temple (wat) in Bangkok Yai district of Bangkok, Thailand, on the Thonburi west bank of the Chao Phraya River. The temple derives its name from the Hindu god Aruṇa, often personified as the radiations of the rising sun. Wat Arun is among the best known of Thailand's landmarks. The first light of the morning reflects off the surface of the temple with pearly iridescence. Although the temple had existed since at least the seventeenth century, its distinctive prang (spire) was built in the early nineteenth century during the reigns of Rama II and Rama III.
A Buddhist temple had existed at the site of Wat Arun since the time of the Ayutthaya Kingdom. It was then known as Wat Makok, after the village of Bang Makok in which it was built. (Makok is the Thai name for the Spondias pinnata plant.) According to the historian Prince Damrong Rajanubhab, the temple was shown in French maps during the reign of Narai (1656–88). The temple was renamed Wat Chaeng by Taksin (1767–82) when he established his new capital of Thonburi near the temple, following the fall of Ayutthaya. It is believed that Taksin vowed to restore the temple after passing it at dawn. The temple enshrined the Emerald Buddha image before it was transferred to Wat Phra Kaew on the river's eastern bank in 1784. The temple was on the grounds of the royal palace during Taksin's reign, before his successor, Rama I (1782–1809), moved the palace to the other side of the river. It was abandoned until the reign of Rama II (1809–24), who had the temple restored and had begun plans to raise the main pagoda to 70 m. The work on the pagoda commenced during the reign of Rama III (1824–51). The main prang was completed in 1851, after nine years of continued construction.
The temple underwent major restorations during the reign of Chulalongkorn (Rama V, 1868–1910) and in 1980, prior to the bicentenary celebration of Bangkok's foundation. The most extensive restoration work on the prang was undertaken from 2013 to 2017, during which a substantial number of broken tiles were replaced and lime plaster was used to re-finish many of the surfaces (replacing the cement used during earlier restorations). As the work neared its end in 2017, photographs of the results drew some criticism for the temple's new appearance, which seemed white-washed compared to its previous state. The Fine Arts Department defended the work, stating that it was carefully done to reflect the temple's original appearance.
The main feature of Wat Arun is its central prang, which is encrusted with colourful porcelain. This is interpreted as a stupa-like pagoda encrusted with coloured faience. The height is reported by different sources as between 66.8 m (219 ft) and 86 m (282 ft). The corners are surrounded by four smaller satellite prang. The prang are decorated by shells of Mauritia mauritiana and bits of porcelain, which had previously been used as ballast by boats coming to Bangkok from China.
The central prang is topped with a seven-pronged trident, referred to by many sources as the "Trident of Shiva". Around the base of the prang are various figures of ancient Chinese soldiers and animals. Over the second terrace are four statues of the Hindu god Indra riding on Erawan. In Buddhist iconography, the central prang is considered to have three symbolic levels—base for Traiphum indicating all realms of existence, middle for Tavatimsa, the Tusita Heaven where all desires are gratified, and the top denoting Devaphum indicating six heavens within seven realms of happiness. At the riverside are six pavilions (sala) in the Chinese style. The pavilions are made of green granite and contain landing bridges.
Next to the prang is the Ordination Hall with a Niramitr Buddha image supposedly designed by Rama II. The front entrance of the Ordination Hall has a roof with a central spire, decorated in coloured ceramic and stuccowork sheathed in coloured china. Inside, there is a grand altar with a red, grey and white marble decoration. There are two demons, or temple guardian figures, in front. The murals were created during the reign of Rama V.
The central prang symbolises Mount Meru of the Hindu cosmology. The satellite prang are devoted to the wind god, Phra Phai. The demons (yaksha) at the entranceway to the ubosot are from the Ramakien. The white figure is named Sahassa Deja and the green one is known as Thotsakan, the Demon Rāvana from Ramayana.
Wat Arun can be accessed through the Chao Phraya River, and ferries travel across the river towards the Maharaj pier. For foreigners, the temple charges an entrance fee of 100 baht (as of January 2021). During Kathina, the king travels to Wat Arun in a procession of royal barges to present new robes to the monks there.
Bangkok, officially known in Thai as Krung Thep Maha Nakhon and colloquially as Krung Thep, is the capital and most populous city of Thailand. The city occupies 1,568.7 square kilometres (605.7 sq mi) in the Chao Phraya River delta in central Thailand and has an estimated population of 10.539 million as of 2020, 15.3 percent of the country's population. Over 14 million people (22.2 percent) lived within the surrounding Bangkok Metropolitan Region at the 2010 census, making Bangkok an extreme primate city, dwarfing Thailand's other urban centres in both size and importance to the national economy.
Bangkok traces its roots to a small trading post during the Ayutthaya Kingdom in the 15th century, which eventually grew and became the site of two capital cities, Thonburi in 1768 and Rattanakosin in 1782. Bangkok was at the heart of the modernization of Siam, later renamed Thailand, during the late-19th century, as the country faced pressures from the West. The city was at the centre of Thailand's political struggles throughout the 20th century, as the country abolished absolute monarchy, adopted constitutional rule, and underwent numerous coups and several uprisings. The city, incorporated as a special administrative area under the Bangkok Metropolitan Administration in 1972, grew rapidly during the 1960s through the 1980s and now exerts a significant impact on Thailand's politics, economy, education, media and modern society.
The Asian investment boom in the 1980s and 1990s led many multinational corporations to locate their regional headquarters in Bangkok. The city is now a regional force in finance and business. It is an international hub for transport and health care, and has emerged as a centre for the arts, fashion, and entertainment. The city is known for its street life and cultural landmarks, as well as its red-light districts. The Grand Palace and Buddhist temples including Wat Arun and Wat Pho stand in contrast with other tourist attractions such as the nightlife scenes of Khaosan Road and Patpong. Bangkok is among the world's top tourist destinations, and has been named the world's most visited city consistently in several international rankings.
Bangkok's rapid growth coupled with little urban planning has resulted in a haphazard cityscape and inadequate infrastructure. Despite an extensive expressway network, an inadequate road network and substantial private car usage have led to chronic and crippling traffic congestion, which caused severe air pollution in the 1990s. The city has since turned to public transport in an attempt to solve the problem, operating eight urban rail lines and building other public transit, but congestion still remains a prevalent issue. The city faces long-term environmental threats such as sea level rise due to climate change.
The history of Bangkok, the capital of Thailand, dates at least to the early 15th century, when it was under the rule of Ayutthaya. Due to its strategic location near the mouth of the Chao Phraya River, the town gradually increased in importance, and after the fall of Ayutthaya King Taksin established his new capital of Thonburi there, on the river's west bank. King Phutthayotfa Chulalok, who succeeded Taksin, moved the capital to the eastern bank in 1782, to which the city dates its foundation under its current Thai name, "Krung Thep Maha Nakhon". Bangkok has since undergone tremendous changes, growing rapidly, especially in the second half of the 20th century, to become the primate city of Thailand. It was the centre of Siam's modernization in the late 19th century, subjected to Allied bombing during the Second World War, and has long been the modern nation's central political stage, with numerous uprisings and coups d'état having taken place on its streets throughout the years.
It is not known exactly when the area which is now Bangkok was first settled. It probably originated as a small farming and trading community, situated in a meander of the Chao Phraya River within the mandala of Ayutthaya's influence. The town had become an important customs outpost by as early as the 15th century; the title of its customs official is given as Nai Phra Khanon Thonburi (Thai: นายพระขนอนทณบุรี) in a document from the reign of Ayutthayan king Chao Sam Phraya (1424–1448). The name also appears in the 1805 revised code of laws known as the Law of Three Seals.
At the time, the Chao Phraya flowed through what are now the Bangkok Noi and Bangkok Yai canals, forming a large loop in which lay the town. In the reign of King Chairacha (either in 1538 or 1542), a waterway was excavated, bypassing the loop and shortening the route for ships sailing up to Ayutthaya. The flow of the river has since changed to follow the new waterway, dividing the town and making the western part an island. This geographical feature may have given the town the name Bang Ko (บางเกาะ), meaning 'island village', which later became Bangkok (บางกอก, pronounced in Thai as [bāːŋ kɔ̀ːk]). Another theory regarding the origin of the name speculates that it is shortened from Bang Makok (บางมะกอก), makok being the name of Spondias pinnata, a plant bearing olive-like fruit. This is supported by the fact that Wat Arun, a historic temple in the area, used to be named Wat Makok. Specific mention of the town was first made in the royal chronicles from the reign of King Maha Chakkraphat (1548–1568), giving its name as Thonburi Si Mahasamut (ธนบุรีศรีมหาสมุทร). Bangkok was probably a colloquial name, albeit one widely adopted by foreign visitors.
The importance of Bangkok/Thonburi increased with the amount of Ayutthaya's maritime trade. Dutch records noted that ships passing through Bangkok were required to declare their goods and number of passengers, as well as pay customs duties. Ships' cannons would be confiscated and held there before they were allowed to proceed upriver to Ayutthaya. An early English language account is that of Adam Denton, who arrived aboard the Globe, an East India Company merchantman bearing a letter from King James I, which arrived in "the Road of Syam" (Pak Nam) on 15 August 1612, where the port officer of Bangkok attended to the ship. Denton's account mentions that he and his companions journeyed "up the river some twenty miles to a town called Bancope, where we were well received, and further 100 miles to the city...."
Ayutthaya's maritime trade was at its height during the reign of King Narai (1656–1688). Recognition of the city's strategic location guarding the water passage to Ayutthaya lead to expansion of the military presence there. A fort of Western design was constructed on the east side of the river around 1685–1687 under the supervision of French engineer de la Mare, probably replacing an earlier structure, while plans to rebuild the fort on the west bank were also made. De la Mare had arrived with the French embassy of Chevalier de Chaumont, and remained in Siam along with Chevalier de Forbin, who had been appointed governor of Bangkok. The Bangkok garrison under Forbin consisted of Siamese, Portuguese, and French reportedly totalling about one thousand men.
French control over the city was further consolidated when the French General Desfarges, who had arrived with the second French embassy in 1687, secured the king's permission to board troops there. This, however, lead to resentment among Siamese nobles, led by Phetracha, ultimately resulting in the Siamese revolution of 1688, in which King Narai was overthrown and 40,000 Siamese troops besieged Bangkok's eastern fort for four months before an agreement was reached and the French were allowed to withdraw. The revolution resulted in Siam's ties with the West being virtually severed, steering its trade towards China and Japan. The eastern fort was subsequently demolished on Phetracha's orders.
Ayutthaya was razed by the Burmese in 1767. In the following months, multiple factions competed for control of the kingdom's lands. Of these, Phraya Tak, governor of Tak and a general fighting in Ayutthaya's defence prior to its fall, emerged as the strongest. After succeeding in reclaiming the cities of Ayutthaya and Bangkok, Phraya Tak declared himself king (popularly known as King Taksin) in 1768 and established Thonburi as his capital. Reasons given for this change include the totality of Ayutthaya's destruction and Thonburi's strategic location. Being a fortified town with a sizeable population meant that not much would need to be reconstructed. The existence of an old Chinese trading settlement on the eastern bank allowed Taksin to use his Chinese connections to import rice and revive trade.
King Taksin had the city area extended northwards to border the Bangkok Noi Canal. A moat was dug to protect the city's western border, on which new city walls and fortifications were built. Moats and walls were also constructed on the eastern bank, encircling the city together with the canals on the western side. The king's palace (Thonburi Palace) was built within the old city walls, including the temples of Wat Chaeng (Wat Arun) and Wat Thai Talat (Wat Molilokkayaram) within the palace grounds. Outlying orchards were re-landscaped for rice farming.
Much of Taksin's reign was spent in military campaigns to consolidate the Thonburi Kingdom's hold over Siamese lands. His kingdom, however, would last only until 1782 when a coup was mounted against him, and the general Chao Phraya Chakri established himself as king, later to be known as Phutthayotfa Chulalok or Rama I.
Rama I re-established the capital on the more strategic east bank of the river, relocating the Chinese already settled there to the area between Wat Sam Pluem and Wat Sampheng (which developed into Bangkok's Chinatown). Fortifications were rebuilt, and another series of moats was created, encircling the city in an area known as Rattanakosin Island.
The erection of the city pillar on 21 April 1782 is regarded as the formal date of the city's establishment. (The year would later mark the start of the Rattanakosin Era after calendar reforms by King Rama V in 1888.) Rama I named the new city Krung Rattanakosin In Ayothaya (กรุงรัตนโกสินทร์อินท์อโยธยา). This was later modified by King Nangklao to be: Krungthepmahanakhon Bowonrattanakosin Mahintha-ayutthaya. While settlements on both banks were commonly called Bangkok, both the Burney Treaty of 1826 and the Roberts Treaty of 1833 refer to the capital as the City of Sia-Yut'hia. King Mongkut (Rama IV) would later give the city its full ceremonial name:
Rama I modelled his city after the former capital of Ayutthaya, with the Grand Palace, Front Palace and royal temples by the river, next to the royal field (now Sanam Luang). Continuing outwards were the royal court of justice, royal stables and military prison. Government offices were located within the Grand Palace, while residences of nobles were concentrated south of the palace walls. Settlements spread outwards from the city centre.
The new capital is referred to in Thai sources as Rattanakosin, a name shared by the Siamese kingdom of this historical period. The name Krung Thep and Krung Thep Maha Nakhon, both shortened forms of the full ceremonial name, began to be used near the end of the 19th century. Foreigners, however, continued to refer to the city by the name Bangkok, which has seen continued use until this day.
Most of Rama I's reign was also marked by continued military campaigns, though the Burmese threat gradually declined afterwards. His successors consistently saw to the renovation of old temples, palaces, and monuments in the city. New canals were also built, gradually expanding the fledgling city as areas available for agriculture increased and new transport networks were created.
At the time of the city's foundation, most of the population lived by the river or the canals, often in floating houses on the water. Waterways served as the main method of transportation, and farming communities depended on them for irrigation. Outside the city walls, settlements sprawled along both river banks. Forced settlers, mostly captives of war, also formed several ethnic communities outside the city walls.
Large numbers of Chinese immigrants continued to settle in Bangkok, especially during the early 19th century. Such was their prominence that Europeans visiting in the 1820s estimated that they formed over half of the city population. The Chinese excelled in trade, and led the development of a market economy. The Chinese settlement at Sampheng had become a bustling market by 1835.
By the mid-19th century, the West had become an increasingly powerful presence. Missionaries, envoys and merchants began re-visiting Bangkok and Siam, bringing with them both modern innovations and the threat of colonialism. King Mongkut (Rama IV, reigned 1851–1868) was open to Western ideas and knowledge, but was also forced to acknowledge their powers, with the signing of the Bowring Treaty in 1855. During his reign, industrialization began taking place in Bangkok, which saw the introduction of the steam engine, modern shipbuilding and the printing press. Influenced by the Western community, Charoen Krung Road, the city's first paved street, was constructed in 1862–1864. This was followed by Bamrung Mueang, Fueang Nakhon, Trong (now Rama IV) and Si Lom Roads. Land transport would later surpass the canals in importance, shifting people's homes from floating dwellings toward permanent buildings. The limits of the city proper were also expanded during his reign, extending to the Phadung Krung Kasem Canal, dug in 1851.
King Mongkut's son Chulalongkorn (r. 1868–1910) was set upon modernizing the country. He engaged in wide-ranging reforms, abolishing slavery, corvée (unfree labour) and the feudal system, and creating a centralized bureaucracy and a professional army. The Western concept of nationhood was adopted, and national borders demarcated against British and French territories. Disputes with the French resulted in the Paknam Incident in 1893, when the French sent gunboats up the Chao Phraya to blockade Bangkok, resulting in Siam's concession of territory to France.
With Chulalongkorn's reforms, governance of the capital and the surrounding areas, established as Monthon Krung Thep Phra Mahanakhon (มณฑลกรุงเทพพระมหานคร), came under the Ministry of Urban Affairs (Nakhonban). During his reign many more canals and roads were built, expanding the urban reaches of the capital. Infrastructure was developed, with the introduction of railway and telegraph services between Bangkok and Samut Prakan and then expanding countrywide. Electricity was introduced, first to palaces and government offices, then to serve electric trams in the capital and later the general public. The King's fascination with the West was reflected in the royal adoption of Western dress and fashions, but most noticeably in architecture. He commissioned the construction of the neoclassical Ananta Samakhom Throne Hall at the new Dusit Palace, which was linked to the historic city centre by the grand Ratchadamnoen Avenue, inspired by the Champs-Élysées in Paris. Examples of Western influence in architecture became visible throughout the city.
By 1900, rural market zones in Bangkok began developing into residential districts. Rama VI (1910–1925) continued his predecessor's program of the development of public works by establishing Chulalongkorn University in 1916, and commissioned a system of locks to control waterway levels surrounding the developing city, he also provided the city's first and largest recreational area, Lumphini Park. The Memorial Bridge was constructed in 1932 to connect Thonburi to Bangkok, which was believed to promote economic growth and modernization in a period when infrastructure was developing considerably. Bangkok became the centre stage for power struggles between the military and political elite as the country abolished absolute monarchy in 1932. It was subject to Japanese occupation and Allied bombing during World War II. With the war over in 1945, British and Indian troops landed in September, and during their brief occupation of the city disarmed the Japanese troops. A significant event following the return of the young king, Ananda Mahidol, to Thailand, intended to defuse post-war tensions lingering between Bangkok's ethnic Chinese and Thai people, was his visit to Bangkok's Chinatown Sam Peng Lane (ซอยสำเพ็ง), on 3 June 1946.
