Monthly Archives: July 2017

A thought keeps nagging at me: As long as Donald Trump is president, it's going to be like this. No matter how long he occupies the Oval Office, he is never going to become Presidential. He is never going to be a unifying force. He is never not going to be under the shadow of scandal, criminal wrongdoing and deeds that Republicans would insist were impeachable offenses had they been done by a Democrat. That's just who the guy is.

Maybe you already figured this out but I'm just now starting to feel foolish at being shocked by any of it. It's like being upset when a dog takes a crap on your lawn. That's what they do. Here are some links…

• Kevin Drum summarizes a newly-emerging alleged abuse of power: Did Trump or his aides make a deal to settle a $200 million dollar money laundering crime for a measly six million in exchange for possible dirt on Hillary Clinton? You know that song, "It's beginning to look a lot like Christmas"? I keep hearing it playing in my head, only it's "It's beginning to look a lot like Nixon."
• As Ed Kilgore notes, Obamacare is a lot more popular than anything Republicans have offered up to replace it. And most voters — including a surprising number of Republicans — don't want to see it repealed. They want Republicans to work with Democrats to make it work better. But you know, the crazies will explode if it isn't repealed so it has to be repealed. (By the way: I don't quite get polls about how many people want it to be "repealed and replaced." Doesn't it matter to any sane human what you replace it with? I'll bet I could design a health care plan that even the most Obama-hating politician would think was worse than keeping Obamacare.)
• Frank Rich thinks that Republicans will abandon Trump in droves as we near the next big Election Day; that the new Republican Health Care plan is in a death spiral; and that we have a new "Saturday Night Massacre" in our future when Robert Mueller gets close to indicting members of the Trump administration.
• Dylan Matthews describes for us what Trump's idea of a tax cut is. Guess what kind of people get almost all of the benefits. Guess real hard.
• As Heather Long notes, people who used to be optimistic about the U.S. economy are scaling back their expectations. If Trump can't make businesses feel better about the future, he's really not good for much of anything, is he?

If you were wondering if Trump-bashing was the reason Stephen Colbert's ratings are up, know this: Last night's guest appearance by Joe Scarborough and Mika Brzezinski gave the show its best ratings in two months. Wonder how many of those viewers stuck around for the musical appearance at the end by Scarborough's rock band. Hard to believe the man could be worse at anything in show business than he is at hosting a morning show.

Sam Glanzman, whose career in comics spanned more than 75 years, died early this morning at the age of 92. He had been in hospice care since he took a bad fall and his friend Drew Ford was running a GoFundMe campaign to raise money to cover medical bills for Sam and for Mrs. Glanzman. I'll direct you to that page after I tell you a little more about Sam.

Glanzman got into comics in 1939, joining his brothers David and Louis who were also artists in the formative years of the industry. Like his brothers, he worked at first for Funnies, Inc., an agency that commissioned comic book stories and art and then sold that material to publishers. Sam's early artwork and some writing he did seem to have appeared first in the pages of comics published by a short-lived firm called Centaur. His drawing can be seen in Amazing-Man Comics, Amazing Man having been created by Bill Everett who would soon be better known for The Sub-Mariner. Glanzman worked for other publishers (especially Harvey) but his career was interrupted by World War II.

He served in the Navy, mainly aboard the destroyer U.S.S. Stevens, before being discharged in 1946. Upon his return to civilian life, he decided there was better money to be made in other fields and pursued them. He worked in aviation yards, lumber mills and other jobs that required manual labor but occasionally detoured in and out of comics, either on his own or assisting his brother Louis, who went by the name, Lew Glanzman. Around 1958, Sam dove back into comics full-time, working for two of the lowest-paying companies around — Charlton and then Dell.

His most notable series for Charlton was probably Jungle Tales of Tarzan, a series unauthorized by the Edgar Rice Burroughs estate which put a quick end to it. Two other well-remembered series were "The Lonely War of Willie Schultz," a well-written (by Willy Franz) series that ran in Fightin' Army. Its human insights stood out among the hundreds of war comics before and after. He also with writer Joe Gill gave us Hercules: Adventures of the Man-God, which put a fresh, distinctive spin on a very old legend.

For Dell, he drew many comics but is best remembered for Kona, Monarch of Monster Isle, about a man struggling to survive on a lost island full of dinosaurs. It and other fine works of the sixties finally caught the attention of the better-paying companies and Glanzman began doing most of his work for DC on its war comics. He did long stints on "The Haunted Tank" and other features but his finest work was on a series of short, autobiographical stories he wrote and drew under the banner title, "The U.S.S. Stevens." He later did other stories of his World War II experiences including a superb 1987 graphic novel called A Sailor's Story. Much of this work has been reprinted for an appreciative audience.