As a result of pro-Western bloc treaties Bangkok rapidly grew in the post-war period as a result of United States developmental aid and government-sponsored investment. Infrastructure, including the Don Mueang International Airport and highways, was built and expanded. Bangkok's role as an American military R&R destination launched its tourism industry as well as sex trade. Disproportionate urban development led to increasing income inequalities and unprecedented migration from rural areas into Bangkok; its population surged from 1.8 to 3 million in the 1960s. Following the United States' withdrawal from Vietnam, Japanese businesses took over as leaders in investment, and the expansion of export-oriented manufacturing led to growth of the financial market in Bangkok. Rapid growth of the city continued through the 1980s and early 1990s, until it was stalled by the 1997 Asian financial crisis. By then, many public and social issues had emerged, among them the strain on infrastructure reflected in the city's notorious traffic jams. Bangkok's role as the nation's political stage continues to be seen in strings of popular protests, from the student uprisings in 1973 and 1976, anti-military demonstrations in 1992, and successive anti-government protests by the "Yellow Shirt" and "Red Shirt" movements from 2008 on.
Administratively, eastern Bangkok and Thonburi had been established as separate provinces in 1915. (The province east of the river was named Phra Nakhon (พระนคร.) A series of decrees in 1971–1972 resulted in the merger of these provinces and its local administrations, forming the current city of Bangkok which is officially known in Thai as Krung Thep Maha Nakhon. The Bangkok Metropolitan Administration (BMA) was created in 1975 to govern the city, and its governor has been elected since 1985.
"When white-collar people get jobs, they sell not only their time and energy but their personalities as well. They sell by the week or month their smiles and their kindly gestures, and they must practice the prompt repression of resentment and aggression. For these intimate traits are of commercial relevance and required for the more efficient and profitable distribution of goods and services. Here are the new little Machiavellians, practicing their personable crafts for hire and for the profit of others, according to rules laid down by those above them" (White Collar: The American Middle Classes, 1951, p. xvii).
C. Wright Mills
Williams Nite 2010 at Threadgill's - Many great Austin musicians paying tribute to the songs of Hank Williams and Lucinda Williams. The event was produced by Jenny Reynolds, hosted by Roger Allen, and benefited the B Club for breast cancer treatment and support. Photo by Ron Baker.
Pictured: Scrappy Jud Newcome & Bruce Hughes
Rocinha slum - favela - , Río de Janeiro, Brazil. An agency arranges tours of the favelas and spends part of the gains is on charity in the favelas, mostly on building schools. This means that you're actually welcome - even though some of the young men, reasonably enough, showed signs of resentment.
Ice Theatre of New York ice skating exhibition - Rockefeller Center ice skating rink in New York City - March 16, 2011
"Ronnie Resentment" Choreography and performance by Greg Wittrock. Music by DJ Stix
For more photos, visit my ice skating at Rockefeller Center flickr set at
www.flickr.com/photos/eveningsong/sets/72157626378424114/
Visit my longer set of photos from the March 9 and March 16 performances at
eveningsong.smugmug.com/Events/Ice-Theatre-of-New-York-3-...
and
eveningsong.smugmug.com/Events/Ice-Theatre-of-NY-3-16-11/...
For more information about Ice Theatre of New York visit:
On the western edge of the village of Eaglesfield in the Scottish Borders lies the ancient church and churchyard of Kirkconnel. There one can find the remains of a medieval church. It is tiny; probably the remnants of a much larger building have long disappeared: the stone, fine and ready cut, having found a better future than to lie unused when the parish of Kirkconnel was amalgamated with that of Kirkpatrick Fleming in about the year of 1610
In the burial ground of Kirkconnell is the grave of Helen Irving, recognised by tradition as Fair Helen of Kirkconnell, and who is supposed to have lived in the sixteenth century. It is also the grave of her lover, Adam Fleming – a name that once predominated the district. Helen, according to the narration of Pennant (Pennant’s Tour in Scotland, 1772), “was beloved by two gentlemen at the same time. The one vowed to sacrifice the successful rival to his resentment, and watched an opportunity while the happy pair was sitting on the banks of the Kirtle, that washes these grounds. Helen perceived the desperate lover on the opposite side, and fondly thinking to save her favorite but received a wound intended for her beloved, fell and expired in his arms. He instantly revenged her death; then fled into Spain, and served for some time against the Infidels: on his return, he visited the grave of his unfortunate mistress, stretched himself on it, and expiring on the spot, was interred by her side.
200 views of this pic in four months - 21.8.07
300 views - 5.10.07
Watts was predominantly black by 1940. During World War II, several large housing projects were built to house workers in war industries. These projects were nearly 100 percent black by the early 1960s as whites moved to new suburbs outside the central city.
Longstanding resentment by Los Angeles' working-class black community over treatment by police and what was seen as inadequate public services (especially schools and hospitals) exploded on August 11, 1965, into what were commonly known as the Watts Riots. The event that precipitated the disturbances, the arrest of a black youth by the California Highway Patrol on drunk-driving charges, actually occurred outside Watts, but the district was by far the area most damaged in the turmoil.
Watts suffered further in the 1970s, with gangs—not very active before the riots—gaining in strength. Between 1989 and 2005, police reported more than 200 homicides in Watts, most of them gang-related. Three of Watts' most notorious gangs formed a cease-fire agreement after the 1992 Los Angeles riots, a pact that may have been tied to a decrease in crime in the area between 1992 and 2000.
Beginning in the 1970s, many African Americans left Watts for other parts of South Los Angeles, and later the Antelope Valley, the Inland Empire, Orange County, and even the San Joaquin Valley; they were largely replaced by immigrants of Ethiopian, Indian, Mexican and Central American ancestry. This process accelerated after the 1992 riots.
Neighborhood leaders have begun a strategy to overcome Watts' reputation as a violence-prone and impoverished area. Special promotion has been given to the museums and art galleries opened in the area surrounding Watts Towers around on 1765 East 107th St which is towards Imperial Highway towards surrounding suburb of Lynwood. This sculptural and architectural landmark has attracted many artists and professionals to the area.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
On the western edge of the village of Eaglesfield in the Scottish Borders lies the ancient church and churchyard of Kirkconnel. There one can find the remains of a medieval church. It is tiny; probably the remnants of a much larger building have long disappeared: the stone, fine and ready cut, having found a better future than to lie unused when the parish of Kirkconnel was amalgamated with that of Kirkpatrick Fleming in about the year of 1610
In the burial ground of Kirkconnell is the grave of Helen Irving, recognised by tradition as Fair Helen of Kirkconnell, and who is supposed to have lived in the sixteenth century. It is also the grave of her lover, Adam Fleming – a name that once predominated the district. Helen, according to the narration of Pennant (Pennant’s Tour in Scotland, 1772), “was beloved by two gentlemen at the same time. The one vowed to sacrifice the successful rival to his resentment, and watched an opportunity while the happy pair was sitting on the banks of the Kirtle, that washes these grounds. Helen perceived the desperate lover on the opposite side, and fondly thinking to save her favorite but received a wound intended for her beloved, fell and expired in his arms. He instantly revenged her death; then fled into Spain, and served for some time against the Infidels: on his return, he visited the grave of his unfortunate mistress, stretched himself on it, and expiring on the spot, was interred by her side.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
SHIR KHAN, AFGHANISTAN - JUNE 03: A German soldiers holds his weapon as he rides an amoured vehicle on June 3, 2010 in Shir Khan, Afghanistan. Germany has more than 4,500 military forces in Afghanistan as part of the US-led International Security Assistance Force. Amid growing public resentment towards the prolonged mission in Afghanistan, the German parliament, the Bundestag, voted in February for extension of Germany's military mission in Afghanistan and the deployment of additional 859 troops.
Selvi.J.JAYALALITHA - Puratchi Thalaivi - PonmanaSelvi - CM of Tamil Nadu,Leader of AIADMK - Drawing - Painting - Pen Drawing - Pencil Sketches - Illustration - Artwork by Oviyar Anikartick,Chennai,Tamil Nadu,India
Jayalalithaa Jayaram - CM of Tamil Nadu,India
Jayalalithaa Jayaram (born 24 February 1948), commonly referred to as Jayalalithaa, is an Indian politician who has been the chief minister of Tamil Nadu, a state in southern India, since 2011. Previously she served as chief minister from 1991 to 1996, briefly in 2001, and from 2002 to 2006. She was a popular film star in Indian cinema before her entry into politics, having appeared as the lead heroine in over 140 films which includes films in Tamil, Telugu, Kannada and worked in one Hindi film. She is the incumbent general secretary of All India Anna Dravida Munnetra Kazhagam (AIADMK). She is called 'Amma' ('Mother') and sometimes 'Puratchi Thalaivi' ('Revolutionary Leader') by her followers.[1]
Although there have been claims that Jayalalithaa was introduced to politics by M. G. Ramachandran, she has denied this. She was a member of the Rajya Sabha elected from Tamil Nadu during 1984–89. Soon after the death of Ramachandran, Jayalalithaa proclaimed herself as his political heir. She is the second elected female chief minister of Tamil Nadu.
Contents [hide]
1 Early life and education
2 Film career
2.1 Early career
2.2 Later career
3 Political career
3.1 Early political career
3.2 Leader of the Opposition, 1989
3.3 First term as Chief Minister, 1991
3.4 Loss of power, 1996
3.5 Second term as Chief Minister, 2001
3.6 Third term as Chief Minister, 2011
4 Legislative career
4.1 Elections contested
5 Honours
6 Notes
7 References
8 External links
Early life and education[edit]
Jayalalithaa was born on 24 February 1948, at Melukote, in Pandavapura taluk of Mandyadistrict, Mysore State (now Karnataka). Her grandfather was in the service of the thenMysore kingdom as a surgeon, and the prefix 'Jaya' ('the victorious') was added to the names of various family members to reflect their association with MaharajaJayachamarajendra Wodeyar of Mysore.[1] Her mother called her Komalavalli.[2]
Jayalalithaa's father died when she was two years old.[1] Her mother then moved toBangalore, where her parents lived, with Jayalalithaa. Her mother eventually began to work as an actress in Tamil cinema, based in Chennai, having taken the screen name of Sandhya.[1] While in Bangalore, Jayalalithaa attended Bishop Cotton Girls' School.[3] She completed her childhood education at Sacred Heart Matriculation School (popularly known as Church Park Presentation Convent or Presentation Church Park Convent) in Chennai.[4]She excelled at school and was offered a government scholarship to pursue further education.[3] She appears not to have accepted the admission offered to her at Stella Maris College, Chennai.[1]
She is fluent in several languages, including English, Hindi, Kannada, Malayalam, Tamil and Telugu.[5]
Film career[edit]
See also: Jayalalitha filmography
Early career[edit]
Her mother persuaded her to work in films when Jayalalithaa was 15 years old and was still in school, taking assurances from producers that shooting would take place only during summer vacations and that she would not miss her classes. Jayalalithaa acted in an English language film, Epistle, released in 1961. She made her debut as the lead actress in Kannada films while still in school, age 15, in Chinnada Gombe (1964).[1] Jayalalithaa's debut in Tamil cinema was a role in Vennira Aadai (1965), directed by C. V. Sridhar. The following year, she made her debut in Telugu cinema with Manushulu Mamathalu. She was the first heroine to appear in skirts in Tamil films.[6] She acted in one Hindi film called Izzat, with Dharmendra as her male costar in 1968.[7]
Later career[edit]
In 1972, Jayalalithaa acted in Pattikada Pattanama opposite Sivaji Ganesan, which went onto win the National Film Award for Best Feature Film in Tamil in 1973. It fetched her a Filmfare Award for Best Actress. Her performance in Suryakanthi and Chandradhoyamwere critically acclaimed and the former won her another Filmfare Award for Best Actress in 1973. The same year she acted in the Telugu Sri Krishna Satya and won her third Filmfare Award for Best Actress.[8] Her other films with Sivaji Ganesan include Galatta Kalyanam and Deiva Magan. Deiva Magan holds the distinction of being the first Tamil film to be submitted by India for an Academy Award for Best Foreign Language Film.[9] She continued pairing up with younger actors such as Ravichandran and Jaishankar in a number of films such as Vairam, Baghdad Perazhagi.[10][11] Later Tamil films in which she acted included Kandan Karunai.[12] Her last film was Nadhiyai Thedi Vandha Kadal which was released in 1980.[7] During the 1960s and 1970s, she starred opposite M. G. Ramachandran in a number of successful films, including Aayirathil Oruvan, Kavalkaran, Adimai Penn, Engal Thangam, Kudiyirundha Koyil, Ragasiya Police 115 and Nam Naadu.[7][13]
Political career[edit]
Early political career[edit]
Although there have been claims that Ramachandran, who had been chief minister for the state since 1977, was instrumental in introducing Jayalalithaa to politics, she has denied it.[1][14] In 1982, she joined the AIADMK, which was founded by Ramachandran.[15]Her maiden public speech Pennin Perumai (the Pride of Women) was delivered at the political conference of the AIADMK that year.[16][17] In 1983, she became propaganda secretary for the party and was selected as AIADMK candidate in the by-election for the Tiruchendur Assembly constituency.[15]
Ramachandran wanted her to be a member of the Rajya Sabha because of her fluency in English.[18] Jayalalithaa was nominated and elected to that body as a Member of Parliament in 1984 and retained her seat until 1989.[19] She was successful in her role as Propaganda Secretary and this caused resentment among high-ranking members of the party. Those members engineered a rift between her and Ramachandran, among the alleged consequences of which was that Ramachandran stopped Jayalalithaa writing about her personal life in a Tamil magazine. Despite these machinations, she remained admired by the rank and file of the party.[1]
In 1984, when Ramachandran was incapacitated due to a stroke, Jayalalithaa was said to have attempted to take over the position of chief minister or the party on the pretext that his health would prevent him from the proper execution of his duties.[20] She successfully lead the campaign in the 1984 general elections, in which the ADMK allied with the Congress.[19]
Ramachandran died in 1987 and following this the AIADMK split into two factions, with one section supporting his widow, Janaki Ramachandran, and the other favouring Jayalalithaa. Janaki was selected as the Chief minister on 7 January 1988 with the support of 96 members and she won the confidence motion in the house, following irregularities by the speaker P.H. Pandian, who dismissed six members to ease her victory. However, the Indian Central Government under the late Rajiv Gandhi used Article 356 of the Constitution of India to dismiss the Janaki led government and impose President's rule on the State.[1][21][22]
Jayalalithaa fought the subsequent 1989 elections on the basis of being MGR's political heir.[23][24]
Leader of the Opposition, 1989[edit]
She was elected to the Tamil Nadu legislative assembly in 1989 as a representative of the Bodinayakkanur (State Assembly Constituency). This election saw the Jayalalithaa-led faction of the AIADMK win 27 seats and Jayalalithaa became the first woman to be elected Leader of the Opposition. In February 1989, the two factions of ADMK merged and they unanimously accepted Jayalalitha as their leader and the "Two leaves" symbol of the party was restored.[19] On 25 March 1989, quoted as one of the worst incidents to have happened in the Tamil Nadu Legislative Assembly, there was heavy violence inside the house among the ruling DMK party members and the opposition. There were allegedly rude remarks made by Karunanidhi, the chief minister, on Jayalilatha. The heated conversation lead to some of the ADMK members tearing the budget report to be read by the ruling party. Mikes were broken and shoes were thrown at Jayalalitha. At the peak of the situation, when Jayalalitha was about to leave the house, Durai Murugan, a DMK minister, was seen pulling her saree. She took a vow that she would not attend the house until the conditions are fit for women to attend, which is seen as a section of media as "not until until I enter the house as a Chief Minister". Though some sections of media term it as a theatrics launched by Jayalalitha, it got a lot of media coverage and sympathy from the public.[25][26][27] During the 1989 general elections, the ADMK allied with the Congress party and had a significant victory. The ADMK, under her leadership, won the by-elections in Marungapuri, Madurai East and Peranamallur assembly constituencies.[19]
First term as Chief Minister, 1991[edit]
In 1991, following the assassination of Rajiv Gandhi just days before the elections, her alliance with the Indian National Congressenabled her to ride the wave of sympathy that gave the coalition victory.[28][29] The ADMK alliance with the Congress won 225 out of the 234 seats contested and won all 40 constituencies in the centre.[19] Re-elected to the assembly, she became the first elected female chief minister and the youngest ever chief minister of Tamil Nadu, serving the full tenure from 24 June 1991 to 12 May 1996.[19][22] In 1992, her government introduced the "Cradle Baby Scheme". At that time the ratio of male to female in some parts of Tamil Nadu was skewed by the practice of female infanticide and the abortion of female foetuses. The government established centres in some areas, these being equipped to receive and place into adoption unwanted female babies. The scheme was extended in 2011.[30] Her party had 26 elected members to the assembly. Her government was the first to introduce police stations operated solely by women. She introduced 30 per cent quota for women in all police jobs and established as many as 57 all-women police stations. There were other all-women establishments like libraries, stores, banks and co-operative elections.[31]
Loss of power, 1996[edit]
The Jayalalithaa-led AIADMK lost power in the 1996 elections, when it won 4 of the 168 seats that they contested.[32] Jayalalithaa was herself defeated by the DMK candidate in Bargur Constituency.[33] The outcome has been attributed to an anti-incumbency sentimentand several allegations of corruption and malfeasance against her and her ministers.[29][32] The wedding event of her foster son Sudhakaran, who married a granddaughter of the Tamil film actor Shivaji Ganesan, was held on 7 September 1995 at Chennai and was viewed on large screens by over 150,000 people. The event holds two Guinness World Records: one is for the most guests at a wedding and the other is for being the largest wedding banquet.[1][34][35] Subsequently, in November 2011, Jayalalithaa told a special court than the entire Rs. 6 Crore expenses associated with the wedding were paid by the family of the bride.[36]
Second term as Chief Minister, 2001[edit]
Jayalalithaa was barred from standing as a candidate in the 2001 elections because she had been found guilty of criminal offences, including allegedly obtaining property belonging to a state-operated agency called TANSI. Although she appealed to the Supreme Court, having been sentenced to five years' imprisonment, the matter had not been resolved at the time of the elections.[37] Despite this, the AIADMK won a majority and she was installed as Chief Minister as a non-elected member of the state assembly on 14 May 2001.[22]
Her appointment was legally voided in September 2001 when the Supreme Court ruled that she could not hold it whilst convicted of criminal acts.[37] O. Panneerselvam, a minister in her party, was subsequently installed as the Chief Minister. However, his government was purported to have been puppeted and micro-managed by Jayalalithaa.[22][38]
Subsequently, in March 2002, Jayalalithaa assumed the position of Chief Minister once more, having been acquitted of some charges by the Madras High Court.[39] This cleared the way for her to contest a mid-term poll to the Andipatti constituency, after the sitting MLA for the seat, gave up his membership, which she won by a handsome margin.[40] India's first company of female police commandos was set up in Tamil Nadu in 2003. They underwent the same training as their male counterparts, covering the handling of weapons, detection and disposal of bombs, driving, horseriding, and adventure sports.[41]
Jayalaithaa and US SecretaryHillary Clinton
Third term as Chief Minister, 2011[edit]
In April 2011 the AIADMK was part of a 13-party alliance that won the 14th state assembly elections. Jayalalithaa was sworn in as the chief minister of Tamil Nadu for the third time on 16 May 2011, having been elected unanimously as the leader of the AIADMK party subsequent to those elections.[42] On 19 December 2011, Jayalalithaa expelled her long-time close aide Sasikala Natarajan and 13 others from the AIADMK. Most of the party members welcomed her decision,[43]and on 2 February 2012, Tehelka magazine claimed that Natarajan and some of her relatives were conspiring to kill her by poisoning her food over a period of time.[44] The matter was resolved by 31 March, when Natarajan was reinstated as a party member after issuing a written apology.[45]
Legislative career[edit]
Elections contested[edit]
YearConstituencyResultVote percentageOpposition CandidateOpposition PartyOpposition vote percentage
1989BodinayakkanurWon54.51MuthumanokaranDMK27.27[46]
1991Bargur,KangayamWon69.3T. RajendarTMK29.34[33]
1996BargurLost43.54E. G. SugavanamDMK50.71[33]
2001Andipatti,
Krishnagiri,
Bhuvanagiri,
PudukkottaiNomination rejected[47]
2002AndipattiWon58.22Vaigai SekarDMK27.64[40]
2006AndipattiWon55.04SeemanDMK36.29[48]
2011SrirangamWon58.99N AnandDMK35.55[49][50]
Honours[edit]
Jayalalithaa has received several honorary doctorates and other honours since that awarded to her in 1991 by the University of Madras.[51][52][53] In 1972 she was awarded the Kalaimamani by the Government of Tamil Nadu.[51]
JACK KIRBY
Fantastic Four 55
JACK KIRBY
Birth nameJacob Kurtzberg
BornAugust 28, 1917
New York City. New York
Died February 6, 1994 (aged 76)
Thousand Oaks, California
NationalityAmerican
Area(s)Penciller, Inker, Writer, Editor
Pseudonym(s)The King
Notable worksMarvel Comics
AwardsAlley Award
*Best Pencil Artist (1967), plus many awards for individual stories
Shazam Award
*Special Achievement by an Individual (1971)
Jack Kirby (August 28, 1917 – February 6, 1994) was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America and hundreds of others stretching back to the earliest days of medium. He was also a comic book writer and editor. His most common nickname is The King.
He was inducted into comic books' Shazam Awards Hall of Fame in 1975.
The Jack Kirby Award for achievement in comic books was named in his honor.
Early life
Born Jacob Kurtzberg to Jewish Austrian parents in New York City, he grew up on Suffolk Street in New York's Lower East Side Delancey Street area, attending elementary school at P.S. 20. His father, Benjamin, a garment-factory worker, was a Conservative Jew, and Jacob attended Hebrew school. Jacob's one sibling, a brother five years younger, predeceased him. After a rough-and-tumble childhood with much fighting among the kind of kid gangs he would render more heroically in his future comics (Fantastic Four's Jewish Ben Grimm was raised on rough-and-tumble "Yancy Street", and was predeceased by his older brother; in addition to sharing Kirby's father's first name, his middle name is Jacob, Kirby's first name at birth), Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".[1]
Essentially self-taught, Kirby cited among his influences the comic strip artists Alex Raymond and Milton Caniff.
The Golden Age of Comics
Captain America Comics #1 (March 1941), art by Jack Kirby (penciler) and Joe Simon (inker).
Per his own sometimes-unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First (under the pseudonym "Jack Curtiss"). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an "in-betweener" (an artist who fills in the action between major-movement frames,) on Popeye cartoons. "I went from Lincoln to Fleischer," he recalled. "From Fleischer I had to get out in a hurry because I couldn't take that kind of thing," describing it as "a factory in a sense, like my father's factory. They were manufacturing pictures."
Around this time, "I began to see the first comic books appear". The first American comic books were reprints of newspaper comic strips; soon, these tabloid-size, 10-inch by 15-inch "Comic books" began to include original material in comic-strip form. Kirby began writing and drawing such material for the comic book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the science fiction adventure The Diary of Dr. Hayward (under the pseudonym "Curt Davis"), the Western crimefighter strip Wilton of the West (as "Fred Sande"), the swashbuckler strip "The Count of Monte Cristo" (again as "Jack Curtiss"), and the humor strips Abdul Jones (as "Ted Grey)" and Socko the Seadog (as "Teddy"), all variously for Jumbo Comics and other Eisner-Iger clients. Kirby was also helpful beyond his artwork when he once frightened off a mobster who was strongarming Eisner for their building's towel service.
Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (January–March 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip.
Simon & Kirby
During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting:
“
I had a suit and Jack thought that was really nice. He'd never seen a comic book artist with a suit before. The reason I had a suit was that my father was a tailor. Jack's father was a tailor too, but he made pants! Anyway, I was doing freelance work and I had a little office in New York about ten blocks from DC's and Fox [Feature Syndicate]'s offices, and I was working on Blue Bolt for Funnies, Inc. So, of course, I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt...
and remained a team across the next two decades. In the early 2000s, original art for an unpublished, five-page Simon & Kirby collaboration titled "Daring Disc", which may predate the duo's Blue Bolt, surfaced. Simon published the story in the 2003 updated edition of his autobiography, The Comic Book Makers.
After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), the new Simon & Kirby team created the seminal patriotic hero Captain America in late 1940. Their dynamic perspectives, groundbreaking use of centerspreads, cinematic techniques and exaggerated sense of action made the title an immediate hit and rewrote the rules for comic book art. Simon and Kirby also produced the first complete comic book starring Captain Marvel for Fawcett Comics.
Captain America became the first and largest of many hit characters the duo would produce. The Simon & Kirby name soon became synonymous with exciting superhero comics, and the two became industry stars whose readers followed them from title to title. A financial dispute with Goodman led to their decamping to National Comics, one of the precursors of DC Comics, after ten issues of Captain America. Given a lucrative contract at their new home, Simon & Kirby took over the Sandman in Adventure Comics, and scored their next hits with the "kid gang" teams the Boy Commandos and the Newsboy Legion, and the superhero Manhunter.
Kirby married Rosalind "Roz" Goldstein (September 25, 1922–December 22, 1998) on May 23, 1942. The couple would have four children: Susan, Neal, Barbara and Lisa. The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby. The couple was living in Brighton Beach, Brooklyn, when Kirby was drafted into the U.S. Army in the late autumn of 1943. Serving with the Third Army combat infantry, he landed in Normandy, on Omaha Beach, 10 days after D-Day.
As superhero comics waned in popularity after the end of World War II, Kirby and his partner began producing a variety of other genre stories. They are credited with the creation of the first romance title, Young Romance Comics at Crestwood Publications, also known as Prize Comics. In addition, Kirby and Simon produced crime, horror, western and humor comics.
After Simon
Sky Masters comic strip by Kirby & Wally Wood.
The Kirby & Simon partnership ended amicably in 1955 with the failure of their own Mainline Publications. Kirby continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and Harvey Comics' Double Life of Private Strong reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.
For DC Comics, then known as National Comics, Kirby co-created with writers Dick & Dave Wood the non-superpowered adventuring quartet the Challengers of the Unknown in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery. In 30 months at DC, Kirby drew lightly over 600 pages, which included 11 Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself. He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.
Kirby left National Comics after a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff sued Kirby and was successful at trial.
Stan Lee and Marvel Comics
Kirby also worked for Marvel, on the cusp of the company's evolution from its 1950s incarnation as Atlas Comics, beginning with the cover and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (Dec. 1958).[9] Kirby would draw across all genres, from romance to Western (the feature "Black Rider") to espionage (Yellow Claw), but made his mark primarily with a series of monster, horror and science fiction stories for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish and Tales of Suspense. His bizarre designs of powerful, unearthly creatures proved a hit with readers. Then, with Marvel editor-in-chief Stan Lee, Kirby began working on superhero comics again, beginning with The Fantastic Four #1 (Nov. 1961). The landmark series became a hit that revolutionized the industry with its true-to-life naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination — one coincidentally well-matched with the consciousness-expanding youth culture of the 1960s.
For almost a decade, Kirby provided Marvel's house style, co-creating/designing many of the Marvel characters and providing layouts for new artists to draw over. Highlights besides the Fantastic Four include Thor, the Incredible Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, The Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther — comics' first known Black superhero — and his African nation of Wakanda. Simon & Kirby's Captain America was also incorporated into Marvel's continuity.
In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.
Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as 'Kirby Dots', and other experiments. Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.
Kirby returned to DC in the early 1970s, under an arrangement that gave him full creative control as editor, writer and artist. He produced a cycle of inter-linked titles under the blanket sobriquet The Fourth World including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman's Pal Jimmy Olsen which he worked on at the publisher's request. Kirby claims to have picked this Superman family book because the series was between artists and he did not want to cost anyone a job. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers.
Kirby later produced other DC titles such as OMAC, Kamandi, The Demon, and (together with former partner Joe Simon for one last time) a new incarnation of the Sandman. Several characters from this period have since become fixtures in the DC universe, including the demon Etrigan and his human counterpart Jason Blood; Scott Free (Mister Miracle), and the cosmic villain Darkseid.
Kirby then returned to Marvel Comics where he both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention influenced the evolution of life on Earth. Kirby's other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey. He also wrote and drew The Black Panther and did numerous covers across the line.
Although often artistically successful, the books did not connect with an audience to the same extent as his earlier work for Marvel in the 1960s. Many of the themes of his 1970s work - aging and immortality, helplessness in the face of unknowable and inconceivable powers beyond one's control - were those of a man in late middle age and were not likely to connect with younger readers.
Still dissatisfied with Marvel's treatment of him, and their refusal to provide health and other employment benefits, Kirby left Marvel to work in animation, where he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney's Treasury of Classic Tales syndicated comic strip in 1979-80.
In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish his series Captain Victory and the Galactic Rangers: Kirby would retain copyright over his creation and receive royalties on it. This, together with similar actions by other "independents" such as Eclipse Comics, helped establish a precedent for other professionals and end the monopoly of the "work for hire" system, wherein comics creators, even freelancers, had owned no rights to characters they created. Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed "The Kirbyverse".
In 1985, screenwriter and comic-book historian Mark Evanier revealed that thousands of pages of Kirby's artwork had been lost by Marvel Comics. These pages became the subject of a dispute between Kirby and that company. In 1987, in exchange for his giving up any claim to copyright, Kirby received from Marvel the 2,100 pages of his original art that remained in its possession. The disposition of Kirby's art for DC, Fawcett, and numerous other companies has remained uncertain.
Kirby's daughter, Lisa Kirby, announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, plan to published a six-issue miniseries, Jack Kirby's Galactic Bounty Hunters, featuring characters and concepts created by her father.
Awards and honors
Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Alley Award for Best Pencil Artist. The following year he was runner-up behind Jim Steranko. His other Alley Awards were:
*1963: Favorite Short Story - "The Human Torch Meets Captain America,", by Stan Lee & Jack Kirby, Strange Tales #114
*1964: Best Novel - "Captain America Joins the Avengers", by Stan Lee & Jack Kirby, from The Avengers #4
*1964: Best New Strip or Book - "Captain America", by Stan Lee & Jack Kirby, in Tales of Suspense
*1965: Best Short Story - "The Origin of the Red Skull", by Stan Lee & Jack Kirby, Tales of Suspense #66
*1966: Best Professional Work, Regular Short Feature - "Tales of Asgard" by Stan Lee & Jack Kirby, in The Mighty Thor
*1967: Best Professional Work, Regular Short Feature - (tie) "Tales of Asgard" and "Tales of the Inhumans", both by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Best Regular Short Feature - "Tales of the Inhumans", by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Hall of Fame - Fantastic Four, by Stan Lee & Jack Kirby; Nick Fury, Agent of S.H.I.E.L.D., by Jim Steranko[10]
Kirby won a Shazam Award for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, New Gods, Mister Miracle, and Superman's Pal Jimmy Olsen. He was inducted into the Shazam Awards Hall of Fame in 1975.
His work was honored posthumously with the 1998 Harvey Award for Best Domestic Reprint Project, for Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan.
The Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor.
In 2006, he was voted the #1 artist on Comic Book Resources ' All Time Top 100 Writers and Artists. With Will Eisner, Robert Crumb, Harvey Kurtzman, Gary Panter and Chris Ware, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from Sept. 16, 2006 to Jan. 28, 2007.
Legacy
Kirby is popularly acknowledged by comics creators and fans as one of the greatest and most influential artists in the history of comics. His output was legendary, with one count estimating that he produced over 25,000 pages during his lifetime, as well as hundreds of comic strips and sketches. He also produced paintings, and worked on concept illustrations for a number of Hollywood films.
The most imitated aspect of Kirby's work has been his exaggerated perspectives and dynamic energy. Less easy to imitate have been the expressive body language of his characters, who embrace each other and charge into everything from battle to pancakes with unselfconscious exuberance; and such constantly forward-looking innovations as the then cutting-edge photomontages he often used. He (along with fellow Marvel creator Steve Ditko) pioneered the use of visible minority characters in comic books, and Kirby co-created the first black superhero at Marvel (the African prince the Black Panther) and created DC's first two black superheroes: Vykin the Black in The Forever People #1 (March 1971) and the Black Racer in The New Gods #3 (July 1971).
Kirby: King of Comics (Hardcover)
by Mark Evanier (Author), Neil Gaiman (Introduction)
Editorial Reviews
From Publishers Weekly
As a teenager, future television and comics writer Evanier became an assistant to Jack Kirby, one of the foremost artists in the history of American comics. Kirby played a major role in shaping the superhero genre, not only through his innovative, dynamic artwork but through collaborating with Stan Lee to create classic Marvel characters like the Fantastic Four, the Hulk and the X-Men. Evanier has now written this magnificently illustrated biography of his mentor. Rather than employing the academic prose that one might expect from an art book, Evanier, a talented raconteur, tells Kirby's life story in an informal, entertaining manner. Although Evanier does not delve into psychological analysis, he brings Kirby's personality vividly alive: a child of the Great Depression, a creative visionary who struggled most of his life to support his family. The book recounts how Kirby was insufficiently appreciated by clueless corporate executives and close-minded comics professionals. But the stunning artwork in this book, taken from private collections, makes the case for Kirby's genius. A landmark work, this is essential reading for comics fans and those who want to better understand the history of the comics medium—or those who just want to enjoy Kirby's incredible artwork. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Product Description
Jack Kirby created or co-created some of comic books’ most popular characters including Captain America, The X-Men, The Hulk, The Fantastic Four, The Mighty Thor, Darkseid, and The New Gods. More significantly, he created much of the visual language for fantasy and adventure comics. There were comics before Kirby, but for the most part their page layout, graphics, and visual dynamic aped what was being done in syndicated newspaper strips. Almost everything that was different about comic books began in the forties on the drawing table of Jack Kirby. This is his story by one who knew him well—the authorized celebration of the one and only “King of Comics” and his groundbreaking work.
“I don’t think it’s any accident that . . . the entire Marvel universe and the entire DC universe are all pinned or rooted on Kirby’s concepts.” —Michael Chabon
About the Author
Mark Evanier met Jack Kirby in 1969, worked as his assistant, and later became his official biographer. A writer and historian, Evanier has written more than 500 comics for Gold Key, DC Comics, and Marvel Comics, several hundred hours of television (including Garfield) and is the author of several books including Mad Art (2002). He has three Emmy Award nominations, and received the Lifetime Achievement Award for animation from the Writers Guild of America.
Mark Evanier
Kirby, Jack: Jack Kirby (American, 1917-1994) : Jack Kirby has received world-wide recognition for his long comic book career and accomplishments. He is regarded by historians and fans as one of the major innovators and most influential creators in the comic-book medium, thus earning the nick-name "King." Among Kirby's many co-creations are Captain America, the Newsboy Legion, the Challengers of the Unknown, the Fantastic Four, the Hulk, Thor, the Avengers, the X-Men, Silver Surfer, the New Gods, and countless other memorable heroes and villains.
DECONSTRUCTING ROY LICHTENSTEIN™ © 2000
David Barsalou MFA Hartford Art School
Greetings. Currently I am focused on assisting my responsible, caring, concerned American neighbors with SHARING credible evidence of America's MUCH IGNORED, oppressive, unjust African American Child Care HEALTH CRISIS that I, as well as a growing number of my caring, concerned, responsible American neighbors believe is impeding our American neighbors of African descent from experiencing the equality and respect all peaceful, reasonably responsible Americans are entitled to enjoy.
Please join US!
Are you familiar with America's current HEALTH CRISIS, aka America's #T_H_U_G_L_I_F_E Culture of African American Child Abuse & Emotional Neglect/Maltreatment the late American story-TRUTH-teller Tupac Shakur, as well as many of his urban story-truth-teller peers, including a number of Mr. Barack “My Brother’s Keeper” Obama and Mrs. Michelle "Girl Power" Obama White House guests and friends, vividly describe in their American artistry or public interviews?
*"The Hate U Give Little Infants Fvvks Everyone"* ~Tupac Shakur
Are you aware of the #A_F_R_E_C_A_N remedy for the potentially life-scarring #T_H_U_G_L_I_F_E CHILD CARE HEALTH CRISIS experienced, *through no fault of their own*, by significant numbers of American newborns, infants, toddlers, children and teens?
Are you aware before he discovered how to properly promote his #T_H_U_G_L_I_F_E Child Abuse *AWARENESS* concept, Tupac was brutally murdered by *OTHER* suicidal/homicidal thinking emotionally or mentally ill victims of America's Culture of African American Child Abuse, Neglect and Emotional Maltreatment!
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medium.com/@AveryJarhman/lets-talk-kendrick-lamar-gangs-g...
medium.com/@AveryJarhman/how-african-american-no-snitchin...
Please click the following link to visit Avery Jarhman’s Signature Page - 'Recognizing America’s 1960s-2017 African American CHILD CARE HEALTH CRISIS: Resources & Evidence' - where I share SHARE credible evidence describing or portraying America’s MUCH IGNORED, oppressive, unjust African American Child Care HEALTH CRISIS I believe is impeding my American neighbors of African descent from experiencing the equality and respect all peaceful, reasonably responsible Americans are entitled to enjoy.
medium.com/@AveryJarhman/americas-1960s-2017-african-amer...
Peace.
___
Tagged: #EthanAli, #KingstonFrazier, #JamylaBolden, #TyshawnLee, #RamiyaReed, #AvaCastillo, #JulieDombo, #LaylahPetersen, #LavontayWhite, #NovaMarieGallman, #AyannaAllen, #AutumnPasquale, #RamiyaReed, #TrinityGay, #ChildhoodTrauma, #Poverty, #ChildAbuse, #ChildhoodMaltreatment, #ChildNeglect, #ChildhoodDepression, #TeenDepression, #TeenViolence, #GunViolence, #GangViolence, #CommunityViolence, #CommunityFear, #PTSD, #PoliceAnxiety, #TeacherEducatorFrustration, #CognitiveDissonance, #KendrickLamar, #TupacShakur, #EmotionalIllness, #MentalHealth, #MentalIllness, #FatherlessAmericanChildren, #ShamirHunter, #DemeaningGovernmentHandouts, #Resentment, #MATERNALRESPONSIBILITY, #DonaldTrump, #HRC, #BarackObama, #MichelleObama, #ObamaAdministration, #ObamaWhiteHouse, #WillfulIgnorance, #AmericanSociety, #Racism, #T_H_U_G_L_I_F_E, REMEDY>>>, #A_F_R_E_C_A_N,
"America’s Firm Resolve to End Childhood Abuse and Neglect”
After all of the stealing and cheating
You probably think that I hold resentment for you
But, uh uh, oh no, you're wrong
'Cause if it wasn't for all that you tried to do
I wouldn't know just how capable I am to pull through
So I wanna say thank you
'Cause it makes me that much stronger
Makes me work a little bit harder
It makes me that much wiser
So thanks for making me a fighter
Made me learn a little bit faster
Made my skin a little bit thicker
Makes me that much smarter
So thanks for making me a FIGHTER !
St Thomas, Huddersfield, West Yorkshire, 1858-59.
By Sir George Gilbert Scott (1811-1878).
Funded by the Starkey family who owned Springdale Mill, now demolished, across the road.
Grade ll* listed.
Starkey Memorial -
John Starkey - d1856.
Thomas Starkey - d1847.
Joseph Starkey - d1857.
The mill was the property of the brothers John, Thomas and Joseph Starkey, shrewd businessmen all, who, quick to recognise the potential profitability of new inventions in the textile industry, had, as early as 1835, installed seventy power looms in their mills. As with all innovations at that time, the looms were regarded with suspicion and some resentment by the workforce and soon after they were introduced fifty women and girls went on strike because their wages were reduced. There was more trouble at the mill in August 1842 when the plug rioters succeeded in drawing the plug from the mill boiler despite the stalwart defence put up by Joseph Starkey and his workmen.
Thomas Starkey died at the age of fifty three in 1847. Ten years later, his widow and his two brothers commissioned Sir George Gilbert Scott to design the church they intended to build in his memory. By the time the church was completed in 1859 John and Joseph Starkey had also died and a stained glass window was erected in memory of all three brothers. St Thomas' was the first 'high' church to be built in Huddersfield.
huddersfieldhistory.files.wordpress.com/2010/09/discoveri...
What I haven't mentioned about Melk is its total domination by Melk Abbey (Stift-Melk). Originally founded in 1089 as a Benedictine monastery, today's baroque abbey was built in the beginning of the 18th century. It is a major tourist attraction being among the world's most famous monastic sites. I am not sure whether the town's inhabitants would have thought of it as an object of admiration or resentment. I shall be uploading interior shots later on this week.
JACK KIRBY
Birth nameJacob Kurtzberg
BornAugust 28, 1917
New York City. New York
Died February 6, 1994 (aged 76)
Thousand Oaks, California
NationalityAmerican
Area(s)Penciller, Inker, Writer, Editor
Pseudonym(s)The King
Notable worksMarvel Comics
AwardsAlley Award
*Best Pencil Artist (1967), plus many awards for individual stories
Shazam Award
*Special Achievement by an Individual (1971)
Jack Kirby (August 28, 1917 – February 6, 1994) was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America and hundreds of others stretching back to the earliest days of medium. He was also a comic book writer and editor. His most common nickname is The King.
He was inducted into comic books' Shazam Awards Hall of Fame in 1975.
The Jack Kirby Award for achievement in comic books was named in his honor.
Early life
Born Jacob Kurtzberg to Jewish Austrian parents in New York City, he grew up on Suffolk Street in New York's Lower East Side Delancey Street area, attending elementary school at P.S. 20. His father, Benjamin, a garment-factory worker, was a Conservative Jew, and Jacob attended Hebrew school. Jacob's one sibling, a brother five years younger, predeceased him. After a rough-and-tumble childhood with much fighting among the kind of kid gangs he would render more heroically in his future comics (Fantastic Four's Jewish Ben Grimm was raised on rough-and-tumble "Yancy Street", and was predeceased by his older brother; in addition to sharing Kirby's father's first name, his middle name is Jacob, Kirby's first name at birth), Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".[1]
Essentially self-taught, Kirby cited among his influences the comic strip artists Alex Raymond and Milton Caniff.
The Golden Age of Comics
Captain America Comics #1 (March 1941), art by Jack Kirby (penciler) and Joe Simon (inker).
Per his own sometimes-unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First (under the pseudonym "Jack Curtiss"). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an "in-betweener" (an artist who fills in the action between major-movement frames,) on Popeye cartoons. "I went from Lincoln to Fleischer," he recalled. "From Fleischer I had to get out in a hurry because I couldn't take that kind of thing," describing it as "a factory in a sense, like my father's factory. They were manufacturing pictures."
Around this time, "I began to see the first comic books appear". The first American comic books were reprints of newspaper comic strips; soon, these tabloid-size, 10-inch by 15-inch "Comic books" began to include original material in comic-strip form. Kirby began writing and drawing such material for the comic book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the science fiction adventure The Diary of Dr. Hayward (under the pseudonym "Curt Davis"), the Western crimefighter strip Wilton of the West (as "Fred Sande"), the swashbuckler strip "The Count of Monte Cristo" (again as "Jack Curtiss"), and the humor strips Abdul Jones (as "Ted Grey)" and Socko the Seadog (as "Teddy"), all variously for Jumbo Comics and other Eisner-Iger clients. Kirby was also helpful beyond his artwork when he once frightened off a mobster who was strongarming Eisner for their building's towel service.
Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (January–March 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip.
Simon & Kirby
During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting:
“
I had a suit and Jack thought that was really nice. He'd never seen a comic book artist with a suit before. The reason I had a suit was that my father was a tailor. Jack's father was a tailor too, but he made pants! Anyway, I was doing freelance work and I had a little office in New York about ten blocks from DC's and Fox [Feature Syndicate]'s offices, and I was working on Blue Bolt for Funnies, Inc. So, of course, I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt...
and remained a team across the next two decades. In the early 2000s, original art for an unpublished, five-page Simon & Kirby collaboration titled "Daring Disc", which may predate the duo's Blue Bolt, surfaced. Simon published the story in the 2003 updated edition of his autobiography, The Comic Book Makers.
After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), the new Simon & Kirby team created the seminal patriotic hero Captain America in late 1940. Their dynamic perspectives, groundbreaking use of centerspreads, cinematic techniques and exaggerated sense of action made the title an immediate hit and rewrote the rules for comic book art. Simon and Kirby also produced the first complete comic book starring Captain Marvel for Fawcett Comics.
Captain America became the first and largest of many hit characters the duo would produce. The Simon & Kirby name soon became synonymous with exciting superhero comics, and the two became industry stars whose readers followed them from title to title. A financial dispute with Goodman led to their decamping to National Comics, one of the precursors of DC Comics, after ten issues of Captain America. Given a lucrative contract at their new home, Simon & Kirby took over the Sandman in Adventure Comics, and scored their next hits with the "kid gang" teams the Boy Commandos and the Newsboy Legion, and the superhero Manhunter.
Kirby married Rosalind "Roz" Goldstein (September 25, 1922–December 22, 1998) on May 23, 1942. The couple would have four children: Susan, Neal, Barbara and Lisa. The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby. The couple was living in Brighton Beach, Brooklyn, when Kirby was drafted into the U.S. Army in the late autumn of 1943. Serving with the Third Army combat infantry, he landed in Normandy, on Omaha Beach, 10 days after D-Day.
As superhero comics waned in popularity after the end of World War II, Kirby and his partner began producing a variety of other genre stories. They are credited with the creation of the first romance title, Young Romance Comics at Crestwood Publications, also known as Prize Comics. In addition, Kirby and Simon produced crime, horror, western and humor comics.
After Simon
Sky Masters comic strip by Kirby & Wally Wood.
The Kirby & Simon partnership ended amicably in 1955 with the failure of their own Mainline Publications. Kirby continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and Harvey Comics' Double Life of Private Strong reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.
For DC Comics, then known as National Comics, Kirby co-created with writers Dick & Dave Wood the non-superpowered adventuring quartet the Challengers of the Unknown in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery. In 30 months at DC, Kirby drew lightly over 600 pages, which included 11 Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself. He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.
Kirby left National Comics after a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff sued Kirby and was successful at trial.
Stan Lee and Marvel Comics
Kirby also worked for Marvel, on the cusp of the company's evolution from its 1950s incarnation as Atlas Comics, beginning with the cover and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (Dec. 1958).[9] Kirby would draw across all genres, from romance to Western (the feature "Black Rider") to espionage (Yellow Claw), but made his mark primarily with a series of monster, horror and science fiction stories for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish and Tales of Suspense. His bizarre designs of powerful, unearthly creatures proved a hit with readers. Then, with Marvel editor-in-chief Stan Lee, Kirby began working on superhero comics again, beginning with The Fantastic Four #1 (Nov. 1961). The landmark series became a hit that revolutionized the industry with its true-to-life naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination — one coincidentally well-matched with the consciousness-expanding youth culture of the 1960s.
For almost a decade, Kirby provided Marvel's house style, co-creating/designing many of the Marvel characters and providing layouts for new artists to draw over. Highlights besides the Fantastic Four include Thor, the Incredible Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, The Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther — comics' first known Black superhero — and his African nation of Wakanda. Simon & Kirby's Captain America was also incorporated into Marvel's continuity.
In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.
Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as 'Kirby Dots', and other experiments. Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.
Kirby returned to DC in the early 1970s, under an arrangement that gave him full creative control as editor, writer and artist. He produced a cycle of inter-linked titles under the blanket sobriquet The Fourth World including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman's Pal Jimmy Olsen which he worked on at the publisher's request. Kirby claims to have picked this Superman family book because the series was between artists and he did not want to cost anyone a job. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers.
Kirby later produced other DC titles such as OMAC, Kamandi, The Demon, and (together with former partner Joe Simon for one last time) a new incarnation of the Sandman. Several characters from this period have since become fixtures in the DC universe, including the demon Etrigan and his human counterpart Jason Blood; Scott Free (Mister Miracle), and the cosmic villain Darkseid.
Kirby then returned to Marvel Comics where he both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention influenced the evolution of life on Earth. Kirby's other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey. He also wrote and drew The Black Panther and did numerous covers across the line.
Although often artistically successful, the books did not connect with an audience to the same extent as his earlier work for Marvel in the 1960s. Many of the themes of his 1970s work - aging and immortality, helplessness in the face of unknowable and inconceivable powers beyond one's control - were those of a man in late middle age and were not likely to connect with younger readers.
Still dissatisfied with Marvel's treatment of him, and their refusal to provide health and other employment benefits, Kirby left Marvel to work in animation, where he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney's Treasury of Classic Tales syndicated comic strip in 1979-80.
In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish his series Captain Victory and the Galactic Rangers: Kirby would retain copyright over his creation and receive royalties on it. This, together with similar actions by other "independents" such as Eclipse Comics, helped establish a precedent for other professionals and end the monopoly of the "work for hire" system, wherein comics creators, even freelancers, had owned no rights to characters they created. Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed "The Kirbyverse".
In 1985, screenwriter and comic-book historian Mark Evanier revealed that thousands of pages of Kirby's artwork had been lost by Marvel Comics. These pages became the subject of a dispute between Kirby and that company. In 1987, in exchange for his giving up any claim to copyright, Kirby received from Marvel the 2,100 pages of his original art that remained in its possession. The disposition of Kirby's art for DC, Fawcett, and numerous other companies has remained uncertain.
Kirby's daughter, Lisa Kirby, announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, plan to published a six-issue miniseries, Jack Kirby's Galactic Bounty Hunters, featuring characters and concepts created by her father.
Awards and honors
Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Alley Award for Best Pencil Artist. The following year he was runner-up behind Jim Steranko. His other Alley Awards were:
*1963: Favorite Short Story - "The Human Torch Meets Captain America,", by Stan Lee & Jack Kirby, Strange Tales #114
*1964: Best Novel - "Captain America Joins the Avengers", by Stan Lee & Jack Kirby, from The Avengers #4
*1964: Best New Strip or Book - "Captain America", by Stan Lee & Jack Kirby, in Tales of Suspense
*1965: Best Short Story - "The Origin of the Red Skull", by Stan Lee & Jack Kirby, Tales of Suspense #66
*1966: Best Professional Work, Regular Short Feature - "Tales of Asgard" by Stan Lee & Jack Kirby, in The Mighty Thor
*1967: Best Professional Work, Regular Short Feature - (tie) "Tales of Asgard" and "Tales of the Inhumans", both by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Best Regular Short Feature - "Tales of the Inhumans", by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Hall of Fame - Fantastic Four, by Stan Lee & Jack Kirby; Nick Fury, Agent of S.H.I.E.L.D., by Jim Steranko[10]
Kirby won a Shazam Award for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, New Gods, Mister Miracle, and Superman's Pal Jimmy Olsen. He was inducted into the Shazam Awards Hall of Fame in 1975.
His work was honored posthumously with the 1998 Harvey Award for Best Domestic Reprint Project, for Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan.
The Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor.
In 2006, he was voted the #1 artist on Comic Book Resources ' All Time Top 100 Writers and Artists. With Will Eisner, Robert Crumb, Harvey Kurtzman, Gary Panter and Chris Ware, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from Sept. 16, 2006 to Jan. 28, 2007.
Legacy
Kirby is popularly acknowledged by comics creators and fans as one of the greatest and most influential artists in the history of comics. His output was legendary, with one count estimating that he produced over 25,000 pages during his lifetime, as well as hundreds of comic strips and sketches. He also produced paintings, and worked on concept illustrations for a number of Hollywood films.
The most imitated aspect of Kirby's work has been his exaggerated perspectives and dynamic energy. Less easy to imitate have been the expressive body language of his characters, who embrace each other and charge into everything from battle to pancakes with unselfconscious exuberance; and such constantly forward-looking innovations as the then cutting-edge photomontages he often used. He (along with fellow Marvel creator Steve Ditko) pioneered the use of visible minority characters in comic books, and Kirby co-created the first black superhero at Marvel (the African prince the Black Panther) and created DC's first two black superheroes: Vykin the Black in The Forever People #1 (March 1971) and the Black Racer in The New Gods #3 (July 1971).
Kirby: King of Comics (Hardcover)
by Mark Evanier (Author), Neil Gaiman (Introduction)
Editorial Reviews
From Publishers Weekly
As a teenager, future television and comics writer Evanier became an assistant to Jack Kirby, one of the foremost artists in the history of American comics. Kirby played a major role in shaping the superhero genre, not only through his innovative, dynamic artwork but through collaborating with Stan Lee to create classic Marvel characters like the Fantastic Four, the Hulk and the X-Men. Evanier has now written this magnificently illustrated biography of his mentor. Rather than employing the academic prose that one might expect from an art book, Evanier, a talented raconteur, tells Kirby's life story in an informal, entertaining manner. Although Evanier does not delve into psychological analysis, he brings Kirby's personality vividly alive: a child of the Great Depression, a creative visionary who struggled most of his life to support his family. The book recounts how Kirby was insufficiently appreciated by clueless corporate executives and close-minded comics professionals. But the stunning artwork in this book, taken from private collections, makes the case for Kirby's genius. A landmark work, this is essential reading for comics fans and those who want to better understand the history of the comics medium—or those who just want to enjoy Kirby's incredible artwork. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Product Description
Jack Kirby created or co-created some of comic books’ most popular characters including Captain America, The X-Men, The Hulk, The Fantastic Four, The Mighty Thor, Darkseid, and The New Gods. More significantly, he created much of the visual language for fantasy and adventure comics. There were comics before Kirby, but for the most part their page layout, graphics, and visual dynamic aped what was being done in syndicated newspaper strips. Almost everything that was different about comic books began in the forties on the drawing table of Jack Kirby. This is his story by one who knew him well—the authorized celebration of the one and only “King of Comics” and his groundbreaking work.
“I don’t think it’s any accident that . . . the entire Marvel universe and the entire DC universe are all pinned or rooted on Kirby’s concepts.” —Michael Chabon
About the Author
Mark Evanier met Jack Kirby in 1969, worked as his assistant, and later became his official biographer. A writer and historian, Evanier has written more than 500 comics for Gold Key, DC Comics, and Marvel Comics, several hundred hours of television (including Garfield) and is the author of several books including Mad Art (2002). He has three Emmy Award nominations, and received the Lifetime Achievement Award for animation from the Writers Guild of America.
Mark Evanier
Kirby, Jack: Jack Kirby (American, 1917-1994) : Jack Kirby has received world-wide recognition for his long comic book career and accomplishments. He is regarded by historians and fans as one of the major innovators and most influential creators in the comic-book medium, thus earning the nick-name "King." Among Kirby's many co-creations are Captain America, the Newsboy Legion, the Challengers of the Unknown, the Fantastic Four, the Hulk, Thor, the Avengers, the X-Men, Silver Surfer, the New Gods, and countless other memorable heroes and villains.
DECONSTRUCTING ROY LICHTENSTEIN™ © 2000
David Barsalou MFA Hartford Art School
JACK KIRBY
JACK KIRBY
Birth name Jacob Kurtzberg
BornAugust 28, 1917
New York City. New York
Died February 6, 1994 (aged 76)
Thousand Oaks, California
NationalityAmerican
Area(s)Penciller, Inker, Writer, Editor
Pseudonym(s)The King
Notable worksMarvel Comics
AwardsAlley Award
*Best Pencil Artist (1967), plus many awards for individual stories
Shazam Award
*Special Achievement by an Individual (1971)
Jack Kirby (August 28, 1917 – February 6, 1994) was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America and hundreds of others stretching back to the earliest days of medium. He was also a comic book writer and editor. His most common nickname is The King.
He was inducted into comic books' Shazam Awards Hall of Fame in 1975.
The Jack Kirby Award for achievement in comic books was named in his honor.
Early life
Born Jacob Kurtzberg to Jewish Austrian parents in New York City, he grew up on Suffolk Street in New York's Lower East Side Delancey Street area, attending elementary school at P.S. 20. His father, Benjamin, a garment-factory worker, was a Conservative Jew, and Jacob attended Hebrew school. Jacob's one sibling, a brother five years younger, predeceased him. After a rough-and-tumble childhood with much fighting among the kind of kid gangs he would render more heroically in his future comics (Fantastic Four's Jewish Ben Grimm was raised on rough-and-tumble "Yancy Street", and was predeceased by his older brother; in addition to sharing Kirby's father's first name, his middle name is Jacob, Kirby's first name at birth), Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".[1]
Essentially self-taught, Kirby cited among his influences the comic strip artists Alex Raymond and Milton Caniff.
The Golden Age of Comics
Captain America Comics #1 (March 1941), art by Jack Kirby (penciler) and Joe Simon (inker).
Per his own sometimes-unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First (under the pseudonym "Jack Curtiss"). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an "in-betweener" (an artist who fills in the action between major-movement frames,) on Popeye cartoons. "I went from Lincoln to Fleischer," he recalled. "From Fleischer I had to get out in a hurry because I couldn't take that kind of thing," describing it as "a factory in a sense, like my father's factory. They were manufacturing pictures."
Around this time, "I began to see the first comic books appear". The first American comic books were reprints of newspaper comic strips; soon, these tabloid-size, 10-inch by 15-inch "Comic books" began to include original material in comic-strip form. Kirby began writing and drawing such material for the comic book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the science fiction adventure The Diary of Dr. Hayward (under the pseudonym "Curt Davis"), the Western crimefighter strip Wilton of the West (as "Fred Sande"), the swashbuckler strip "The Count of Monte Cristo" (again as "Jack Curtiss"), and the humor strips Abdul Jones (as "Ted Grey)" and Socko the Seadog (as "Teddy"), all variously for Jumbo Comics and other Eisner-Iger clients. Kirby was also helpful beyond his artwork when he once frightened off a mobster who was strongarming Eisner for their building's towel service.
Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (January–March 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip.
Simon & Kirby
During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting:
“
I had a suit and Jack thought that was really nice. He'd never seen a comic book artist with a suit before. The reason I had a suit was that my father was a tailor. Jack's father was a tailor too, but he made pants! Anyway, I was doing freelance work and I had a little office in New York about ten blocks from DC's and Fox [Feature Syndicate]'s offices, and I was working on Blue Bolt for Funnies, Inc. So, of course, I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt...
and remained a team across the next two decades. In the early 2000s, original art for an unpublished, five-page Simon & Kirby collaboration titled "Daring Disc", which may predate the duo's Blue Bolt, surfaced. Simon published the story in the 2003 updated edition of his autobiography, The Comic Book Makers.
After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), the new Simon & Kirby team created the seminal patriotic hero Captain America in late 1940. Their dynamic perspectives, groundbreaking use of centerspreads, cinematic techniques and exaggerated sense of action made the title an immediate hit and rewrote the rules for comic book art. Simon and Kirby also produced the first complete comic book starring Captain Marvel for Fawcett Comics.
Captain America became the first and largest of many hit characters the duo would produce. The Simon & Kirby name soon became synonymous with exciting superhero comics, and the two became industry stars whose readers followed them from title to title. A financial dispute with Goodman led to their decamping to National Comics, one of the precursors of DC Comics, after ten issues of Captain America. Given a lucrative contract at their new home, Simon & Kirby took over the Sandman in Adventure Comics, and scored their next hits with the "kid gang" teams the Boy Commandos and the Newsboy Legion, and the superhero Manhunter.
Kirby married Rosalind "Roz" Goldstein (September 25, 1922–December 22, 1998) on May 23, 1942. The couple would have four children: Susan, Neal, Barbara and Lisa. The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby. The couple was living in Brighton Beach, Brooklyn, when Kirby was drafted into the U.S. Army in the late autumn of 1943. Serving with the Third Army combat infantry, he landed in Normandy, on Omaha Beach, 10 days after D-Day.
As superhero comics waned in popularity after the end of World War II, Kirby and his partner began producing a variety of other genre stories. They are credited with the creation of the first romance title, Young Romance Comics at Crestwood Publications, also known as Prize Comics. In addition, Kirby and Simon produced crime, horror, western and humor comics.
After Simon
Sky Masters comic strip by Kirby & Wally Wood.
The Kirby & Simon partnership ended amicably in 1955 with the failure of their own Mainline Publications. Kirby continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and Harvey Comics' Double Life of Private Strong reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.
For DC Comics, then known as National Comics, Kirby co-created with writers Dick & Dave Wood the non-superpowered adventuring quartet the Challengers of the Unknown in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery. In 30 months at DC, Kirby drew lightly over 600 pages, which included 11 Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself. He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.
Kirby left National Comics after a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff sued Kirby and was successful at trial.
Stan Lee and Marvel Comics
Kirby also worked for Marvel, on the cusp of the company's evolution from its 1950s incarnation as Atlas Comics, beginning with the cover and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (Dec. 1958).[9] Kirby would draw across all genres, from romance to Western (the feature "Black Rider") to espionage (Yellow Claw), but made his mark primarily with a series of monster, horror and science fiction stories for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish and Tales of Suspense. His bizarre designs of powerful, unearthly creatures proved a hit with readers. Then, with Marvel editor-in-chief Stan Lee, Kirby began working on superhero comics again, beginning with The Fantastic Four #1 (Nov. 1961). The landmark series became a hit that revolutionized the industry with its true-to-life naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination — one coincidentally well-matched with the consciousness-expanding youth culture of the 1960s.
For almost a decade, Kirby provided Marvel's house style, co-creating/designing many of the Marvel characters and providing layouts for new artists to draw over. Highlights besides the Fantastic Four include Thor, the Incredible Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, The Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther — comics' first known Black superhero — and his African nation of Wakanda. Simon & Kirby's Captain America was also incorporated into Marvel's continuity.
In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.
Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as 'Kirby Dots', and other experiments. Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.
Kirby returned to DC in the early 1970s, under an arrangement that gave him full creative control as editor, writer and artist. He produced a cycle of inter-linked titles under the blanket sobriquet The Fourth World including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman's Pal Jimmy Olsen which he worked on at the publisher's request. Kirby claims to have picked this Superman family book because the series was between artists and he did not want to cost anyone a job. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers.
Kirby later produced other DC titles such as OMAC, Kamandi, The Demon, and (together with former partner Joe Simon for one last time) a new incarnation of the Sandman. Several characters from this period have since become fixtures in the DC universe, including the demon Etrigan and his human counterpart Jason Blood; Scott Free (Mister Miracle), and the cosmic villain Darkseid.
Kirby then returned to Marvel Comics where he both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention influenced the evolution of life on Earth. Kirby's other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey. He also wrote and drew The Black Panther and did numerous covers across the line.
Although often artistically successful, the books did not connect with an audience to the same extent as his earlier work for Marvel in the 1960s. Many of the themes of his 1970s work - aging and immortality, helplessness in the face of unknowable and inconceivable powers beyond one's control - were those of a man in late middle age and were not likely to connect with younger readers.
Still dissatisfied with Marvel's treatment of him, and their refusal to provide health and other employment benefits, Kirby left Marvel to work in animation, where he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney's Treasury of Classic Tales syndicated comic strip in 1979-80.
In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish his series Captain Victory and the Galactic Rangers: Kirby would retain copyright over his creation and receive royalties on it. This, together with similar actions by other "independents" such as Eclipse Comics, helped establish a precedent for other professionals and end the monopoly of the "work for hire" system, wherein comics creators, even freelancers, had owned no rights to characters they created. Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed "The Kirbyverse".
In 1985, screenwriter and comic-book historian Mark Evanier revealed that thousands of pages of Kirby's artwork had been lost by Marvel Comics. These pages became the subject of a dispute between Kirby and that company. In 1987, in exchange for his giving up any claim to copyright, Kirby received from Marvel the 2,100 pages of his original art that remained in its possession. The disposition of Kirby's art for DC, Fawcett, and numerous other companies has remained uncertain.
Kirby's daughter, Lisa Kirby, announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, plan to published a six-issue miniseries, Jack Kirby's Galactic Bounty Hunters, featuring characters and concepts created by her father.
Awards and honors
Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Alley Award for Best Pencil Artist. The following year he was runner-up behind Jim Steranko. His other Alley Awards were:
*1963: Favorite Short Story - "The Human Torch Meets Captain America,", by Stan Lee & Jack Kirby, Strange Tales #114
*1964: Best Novel - "Captain America Joins the Avengers", by Stan Lee & Jack Kirby, from The Avengers #4
*1964: Best New Strip or Book - "Captain America", by Stan Lee & Jack Kirby, in Tales of Suspense
*1965: Best Short Story - "The Origin of the Red Skull", by Stan Lee & Jack Kirby, Tales of Suspense #66
*1966: Best Professional Work, Regular Short Feature - "Tales of Asgard" by Stan Lee & Jack Kirby, in The Mighty Thor
*1967: Best Professional Work, Regular Short Feature - (tie) "Tales of Asgard" and "Tales of the Inhumans", both by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Best Regular Short Feature - "Tales of the Inhumans", by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Hall of Fame - Fantastic Four, by Stan Lee & Jack Kirby; Nick Fury, Agent of S.H.I.E.L.D., by Jim Steranko[10]
Kirby won a Shazam Award for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, New Gods, Mister Miracle, and Superman's Pal Jimmy Olsen. He was inducted into the Shazam Awards Hall of Fame in 1975.
His work was honored posthumously with the 1998 Harvey Award for Best Domestic Reprint Project, for Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan.
The Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor.
In 2006, he was voted the #1 artist on Comic Book Resources ' All Time Top 100 Writers and Artists. With Will Eisner, Robert Crumb, Harvey Kurtzman, Gary Panter and Chris Ware, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from Sept. 16, 2006 to Jan. 28, 2007.
Legacy
Kirby is popularly acknowledged by comics creators and fans as one of the greatest and most influential artists in the history of comics. His output was legendary, with one count estimating that he produced over 25,000 pages during his lifetime, as well as hundreds of comic strips and sketches. He also produced paintings, and worked on concept illustrations for a number of Hollywood films.
The most imitated aspect of Kirby's work has been his exaggerated perspectives and dynamic energy. Less easy to imitate have been the expressive body language of his characters, who embrace each other and charge into everything from battle to pancakes with unselfconscious exuberance; and such constantly forward-looking innovations as the then cutting-edge photomontages he often used. He (along with fellow Marvel creator Steve Ditko) pioneered the use of visible minority characters in comic books, and Kirby co-created the first black superhero at Marvel (the African prince the Black Panther) and created DC's first two black superheroes: Vykin the Black in The Forever People #1 (March 1971) and the Black Racer in The New Gods #3 (July 1971).
Kirby: King of Comics (Hardcover)
by Mark Evanier (Author), Neil Gaiman (Introduction)
Editorial Reviews
From Publishers Weekly
As a teenager, future television and comics writer Evanier became an assistant to Jack Kirby, one of the foremost artists in the history of American comics. Kirby played a major role in shaping the superhero genre, not only through his innovative, dynamic artwork but through collaborating with Stan Lee to create classic Marvel characters like the Fantastic Four, the Hulk and the X-Men. Evanier has now written this magnificently illustrated biography of his mentor. Rather than employing the academic prose that one might expect from an art book, Evanier, a talented raconteur, tells Kirby's life story in an informal, entertaining manner. Although Evanier does not delve into psychological analysis, he brings Kirby's personality vividly alive: a child of the Great Depression, a creative visionary who struggled most of his life to support his family. The book recounts how Kirby was insufficiently appreciated by clueless corporate executives and close-minded comics professionals. But the stunning artwork in this book, taken from private collections, makes the case for Kirby's genius. A landmark work, this is essential reading for comics fans and those who want to better understand the history of the comics medium—or those who just want to enjoy Kirby's incredible artwork. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Product Description
Jack Kirby created or co-created some of comic books’ most popular characters including Captain America, The X-Men, The Hulk, The Fantastic Four, The Mighty Thor, Darkseid, and The New Gods. More significantly, he created much of the visual language for fantasy and adventure comics. There were comics before Kirby, but for the most part their page layout, graphics, and visual dynamic aped what was being done in syndicated newspaper strips. Almost everything that was different about comic books began in the forties on the drawing table of Jack Kirby. This is his story by one who knew him well—the authorized celebration of the one and only “King of Comics” and his groundbreaking work.
“I don’t think it’s any accident that . . . the entire Marvel universe and the entire DC universe are all pinned or rooted on Kirby’s concepts.” —Michael Chabon
About the Author
Mark Evanier met Jack Kirby in 1969, worked as his assistant, and later became his official biographer. A writer and historian, Evanier has written more than 500 comics for Gold Key, DC Comics, and Marvel Comics, several hundred hours of television (including Garfield) and is the author of several books including Mad Art (2002). He has three Emmy Award nominations, and received the Lifetime Achievement Award for animation from the Writers Guild of America.
Mark Evanier
Kirby, Jack: Jack Kirby (American, 1917-1994) : Jack Kirby has received world-wide recognition for his long comic book career and accomplishments. He is regarded by historians and fans as one of the major innovators and most influential creators in the comic-book medium, thus earning the nick-name "King." Among Kirby's many co-creations are Captain America, the Newsboy Legion, the Challengers of the Unknown, the Fantastic Four, the Hulk, Thor, the Avengers, the X-Men, Silver Surfer, the New Gods, and countless other memorable heroes and villains.
DECONSTRUCTING ROY LICHTENSTEIN™ © 2000
David Barsalou MFA Hartford Art School
JACK KIRBY
JACK KIRBY
Birth nameJacob Kurtzberg
BornAugust 28, 1917
New York City. New York
Died February 6, 1994 (aged 76)
Thousand Oaks, California
NationalityAmerican
Area(s)Penciller, Inker, Writer, Editor
Pseudonym(s)The King
Notable worksMarvel Comics
AwardsAlley Award
*Best Pencil Artist (1967), plus many awards for individual stories
Shazam Award
*Special Achievement by an Individual (1971)
Jack Kirby (August 28, 1917 – February 6, 1994) was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America and hundreds of others stretching back to the earliest days of medium. He was also a comic book writer and editor. His most common nickname is The King.
He was inducted into comic books' Shazam Awards Hall of Fame in 1975.
The Jack Kirby Award for achievement in comic books was named in his honor.
Early life
Born Jacob Kurtzberg to Jewish Austrian parents in New York City, he grew up on Suffolk Street in New York's Lower East Side Delancey Street area, attending elementary school at P.S. 20. His father, Benjamin, a garment-factory worker, was a Conservative Jew, and Jacob attended Hebrew school. Jacob's one sibling, a brother five years younger, predeceased him. After a rough-and-tumble childhood with much fighting among the kind of kid gangs he would render more heroically in his future comics (Fantastic Four's Jewish Ben Grimm was raised on rough-and-tumble "Yancy Street", and was predeceased by his older brother; in addition to sharing Kirby's father's first name, his middle name is Jacob, Kirby's first name at birth), Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".[1]
Essentially self-taught, Kirby cited among his influences the comic strip artists Alex Raymond and Milton Caniff.
The Golden Age of Comics
Captain America Comics #1 (March 1941), art by Jack Kirby (penciler) and Joe Simon (inker).
Per his own sometimes-unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First (under the pseudonym "Jack Curtiss"). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an "in-betweener" (an artist who fills in the action between major-movement frames,) on Popeye cartoons. "I went from Lincoln to Fleischer," he recalled. "From Fleischer I had to get out in a hurry because I couldn't take that kind of thing," describing it as "a factory in a sense, like my father's factory. They were manufacturing pictures."
Around this time, "I began to see the first comic books appear". The first American comic books were reprints of newspaper comic strips; soon, these tabloid-size, 10-inch by 15-inch "Comic books" began to include original material in comic-strip form. Kirby began writing and drawing such material for the comic book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the science fiction adventure The Diary of Dr. Hayward (under the pseudonym "Curt Davis"), the Western crimefighter strip Wilton of the West (as "Fred Sande"), the swashbuckler strip "The Count of Monte Cristo" (again as "Jack Curtiss"), and the humor strips Abdul Jones (as "Ted Grey)" and Socko the Seadog (as "Teddy"), all variously for Jumbo Comics and other Eisner-Iger clients. Kirby was also helpful beyond his artwork when he once frightened off a mobster who was strongarming Eisner for their building's towel service.
Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (January–March 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip.
Simon & Kirby
During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting:
“
I had a suit and Jack thought that was really nice. He'd never seen a comic book artist with a suit before. The reason I had a suit was that my father was a tailor. Jack's father was a tailor too, but he made pants! Anyway, I was doing freelance work and I had a little office in New York about ten blocks from DC's and Fox [Feature Syndicate]'s offices, and I was working on Blue Bolt for Funnies, Inc. So, of course, I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt...
and remained a team across the next two decades. In the early 2000s, original art for an unpublished, five-page Simon & Kirby collaboration titled "Daring Disc", which may predate the duo's Blue Bolt, surfaced. Simon published the story in the 2003 updated edition of his autobiography, The Comic Book Makers.
After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), the new Simon & Kirby team created the seminal patriotic hero Captain America in late 1940. Their dynamic perspectives, groundbreaking use of centerspreads, cinematic techniques and exaggerated sense of action made the title an immediate hit and rewrote the rules for comic book art. Simon and Kirby also produced the first complete comic book starring Captain Marvel for Fawcett Comics.
Captain America became the first and largest of many hit characters the duo would produce. The Simon & Kirby name soon became synonymous with exciting superhero comics, and the two became industry stars whose readers followed them from title to title. A financial dispute with Goodman led to their decamping to National Comics, one of the precursors of DC Comics, after ten issues of Captain America. Given a lucrative contract at their new home, Simon & Kirby took over the Sandman in Adventure Comics, and scored their next hits with the "kid gang" teams the Boy Commandos and the Newsboy Legion, and the superhero Manhunter.
Kirby married Rosalind "Roz" Goldstein (September 25, 1922–December 22, 1998) on May 23, 1942. The couple would have four children: Susan, Neal, Barbara and Lisa. The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby. The couple was living in Brighton Beach, Brooklyn, when Kirby was drafted into the U.S. Army in the late autumn of 1943. Serving with the Third Army combat infantry, he landed in Normandy, on Omaha Beach, 10 days after D-Day.
As superhero comics waned in popularity after the end of World War II, Kirby and his partner began producing a variety of other genre stories. They are credited with the creation of the first romance title, Young Romance Comics at Crestwood Publications, also known as Prize Comics. In addition, Kirby and Simon produced crime, horror, western and humor comics.
After Simon
Sky Masters comic strip by Kirby & Wally Wood.
The Kirby & Simon partnership ended amicably in 1955 with the failure of their own Mainline Publications. Kirby continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and Harvey Comics' Double Life of Private Strong reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.
For DC Comics, then known as National Comics, Kirby co-created with writers Dick & Dave Wood the non-superpowered adventuring quartet the Challengers of the Unknown in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery. In 30 months at DC, Kirby drew lightly over 600 pages, which included 11 Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself. He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.
Kirby left National Comics after a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff sued Kirby and was successful at trial.
Stan Lee and Marvel Comics
Kirby also worked for Marvel, on the cusp of the company's evolution from its 1950s incarnation as Atlas Comics, beginning with the cover and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (Dec. 1958).[9] Kirby would draw across all genres, from romance to Western (the feature "Black Rider") to espionage (Yellow Claw), but made his mark primarily with a series of monster, horror and science fiction stories for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish and Tales of Suspense. His bizarre designs of powerful, unearthly creatures proved a hit with readers. Then, with Marvel editor-in-chief Stan Lee, Kirby began working on superhero comics again, beginning with The Fantastic Four #1 (Nov. 1961). The landmark series became a hit that revolutionized the industry with its true-to-life naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination — one coincidentally well-matched with the consciousness-expanding youth culture of the 1960s.
For almost a decade, Kirby provided Marvel's house style, co-creating/designing many of the Marvel characters and providing layouts for new artists to draw over. Highlights besides the Fantastic Four include Thor, the Incredible Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, The Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther — comics' first known Black superhero — and his African nation of Wakanda. Simon & Kirby's Captain America was also incorporated into Marvel's continuity.
In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.
Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as 'Kirby Dots', and other experiments. Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.
Kirby returned to DC in the early 1970s, under an arrangement that gave him full creative control as editor, writer and artist. He produced a cycle of inter-linked titles under the blanket sobriquet The Fourth World including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman's Pal Jimmy Olsen which he worked on at the publisher's request. Kirby claims to have picked this Superman family book because the series was between artists and he did not want to cost anyone a job. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers.
Kirby later produced other DC titles such as OMAC, Kamandi, The Demon, and (together with former partner Joe Simon for one last time) a new incarnation of the Sandman. Several characters from this period have since become fixtures in the DC universe, including the demon Etrigan and his human counterpart Jason Blood; Scott Free (Mister Miracle), and the cosmic villain Darkseid.
Kirby then returned to Marvel Comics where he both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention influenced the evolution of life on Earth. Kirby's other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey. He also wrote and drew The Black Panther and did numerous covers across the line.
Although often artistically successful, the books did not connect with an audience to the same extent as his earlier work for Marvel in the 1960s. Many of the themes of his 1970s work - aging and immortality, helplessness in the face of unknowable and inconceivable powers beyond one's control - were those of a man in late middle age and were not likely to connect with younger readers.
Still dissatisfied with Marvel's treatment of him, and their refusal to provide health and other employment benefits, Kirby left Marvel to work in animation, where he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney's Treasury of Classic Tales syndicated comic strip in 1979-80.
In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish his series Captain Victory and the Galactic Rangers: Kirby would retain copyright over his creation and receive royalties on it. This, together with similar actions by other "independents" such as Eclipse Comics, helped establish a precedent for other professionals and end the monopoly of the "work for hire" system, wherein comics creators, even freelancers, had owned no rights to characters they created. Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed "The Kirbyverse".
In 1985, screenwriter and comic-book historian Mark Evanier revealed that thousands of pages of Kirby's artwork had been lost by Marvel Comics. These pages became the subject of a dispute between Kirby and that company. In 1987, in exchange for his giving up any claim to copyright, Kirby received from Marvel the 2,100 pages of his original art that remained in its possession. The disposition of Kirby's art for DC, Fawcett, and numerous other companies has remained uncertain.
Kirby's daughter, Lisa Kirby, announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, plan to published a six-issue miniseries, Jack Kirby's Galactic Bounty Hunters, featuring characters and concepts created by her father.
Awards and honors
Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Alley Award for Best Pencil Artist. The following year he was runner-up behind Jim Steranko. His other Alley Awards were:
*1963: Favorite Short Story - "The Human Torch Meets Captain America,", by Stan Lee & Jack Kirby, Strange Tales #114
*1964: Best Novel - "Captain America Joins the Avengers", by Stan Lee & Jack Kirby, from The Avengers #4
*1964: Best New Strip or Book - "Captain America", by Stan Lee & Jack Kirby, in Tales of Suspense
*1965: Best Short Story - "The Origin of the Red Skull", by Stan Lee & Jack Kirby, Tales of Suspense #66
*1966: Best Professional Work, Regular Short Feature - "Tales of Asgard" by Stan Lee & Jack Kirby, in The Mighty Thor
*1967: Best Professional Work, Regular Short Feature - (tie) "Tales of Asgard" and "Tales of the Inhumans", both by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Best Regular Short Feature - "Tales of the Inhumans", by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Hall of Fame - Fantastic Four, by Stan Lee & Jack Kirby; Nick Fury, Agent of S.H.I.E.L.D., by Jim Steranko[10]
Kirby won a Shazam Award for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, New Gods, Mister Miracle, and Superman's Pal Jimmy Olsen. He was inducted into the Shazam Awards Hall of Fame in 1975.
His work was honored posthumously with the 1998 Harvey Award for Best Domestic Reprint Project, for Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan.
The Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor.
In 2006, he was voted the #1 artist on Comic Book Resources ' All Time Top 100 Writers and Artists. With Will Eisner, Robert Crumb, Harvey Kurtzman, Gary Panter and Chris Ware, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from Sept. 16, 2006 to Jan. 28, 2007.
Legacy
Kirby is popularly acknowledged by comics creators and fans as one of the greatest and most influential artists in the history of comics. His output was legendary, with one count estimating that he produced over 25,000 pages during his lifetime, as well as hundreds of comic strips and sketches. He also produced paintings, and worked on concept illustrations for a number of Hollywood films.
The most imitated aspect of Kirby's work has been his exaggerated perspectives and dynamic energy. Less easy to imitate have been the expressive body language of his characters, who embrace each other and charge into everything from battle to pancakes with unselfconscious exuberance; and such constantly forward-looking innovations as the then cutting-edge photomontages he often used. He (along with fellow Marvel creator Steve Ditko) pioneered the use of visible minority characters in comic books, and Kirby co-created the first black superhero at Marvel (the African prince the Black Panther) and created DC's first two black superheroes: Vykin the Black in The Forever People #1 (March 1971) and the Black Racer in The New Gods #3 (July 1971).
Kirby: King of Comics (Hardcover)
by Mark Evanier (Author), Neil Gaiman (Introduction)
Editorial Reviews
From Publishers Weekly
As a teenager, future television and comics writer Evanier became an assistant to Jack Kirby, one of the foremost artists in the history of American comics. Kirby played a major role in shaping the superhero genre, not only through his innovative, dynamic artwork but through collaborating with Stan Lee to create classic Marvel characters like the Fantastic Four, the Hulk and the X-Men. Evanier has now written this magnificently illustrated biography of his mentor. Rather than employing the academic prose that one might expect from an art book, Evanier, a talented raconteur, tells Kirby's life story in an informal, entertaining manner. Although Evanier does not delve into psychological analysis, he brings Kirby's personality vividly alive: a child of the Great Depression, a creative visionary who struggled most of his life to support his family. The book recounts how Kirby was insufficiently appreciated by clueless corporate executives and close-minded comics professionals. But the stunning artwork in this book, taken from private collections, makes the case for Kirby's genius. A landmark work, this is essential reading for comics fans and those who want to better understand the history of the comics medium—or those who just want to enjoy Kirby's incredible artwork. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Product Description
Jack Kirby created or co-created some of comic books’ most popular characters including Captain America, The X-Men, The Hulk, The Fantastic Four, The Mighty Thor, Darkseid, and The New Gods. More significantly, he created much of the visual language for fantasy and adventure comics. There were comics before Kirby, but for the most part their page layout, graphics, and visual dynamic aped what was being done in syndicated newspaper strips. Almost everything that was different about comic books began in the forties on the drawing table of Jack Kirby. This is his story by one who knew him well—the authorized celebration of the one and only “King of Comics” and his groundbreaking work.
“I don’t think it’s any accident that . . . the entire Marvel universe and the entire DC universe are all pinned or rooted on Kirby’s concepts.” —Michael Chabon
About the Author
Mark Evanier met Jack Kirby in 1969, worked as his assistant, and later became his official biographer. A writer and historian, Evanier has written more than 500 comics for Gold Key, DC Comics, and Marvel Comics, several hundred hours of television (including Garfield) and is the author of several books including Mad Art (2002). He has three Emmy Award nominations, and received the Lifetime Achievement Award for animation from the Writers Guild of America.
Mark Evanier
Kirby, Jack: Jack Kirby (American, 1917-1994) : Jack Kirby has received world-wide recognition for his long comic book career and accomplishments. He is regarded by historians and fans as one of the major innovators and most influential creators in the comic-book medium, thus earning the nick-name "King." Among Kirby's many co-creations are Captain America, the Newsboy Legion, the Challengers of the Unknown, the Fantastic Four, the Hulk, Thor, the Avengers, the X-Men, Silver Surfer, the New Gods, and countless other memorable heroes and villains.
DECONSTRUCTING ROY LICHTENSTEIN™ © 2000
David Barsalou MFA Hartford Art School
JACK KIRBY
Sgt. Fury 13
JACK KIRBY
Birth nameJacob Kurtzberg
BornAugust 28, 1917
New York City. New York
Died February 6, 1994 (aged 76)
Thousand Oaks, California
NationalityAmerican
Area(s)Penciller, Inker, Writer, Editor
Pseudonym(s)The King
Notable worksMarvel Comics
AwardsAlley Award
*Best Pencil Artist (1967), plus many awards for individual stories
Shazam Award
*Special Achievement by an Individual (1971)
Jack Kirby (August 28, 1917 – February 6, 1994) was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America and hundreds of others stretching back to the earliest days of medium. He was also a comic book writer and editor. His most common nickname is The King.
He was inducted into comic books' Shazam Awards Hall of Fame in 1975.
The Jack Kirby Award for achievement in comic books was named in his honor.
Early life
Born Jacob Kurtzberg to Jewish Austrian parents in New York City, he grew up on Suffolk Street in New York's Lower East Side Delancey Street area, attending elementary school at P.S. 20. His father, Benjamin, a garment-factory worker, was a Conservative Jew, and Jacob attended Hebrew school. Jacob's one sibling, a brother five years younger, predeceased him. After a rough-and-tumble childhood with much fighting among the kind of kid gangs he would render more heroically in his future comics (Fantastic Four's Jewish Ben Grimm was raised on rough-and-tumble "Yancy Street", and was predeceased by his older brother; in addition to sharing Kirby's father's first name, his middle name is Jacob, Kirby's first name at birth), Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".[1]
Essentially self-taught, Kirby cited among his influences the comic strip artists Alex Raymond and Milton Caniff.
The Golden Age of Comics
Captain America Comics #1 (March 1941), art by Jack Kirby (penciler) and Joe Simon (inker).
Per his own sometimes-unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First (under the pseudonym "Jack Curtiss"). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an "in-betweener" (an artist who fills in the action between major-movement frames,) on Popeye cartoons. "I went from Lincoln to Fleischer," he recalled. "From Fleischer I had to get out in a hurry because I couldn't take that kind of thing," describing it as "a factory in a sense, like my father's factory. They were manufacturing pictures."
Around this time, "I began to see the first comic books appear". The first American comic books were reprints of newspaper comic strips; soon, these tabloid-size, 10-inch by 15-inch "Comic books" began to include original material in comic-strip form. Kirby began writing and drawing such material for the comic book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the science fiction adventure The Diary of Dr. Hayward (under the pseudonym "Curt Davis"), the Western crimefighter strip Wilton of the West (as "Fred Sande"), the swashbuckler strip "The Count of Monte Cristo" (again as "Jack Curtiss"), and the humor strips Abdul Jones (as "Ted Grey)" and Socko the Seadog (as "Teddy"), all variously for Jumbo Comics and other Eisner-Iger clients. Kirby was also helpful beyond his artwork when he once frightened off a mobster who was strongarming Eisner for their building's towel service.
Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (January–March 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip.
Simon & Kirby
During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting:
“
I had a suit and Jack thought that was really nice. He'd never seen a comic book artist with a suit before. The reason I had a suit was that my father was a tailor. Jack's father was a tailor too, but he made pants! Anyway, I was doing freelance work and I had a little office in New York about ten blocks from DC's and Fox [Feature Syndicate]'s offices, and I was working on Blue Bolt for Funnies, Inc. So, of course, I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt...
and remained a team across the next two decades. In the early 2000s, original art for an unpublished, five-page Simon & Kirby collaboration titled "Daring Disc", which may predate the duo's Blue Bolt, surfaced. Simon published the story in the 2003 updated edition of his autobiography, The Comic Book Makers.
After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), the new Simon & Kirby team created the seminal patriotic hero Captain America in late 1940. Their dynamic perspectives, groundbreaking use of centerspreads, cinematic techniques and exaggerated sense of action made the title an immediate hit and rewrote the rules for comic book art. Simon and Kirby also produced the first complete comic book starring Captain Marvel for Fawcett Comics.
Captain America became the first and largest of many hit characters the duo would produce. The Simon & Kirby name soon became synonymous with exciting superhero comics, and the two became industry stars whose readers followed them from title to title. A financial dispute with Goodman led to their decamping to National Comics, one of the precursors of DC Comics, after ten issues of Captain America. Given a lucrative contract at their new home, Simon & Kirby took over the Sandman in Adventure Comics, and scored their next hits with the "kid gang" teams the Boy Commandos and the Newsboy Legion, and the superhero Manhunter.
Kirby married Rosalind "Roz" Goldstein (September 25, 1922–December 22, 1998) on May 23, 1942. The couple would have four children: Susan, Neal, Barbara and Lisa. The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby. The couple was living in Brighton Beach, Brooklyn, when Kirby was drafted into the U.S. Army in the late autumn of 1943. Serving with the Third Army combat infantry, he landed in Normandy, on Omaha Beach, 10 days after D-Day.
As superhero comics waned in popularity after the end of World War II, Kirby and his partner began producing a variety of other genre stories. They are credited with the creation of the first romance title, Young Romance Comics at Crestwood Publications, also known as Prize Comics. In addition, Kirby and Simon produced crime, horror, western and humor comics.
After Simon
Sky Masters comic strip by Kirby & Wally Wood.
The Kirby & Simon partnership ended amicably in 1955 with the failure of their own Mainline Publications. Kirby continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and Harvey Comics' Double Life of Private Strong reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.
For DC Comics, then known as National Comics, Kirby co-created with writers Dick & Dave Wood the non-superpowered adventuring quartet the Challengers of the Unknown in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery. In 30 months at DC, Kirby drew lightly over 600 pages, which included 11 Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself. He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.
Kirby left National Comics after a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff sued Kirby and was successful at trial.
Stan Lee and Marvel Comics
Kirby also worked for Marvel, on the cusp of the company's evolution from its 1950s incarnation as Atlas Comics, beginning with the cover and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (Dec. 1958).[9] Kirby would draw across all genres, from romance to Western (the feature "Black Rider") to espionage (Yellow Claw), but made his mark primarily with a series of monster, horror and science fiction stories for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish and Tales of Suspense. His bizarre designs of powerful, unearthly creatures proved a hit with readers. Then, with Marvel editor-in-chief Stan Lee, Kirby began working on superhero comics again, beginning with The Fantastic Four #1 (Nov. 1961). The landmark series became a hit that revolutionized the industry with its true-to-life naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination — one coincidentally well-matched with the consciousness-expanding youth culture of the 1960s.
For almost a decade, Kirby provided Marvel's house style, co-creating/designing many of the Marvel characters and providing layouts for new artists to draw over. Highlights besides the Fantastic Four include Thor, the Incredible Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, The Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther — comics' first known Black superhero — and his African nation of Wakanda. Simon & Kirby's Captain America was also incorporated into Marvel's continuity.
In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.
Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as 'Kirby Dots', and other experiments. Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.
Kirby returned to DC in the early 1970s, under an arrangement that gave him full creative control as editor, writer and artist. He produced a cycle of inter-linked titles under the blanket sobriquet The Fourth World including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman's Pal Jimmy Olsen which he worked on at the publisher's request. Kirby claims to have picked this Superman family book because the series was between artists and he did not want to cost anyone a job. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers.
Kirby later produced other DC titles such as OMAC, Kamandi, The Demon, and (together with former partner Joe Simon for one last time) a new incarnation of the Sandman. Several characters from this period have since become fixtures in the DC universe, including the demon Etrigan and his human counterpart Jason Blood; Scott Free (Mister Miracle), and the cosmic villain Darkseid.
Kirby then returned to Marvel Comics where he both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention influenced the evolution of life on Earth. Kirby's other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey. He also wrote and drew The Black Panther and did numerous covers across the line.
Although often artistically successful, the books did not connect with an audience to the same extent as his earlier work for Marvel in the 1960s. Many of the themes of his 1970s work - aging and immortality, helplessness in the face of unknowable and inconceivable powers beyond one's control - were those of a man in late middle age and were not likely to connect with younger readers.
Still dissatisfied with Marvel's treatment of him, and their refusal to provide health and other employment benefits, Kirby left Marvel to work in animation, where he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney's Treasury of Classic Tales syndicated comic strip in 1979-80.
In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish his series Captain Victory and the Galactic Rangers: Kirby would retain copyright over his creation and receive royalties on it. This, together with similar actions by other "independents" such as Eclipse Comics, helped establish a precedent for other professionals and end the monopoly of the "work for hire" system, wherein comics creators, even freelancers, had owned no rights to characters they created. Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed "The Kirbyverse".
In 1985, screenwriter and comic-book historian Mark Evanier revealed that thousands of pages of Kirby's artwork had been lost by Marvel Comics. These pages became the subject of a dispute between Kirby and that company. In 1987, in exchange for his giving up any claim to copyright, Kirby received from Marvel the 2,100 pages of his original art that remained in its possession. The disposition of Kirby's art for DC, Fawcett, and numerous other companies has remained uncertain.
Kirby's daughter, Lisa Kirby, announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, plan to published a six-issue miniseries, Jack Kirby's Galactic Bounty Hunters, featuring characters and concepts created by her father.
Awards and honors
Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Alley Award for Best Pencil Artist. The following year he was runner-up behind Jim Steranko. His other Alley Awards were:
*1963: Favorite Short Story - "The Human Torch Meets Captain America,", by Stan Lee & Jack Kirby, Strange Tales #114
*1964: Best Novel - "Captain America Joins the Avengers", by Stan Lee & Jack Kirby, from The Avengers #4
*1964: Best New Strip or Book - "Captain America", by Stan Lee & Jack Kirby, in Tales of Suspense
*1965: Best Short Story - "The Origin of the Red Skull", by Stan Lee & Jack Kirby, Tales of Suspense #66
*1966: Best Professional Work, Regular Short Feature - "Tales of Asgard" by Stan Lee & Jack Kirby, in The Mighty Thor
*1967: Best Professional Work, Regular Short Feature - (tie) "Tales of Asgard" and "Tales of the Inhumans", both by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Best Regular Short Feature - "Tales of the Inhumans", by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Hall of Fame - Fantastic Four, by Stan Lee & Jack Kirby; Nick Fury, Agent of S.H.I.E.L.D., by Jim Steranko[10]
Kirby won a Shazam Award for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, New Gods, Mister Miracle, and Superman's Pal Jimmy Olsen. He was inducted into the Shazam Awards Hall of Fame in 1975.
His work was honored posthumously with the 1998 Harvey Award for Best Domestic Reprint Project, for Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan.
The Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor.
In 2006, he was voted the #1 artist on Comic Book Resources ' All Time Top 100 Writers and Artists. With Will Eisner, Robert Crumb, Harvey Kurtzman, Gary Panter and Chris Ware, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from Sept. 16, 2006 to Jan. 28, 2007.
Legacy
Kirby is popularly acknowledged by comics creators and fans as one of the greatest and most influential artists in the history of comics. His output was legendary, with one count estimating that he produced over 25,000 pages during his lifetime, as well as hundreds of comic strips and sketches. He also produced paintings, and worked on concept illustrations for a number of Hollywood films.
The most imitated aspect of Kirby's work has been his exaggerated perspectives and dynamic energy. Less easy to imitate have been the expressive body language of his characters, who embrace each other and charge into everything from battle to pancakes with unselfconscious exuberance; and such constantly forward-looking innovations as the then cutting-edge photomontages he often used. He (along with fellow Marvel creator Steve Ditko) pioneered the use of visible minority characters in comic books, and Kirby co-created the first black superhero at Marvel (the African prince the Black Panther) and created DC's first two black superheroes: Vykin the Black in The Forever People #1 (March 1971) and the Black Racer in The New Gods #3 (July 1971).
Kirby: King of Comics (Hardcover)
by Mark Evanier (Author), Neil Gaiman (Introduction)
Editorial Reviews
From Publishers Weekly
As a teenager, future television and comics writer Evanier became an assistant to Jack Kirby, one of the foremost artists in the history of American comics. Kirby played a major role in shaping the superhero genre, not only through his innovative, dynamic artwork but through collaborating with Stan Lee to create classic Marvel characters like the Fantastic Four, the Hulk and the X-Men. Evanier has now written this magnificently illustrated biography of his mentor. Rather than employing the academic prose that one might expect from an art book, Evanier, a talented raconteur, tells Kirby's life story in an informal, entertaining manner. Although Evanier does not delve into psychological analysis, he brings Kirby's personality vividly alive: a child of the Great Depression, a creative visionary who struggled most of his life to support his family. The book recounts how Kirby was insufficiently appreciated by clueless corporate executives and close-minded comics professionals. But the stunning artwork in this book, taken from private collections, makes the case for Kirby's genius. A landmark work, this is essential reading for comics fans and those who want to better understand the history of the comics medium—or those who just want to enjoy Kirby's incredible artwork. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Product Description
Jack Kirby created or co-created some of comic books’ most popular characters including Captain America, The X-Men, The Hulk, The Fantastic Four, The Mighty Thor, Darkseid, and The New Gods. More significantly, he created much of the visual language for fantasy and adventure comics. There were comics before Kirby, but for the most part their page layout, graphics, and visual dynamic aped what was being done in syndicated newspaper strips. Almost everything that was different about comic books began in the forties on the drawing table of Jack Kirby. This is his story by one who knew him well—the authorized celebration of the one and only “King of Comics” and his groundbreaking work.
“I don’t think it’s any accident that . . . the entire Marvel universe and the entire DC universe are all pinned or rooted on Kirby’s concepts.” —Michael Chabon
About the Author
Mark Evanier met Jack Kirby in 1969, worked as his assistant, and later became his official biographer. A writer and historian, Evanier has written more than 500 comics for Gold Key, DC Comics, and Marvel Comics, several hundred hours of television (including Garfield) and is the author of several books including Mad Art (2002). He has three Emmy Award nominations, and received the Lifetime Achievement Award for animation from the Writers Guild of America.
Mark Evanier
Kirby, Jack: Jack Kirby (American, 1917-1994) : Jack Kirby has received world-wide recognition for his long comic book career and accomplishments. He is regarded by historians and fans as one of the major innovators and most influential creators in the comic-book medium, thus earning the nick-name "King." Among Kirby's many co-creations are Captain America, the Newsboy Legion, the Challengers of the Unknown, the Fantastic Four, the Hulk, Thor, the Avengers, the X-Men, Silver Surfer, the New Gods, and countless other memorable heroes and villains.
DECONSTRUCTING ROY LICHTENSTEIN™ © 2000
David Barsalou MFA Hartford Art School
Thanks to Berna#4 for the support (image and lyrics)
Suggested track:
LOVE WILL TEAR US APART (Joy Division)
When the routine bites hard
And ambitions are low
And the resentment rides high
But emotions won’t grow
And we’re changing our ways,
Taking different roads
Then love, love will tear us apart again
Why is the bedroom so cold
Turned away on your side?
Is my timing that flawed,
Our respect run so dry?
Yet there’s still this appeal
That we’ve kept through our lives
Love, love will tear us apart again
Do you cry out in your sleep
All my failings expose?
Get a taste in my mouth
As desperation takes hold
Is it something so good
Just can’t function no more?
When love, love will tear us apart again
I figure that the best way to fight the seemingly inevitable post-Christmas blues is to try and hang on for as long as possible to all the good feelings created by the holiday.
I've always been amazed by the intensity of people's nostalgic feelings for the classic Christmas TV specials. Whether it's Charlie Brown, the Grinch or Rudolph...for so many people it's just NOT Christmas without an annual viewing of these treasured (and seemingly memorized) shows. Come on...how many lines can YOU quote from any of these shows?
I'm wishing everyone at Flickr an extension of all the joy and magic we feel at Christmas. We certainly need all the "peace on earth... good will towards men" we can get right now. I recently read in amazement about 2 Colorado homeowners who were being fined by their condo association for displaying peace signs as part of their outdoor Christmas decorations. Apparently several of their neighbors who have family members serving in the military felt the display of the symbol was unpatriotic and THAT THE PEACE SYMBOL IS AN "ANTI-CHRIST SIGN"!!! That IS a direct quote from one of the neighbors.(Have our country and our world gone SO far off track that a longing for peace is cause for suspicion and resentment??
In case you find that story hard to believe here's a link to just one newspaper article about the controversy:
www.rockymountainnews.com/drmn/local/article/0,1299,DRMN_...
Isn't it amazing... the thoughts...and rants that can be inspired by 2 little plastic toys? :-)
I make no excuses for uploading six images of this amazing wood sculpture. Here's some information taken from a plaque beside the artwork:
The history of the Rebecca Riots is one of the most dramatic chapters in Welsh history. Against a background of agricultural crisis and grinding rural poverty, associations known as Turnpike Trusts established a network of tollhouses on country roads. Whether taking cattle to Market or collecting lime to fertilise their fields, hard pressed farmers had to pay tolls at every turn.
Resentment built up over many years until 1839 when there was a sudden explosion of violence directed at a new tollgate at Efailwen in north western Carmarthenshire. The attack was led by the stirring figure of 'Rebecca', a man disguised with a blackened face, wig and women's clothes, astride a white horse and waving a sword.
When the Main Trust placed a new tollgate near the Mermaid Tavern in St Clears on 18th November 1842, it marked the start of a four month battle between 'Rebecca' and the authorities. Positioned to make it impossible for traffic to pass through the area without paying a toll, it was pulled down by 'Rebecca' and her followers within hours. The Mermaid Gate was smashed a second time on 12th December that year when seventy to a hundred men, dressed in women's clothes and armed with scythes and guns, descended on the town at midnight. The rebuilt gate was torn down on 20th December and a fourth gate was destroyed in April 1843.
Every area seemed to have its own 'Rebecca' who became, and remains an almost mythical figure - a Welsh Robin Hood. Police and troops were called in to help protect the gates but 'Rebecca' and her daughters were usually one step ahead of the law. The protests came to an end in 1844 when a government Commission of Inquiry led to a reform of the Turnpike Trusts and answered many of the grievances of the rural population.
Wood sculpture by Simon Hedger (2008), commissioned by St Clears Council, standing close to the site of the original tollgate.
Ambiorix
Ambiorix was ten tijde van Julius Caesars verovering van Gallië samen met Catuvolcus koning van de Gallische stam de Eburonen, die zouden hebben geleefd "tussen Maas en Rijn", in gedeelten van het huidige Nederland en België (Kempen, Luik (provincie), beide Limburgen) en Duitsland (Roer, zijrivier van de Maas). Hij werd vanaf de 19e eeuw een mythische Belgische held vanwege zijn verzet tegen de Romeinen, zoals dat beschreven staat in Caesars Commentarii de bello Gallico. De naam Ambiorix betekent Rijke koning.
Toen in 57 v.Chr. Julius Caesar Gallië veroverde vielen zijn troepen ook Belgica binnen. (Het gebied bestreek ongeveer het huidige België en een stuk van Nederland tot aan de Rijn). Belgica werd toen bewoond door verschillende stammen die regelmatig oorlog tegen elkaar voerden. De stam der Eburonen werd geregeerd door Ambiorix en Catuvolcus, die de macht deelden als koning. In 54 v.Chr. moest Caesar zijn troepen dringend opnieuw van bevoorrading voorzien en verplichtte hij de bevolking van de streken die hij en zijn troepen veroverden een deel van hun oogst aan zijn leger af te staan. Omdat de oogst dat jaar te mager was geweest waren de Eburonen hiertoe niet bereid. Caesar liet daarop zijn soldaten kampen bouwen nabij de dorpen en gaf de kampleiders elk de opdracht het bestuur over de plaatselijke stammen over te nemen en zo de noodzakelijke voedselvoorraden in beslag te nemen. Ambiorix en zijn Eburonen waren echter niet van plan zich hierbij zomaar neer te leggen. Alhoewel Caesar Ambiorix had vrijgesteld van de betalingen, sloot Ambiorix zich in de winter van 54 v.Chr. aan bij Catuvolcus om een opstand te leiden tegen de plaatselijke Romeinse troepen.
Op een dag vielen Ambiorix en enkele van zijn mannen een groepje Romeinen aan die buiten hun kamp in de buurt van de Keutenberg hout waren gaan sprokkelen en moordden het merendeel van hen uit. De overlevende legionairs vluchtten terug naar hun kamp waarna Ambiorix de achtervolging inzette. Omdat de overmacht echter te groot bleek, besloot hij het kamp niet aan te vallen maar met de Romeinen te praten. De Eburonenkoning legde uit dat hij geen problemen had met hen en zelfs blij was met hun komst omdat zijn stam zo geen last had van andere stammen in de streek. Hij waarschuwde de kampleiders, Sabinus en Cotta echter dat deze stammen wel van plan waren hen aan te vallen en zelfs hulp zouden krijgen van hordes Germaanse stammen die de Rijn zouden oversteken. Hij raadde hun aan om naar een ander kamp te trekken om zich bij de groep soldaten die daar gelegerd waren aan te sluiten. Op die manier zouden ze sterker staan. Hij beloofde hen ook dat hij hen bij hun uittocht met rust zou laten.
Sabinus en Cotta vergaderden de hele nacht over wat ze zouden doen. Sabinus vertrouwde Ambiorix en achtte het beter om te vertrekken, terwijl Cotta liever in het kamp bleef en de aanval afwachtte. Ze raakten het maar niet eens en op zeker moment zou Sabinus met zijn vuist op tafel hebben geslagen en besloten hebben dat ze in het kamp zouden blijven, maar dat het niet zijn schuld zou zijn als ze daardoor allemaal de dood zouden vinden.
Toch was niemand in het kamp er gerust op en besloten ze 's anderendaags toch te vertrekken. De twee dichtstbijzijnde Romeinse legioenplaatsen lagen enerzijds achter heuvelachtig terrein en anderzijds achter een vlakte langs een vallei. Sabinus en Cotta besloten uit praktische overwegingen de laatste weg te volgen. Terwijl ze de vallei beneden doortrokken vielen Ambiorix en zijn manschappen hen van boven in de heuvels aan en moordden alle Romeinse militairen tot de laatste man uit. De huidige Keutenberg gelegen bij Schin op Geul is nadien genoemd naar de legerleider Cotta, die dus ook gesneuveld is in die slag.
Toen Rome en de Senaat weet kregen van deze nederlaag, zwoer Caesar alle stammen van de Belgae uit te roeien. Het was voor de Romeinen belangrijk dat de andere bezette landen van het Romeinse Rijk getoond zou worden dat het almachtige Romeinse leger niet zo makkelijk te verslaan was als het leek. Per slot van rekening was nu een volledig Romeins legioen en 5 cohorten, dat is alles tezamen zo'n 7200 soldaten, door 1 stam volledig in de pan gehakt. Ambiorix verenigde terzelfder tijd in 53 v.Chr. alle andere Belgische stammen om zich collectief tegen de Romeinen te verzetten. Na zijn overwinning voegde Ambiorix' leger zich bij de Nervische strijdmacht en belegerde Cicero's winterkamp. De strijd duurde een aantal jaar, maar tegen de negen legioenen van ongeveer 50.000 getrainde soldaten die Caesar naar Belgica stuurde waren de Belgen niet opgewassen. De stammen werden afgeslacht of verdreven en hun akkers platgebrand. Met name de Eburonen werden geviseerd en verdwenen in een genocidaire campagne uit de geschiedenis. Enkel Ambiorix wist zich met enkele van zijn manschappen over de Rijn in veiligheid te brengen, waarna hij spoorloos verdween.
Caesar schreef over Ambiorix in het verslag over zijn veldslagen tegen de Galliërs: "De Bello Gallico". In die tekst schreef hij ook de beroemde woorden: De Belgae zijn de dappersten aller Galliërs ("...Horum omnium fortissimi sunt Belgae..."). Deze zin werd na de onafhankelijkheid van België in 1830 vaak op anachronistische wijze geciteerd als De Belgen zijn de dappersten aller Galliërs. Caesar bedoelde onder de verzamelnaam Belgae de stammen die in het toenmalige Belgica leefden, terwijl België als staat toen vanzelfsprekend nog niet bestond.
Ambiorix werd tot in de 19e eeuw vergeten. Toen België in 1830 onafhankelijk werd, besloot de Belgische regering in het nationale verleden te spitten naar historische figuren die als nationale helden konden dienen. In Caesars verslag over de Gallische oorlogen; "De Bello Gallico" stiet men op Ambiorix en zijn daden. De dichter Joannes Nolet de Brauwere van Steeland vestigde in 1841 met een lyrisch epos de aandacht op deze Ambiorix. Op 5 september 1866 werd vervolgens een standbeeld van Ambiorix opgericht op de Grote Markt van Tongeren. Er is geen zekerheid of hij ooit in Tongeren geweest is. De verwijzing van Julius Caesar in "De Bello Gallico" naar Atuatuca als de plaats waar deze feiten zich afspeelden en de oorspronkelijke naam van Tongeren (Atuatuca Tungrorum) liet vermoeden dat het hier Tongeren betrof. Om deze reden nam het Tongers Oudheidkundig Genootschap in 1860 het initiatief voor het plaatsen van een Standbeeld van Ambiorix in deze stad.
Ambiorix is tegenwoordig een van de beroemdste figuren uit de (Keltische) geschiedenis van België. Veel bedrijven, cafés en frituren hebben zich naar hem genoemd. Hij is ook in een aantal stripverhalen opgedoken. In album nr.130 van Jommeke; Het geheim van Ambiorix bijvoorbeeld. In de verhalen van Suske en Wiske blijkt Lambik een oud Belgisch stamhoofd als voorvader te hebben gehad, genaamd Lambiorix, tevens de naam van het stripalbum. En in De Krimson-crisis (1988) worden Ambiorix en zijn mannen samen met andere Vlaamse historische figuren met de teletijdmachine naar het heden geflitst om Suske en Wiske te helpen in hun strijd tegen Krimson.
In Asterix en de Belgen besluiten Asterix, Obelix, Idefix en Abraracourcix naar Belgica te gaan omdat ze gehoord hebben dat Caesar "de Belgen" dapperder vindt dan hen, de Galliërs. Het Belgische stamhoofd dat ze daar ontmoeten, Vandendomme (in de originele versie "Gueuzelambix") lijkt zelfs wat op moderne voorstellingen van Ambiorix.
In 2005 werd Ambiorix één van de 111 genomineerden voor de titel De Grootste Belg. Hij eindigde in de Waalse versie op de vijftigste en in de Vlaamse op de vierde plaats.
Het 350ste smaldeel van de Belgische luchtmacht heeft Ambiorix als mascotte.
Het is niet zeker of Ambiorix echt bestaan heeft, omdat Julius Caesars "De Bello Gallico" de enige authentieke bron is waarin zijn naam vermeld wordt en alle historici hun documentatie uitsluitend hieruit hebben geput. Dit geldt voor alle informatie over de Gallische oorlogen. Sommige historici hebben gesuggereerd dat Caesar Ambiorix mogelijk verzonnen heeft om de afslachting van zijn troepen in Gallië te kunnen verantwoorden aan Rome. Dat zou dan betekenen dat de aanval op de Romeinen in zulke korte tijd en hevigheid plaatsvond, dat Caesar en zijn officieren geen kans zagen om de commandostructuur van de tegenstander te doorgronden. Dat zou ook betekenen dat de aanval hoogstwaarschijnlijk vanuit een hinderlaag plaatsvond, mogelijk zelfs in een gebied met veel natuurlijke obstakels. Dat laatste zou dan in een bomen- of hagenrijk gebied moeten zijn. Caesar rept daar in zijn geschriften echter met geen woord over. Het benoemen (en dus verzinnen van een leider) heeft in dit geval dan het voordeel dat Caesar dan kan verbergen dat hij en zijn officieren de commandostructuur niet konden doorgronden. Menig historicus acht deze theorie hoogst onwaarschijnlijk, aangezien Caesar en zijn officieren vele getuigen (de soldaten) hadden die in samenspraak het tegendeel konden beweren en het geheel met bewijzen zouden kunnen staven. Bovendien vragen critici van bovenstaande theorie zich af hoe die 7200 soldaten dan van de aardbodem zijn verdwenen. (De bezetting van Atuatuca bestond uit één legioen en vijf cohorten. Een Romeins legioen bestond uit 10 cohorten van elk ongeveer 480 man, hieruit volgt dus dat in deze vallei een legermacht ter grootte van ongeveer 7200 manschappen werd gedood). Tevens is het een open vraag hoe Caesar uit de nederlaag van zijn troepen een praktisch voordeel had kunnen halen door er een fictieve oorzaak rond te verzinnen. Een suggestie die sommige historici als reactie op deze kritiek hebben gegeven is dat Caesar hiermee kon pronken over hoe moeilijk het was de Galliërs te verslaan, waardoor zijn definitieve overwinning nog ongelofelijker zou lijken. De vraag of Ambiorix nu werkelijk bestaan heeft, laaide in 2005 weer op toen hij genomineerd werd voor de titel van De Grootste Belg. Hoe dan ook, historici en fans van Belgische folklore gaan er over het algemeen van uit dat Ambiorix wel degelijk ooit geleefd heeft.
Niemand weet hoe Ambiorix er werkelijk uitzag. Zijn standbeeld in Tongeren is een romantische voorstelling van hoe hij eruit zou kunnen hebben gezien aan de hand van latere verslagen van Romeinse geschiedschrijvers. Uit de geschriften van Caesar kan een ondergeschikt beeld van Ambiorix' persoonlijkheid worden afgeleid. Dit omdat de stam (pagus) van Ambiorix, de Eburonen, ondergeschikt was aan de Atuatuken. De Eburonen waren zelfs schatplichtig aan de Atuatuken, hetgeen omstreeks 55 v. Chr. om nog onbekende redenen kwam te vervallen. Mogelijk is een vooralsnog onbekende, onderlinge oorlog tussen beide stammen in het voordeel van de Eburonen uitgevallen. Ook is het mogelijk dat de rijkdom van de Eburonen fors toenam door hetzij een grote vondst van kostbare grondstoffen, hetzij een landbouwkundige revolutie. Aangezien Ambiorix door Caesar in al zijn geschriften rondom de slag rond Atuaca prominent genoemd wordt, moet hij een aristocratische achtergrond hebben gehad met diepgewortelde familiebanden binnen de stam der Eburonen. Ambiorix is minimaal twee maal aanwezig geweest op een landdag die door Caesar werd georganiseerd. Ter plaatse ontving hij samen met andere Gallische leiders de fiscale instructies van de Romeinen. Het was dan de taak van de Gallische delegatie om deze eisen over te brengen op de stam en de stamoudsten. Het is daarmee allerminst zeker dat Ambiorix de bron was van een opstand, aangezien hij in deze minimaal slechts een boodschapper was.
Ambiorix (Gaulish "king in all directions") was, together with Cativolcus, prince of the Eburones, leader of a Belgic tribe of north-eastern Gaul (Gallia Belgica), where modern Belgium is located. In the nineteenth century Ambiorix became a Belgian national hero because of his resistance against Julius Caesar, as written in Caesar's Commentarii de Bello Gallico
In 57 BC Julius Caesar conquered parts of Gaul and also Belgica (Belgium, modern-day Northern France, Luxembourg, part of present-day Netherlands below the Rhine River; and the north-western portion of North Rhine-Westphalia, Germany). There were several tribes in the country who fought against each other frequently. The Eburones were ruled by Ambiorix and Catuvolcus. In 54 BC Caesar's troops urgently needed more food, and so the local tribes were forced to give up part of their harvest, which had not been good that year. Understandably the starving Eburones were reluctant to do so and Caesar ordered that camps be built near the Eburones' villages. Each centurion was ordered to make sure the food supplies were delivered to the Roman soldiers. This created resentment among the Eburones.
Although Julius Caesar had freed him from paying tribute to the Atuatuci, Ambiorix joined Catuvolcus in the winter of 54 BC in an uprising against the Roman forces under Q. Titurius Sabinus and L. Aurunculeius Cotta.
Because a drought had disrupted his grain supply, Caesar was forced to winter his legions among the rebellious Belgic tribes. Roman troops led by Q. Titurius Sabinus and L. Aurunculeius Cotta were wintering among the Eburones when they were attacked by them, led by Ambiorix and Cativolcus. Ambiorix deceived the Romans, telling them the attack was made without his consent, and further advised them to flee as a large Germanic force was preparing to cross the Rhine. Trusting Ambiorix, Sabinus and Cotta's troops left the next morning. A short distance from their camp, the Roman troops were ambushed by the Eburones and massacred.
Elsewhere, another Roman force under Q. Tullius Cicero, brother of the orator Marcus, were wintering amongst the Nervii. Leading a coalition of rebellious Belgic tribes, Ambiorix surrounded Cicero's camp. After a long while, a Roman messenger was finally able to slip through the Belgic lines and get word of the uprising to Caesar. Mobilizing his legions, Caesar immediately marched to Cicero's aid. As they approached the besieged Roman camp, the Belgae moved to engage Caesar's troops. Vastly outnumbered, Caesar ordered his troops to appear confused and frightened, and they successfully lured the Belgae to attack them on ground favourable to the Romans. Caesar's forces launched a fierce counterattack, and soon put the Belgae to flight. Later, Caesar's troops entered Cicero's camp to find most of the men wounded.
Meanwhile, Indutiomarus, a leader of the Treveri, began to harass Labienus's camp daily, eventually provoking Labienus to send out his cavalry with specific orders to kill Indutiomarus. They did so, and routed the remnants of Indutiomarus's army. Caesar personally remained in Gaul for the remainder of winter due to the renewed Gallic threat.
When the Roman senate heard what had happened, Caesar swore to put down all the Belgic tribes. Ambiorix had killed a whole Roman legion and five cohorts. A Belgic attack on Q. Tullius Cicero, then stationed with a legion in the territory of the Nervii, failed due to the timely appearance of Caesar. The Roman campaigns against the Belgae took a few years, but eventually the tribes were slaughtered or driven out and their fields burned. The Eburones disappeared from history after this genocidal event. According to the writer Florus, Ambiorix and his men succeeded in crossing the Rhine and disappeared without a trace.
Caesar wrote about Ambiorix in his commentary about his battles against the Gauls, De Bello Gallico. In this text he also wrote the famous line: "Of these [three regions], the Belgae are the bravest." ("... Horum omnium fortissimi sunt Belgae ...").
Ambiorix remained a relatively obscure figure until the nineteenth century. When Belgium became independent in 1830 the national government started searching through their historical archives for people who could serve as national heroes. In Caesar's De Bello Gallico, Ambiorix and his deeds were rediscovered. In 1841 the Belgian poet Joannes Nolet de Brauwere Van Steeland wrote a lyrical epic about Ambiorix and on September 5, 1866 a statue of Ambiorix was erected on the main market square in Tongeren, Belgium, referred to by Caesar as Atuatuca, i.e. Atuatuca Tungrorum.
Today, Ambiorix is one of the most famous characters in Belgian history. Many companies, bars and friteries have named themselves after him, and in many Belgian comics such as Suske en Wiske and Jommeke he plays a guest role. There was also a short-lived comic called Ambionix, which featured a scientist teleporting a Belgic chief, loosely based on Ambiorix, to modern-day Belgium.
In the French comic Asterix, in the album Asterix in Belgium, Asterix, Obelix, Dogmatix and Vitalstatistix go to Belgium because they are angry with Caesar about his remark that the Belgians are the bravest of all the Gauls.