I had the pleasure — and believe me, it was — of having Sam on a panel at the 1999 Comic-Con International where he also received its precious Inkpot Award. I saw him at other conventions and he was always glad to talk about his long career; that is, when he wasn't servicing a long line of people who wanted to get his autograph and to tell them how much they loved Kona or Hercules Jonah Hex or any of the other fine, testosterone-loaded comics he drew. He seemed very humble and even a bit amazed that he was able to make a living so long in comics.

As mentioned, Drew Ford is running a GoFundMe page to raise bucks to pay medical bills for the Glanzmans. Though Sam has left us, I'm sure many bills remain and you can show your appreciation for 75+ years of very hard work drawing piles of very good comics by going to that page and participating. And if you're not familiar with that work, see if you can't track down some of it. Here's a tip: Though Sam handed mythic legends like Tarzan and Hercules, his best comics were the ones about the most heroic figure he drew…Sam Glanzman.

I have this friend named Richard Turner who is one of the greatest handlers of playing cards in history. He bills himself as a "Card Mechanic" or sometimes as "The Cheat." Put simply, if he deals cards to you, you will get what he wants you to get and everyone else in the game will get the cards he wants them to get and there's no f'ing way you'll ever catch him controlling the deal. It's an amazing, seemingly-impossible skill and it would be impressive even if he could see what he's doing.

Oh, I guess I forget to mention: My friend Richard is blind.

He wasn't when I met him around 1981. He could see a little, though less with each passing year. Losing his vision completely has only caused one little snag in his act. Every now and then, he has to ask spectators to tell him if the cards are all facing the same way. You can check out Richard's skills in some of the videos I've embedded in this site. Or you can see him next Thursday evening on the Season 4 opener of Penn and Teller: Fool Us.

If you've never seen that show, it's on the CW Network. Each episode, several magicians perform feats and they win a prize of sorts if Penn & Teller are unable to figure out how they did what they did. This mostly means if Teller is unable to figure out how they did what they did.

Penn & Teller: Fool Us was originally a short-lived series produced in Great Britain. I played a part in the decision by the CW to acquire and revive it for American television and right at the start, I told them to get Richard Turner on it. Earlier this year, the folks at CW called and told me it was finally happening and they offered to fly me to Vegas for the "taping" — we still call them that though no tape is involved — which was in early April. Unfortunately, I was then dealing with Carolyn's situation and so I had to pass. You can see what happened when the show is broadcast this Thursday and in umpteen retransmissions after that.

• You know, if Trump had run against Sanders, the whole campaign would have been "Bernie's a commie and he'll sell us out to Russia!"

So it looks like it's coming down to the folks who don't like Trump becoming pretty certain that crimes, perhaps of the impeachable variety, were committed…and the folks who do like Trump saying, "Everything's a lie but even if it isn't, we don't care." And from there on, it becomes a question of how many Republicans in the House and Senate think they'd be better off with President Pence. Right now, it's probably not many but that could change. Here come the links…

• Ezra Klein expands on the above theme. One of the maddening things about all this is that no one is outraged over principles or morals. It's all "When our side does it, it's fine. When their side does the same thing, it's a scandal and everyone should be removed from office and/or jailed."
• Andrew Prokop summarizes what Donald Trump Jr. did wrong, above and beyond the fact that he's Donald Trump Jr.
• And David Corn is one of the main journalists breaking stories about what's going on with Russia. If you're interested in the whole mess, keep your eye on his reporting.
• Ed Kilgore says that Trump's biggest asset is the number of his supporters who will forever insist that any negative news about him is "fake news." This comes from the same place as folks who refuse to listen to scientists about anything scientific. We don't like people who know more than us telling us we're wrong.
• Trump says he's working hard to get the Olympics for Los Angeles. As Kevin Drum notes, they'll get it because few other cities are stupid enough to want it.
• And if Trump in the White House feels like a disaster with no end, read Ronald Brownstein, who explains why one-party rule never lasts.

The fine illustrator Drew Friedman has dug up a lot of Playbills and photos from Woody Allen's 1966 play, Don't Drink the Water. There's a play that oughta be revived.

A little while ago, Joe Scarborough tweeted…

Unfortunately, the infection has spread throughout the party. I became a Republican because of Ronald Reagan. This is no longer his party.

A littler while ago, Matt Ygelsias tweeted in response…

Reagan never would have made a shady deal with a hostile foreign power except that one time when he needed a slush fund for Nicaragua.

Wally Burr was an actor and producer but mostly he was a voice director for animated cartoons.  He directed thousands of them over the years and for just about every studio in Hollywood.  Here's a very partial list of shows on which he directed actors: Akira, Bucky O'Hare, The Transformers, Captain Caveman and the Teen Angels, Clue Club, Valley of the Dinosaurs, Conan the Adventurer, Dino-Riders, Dynomutt, G.I. Joe, Godzilla, Wheelies and the Chopper Bunch, Exosquad, Hong Kong Phooey, Inhumanoids, Inspector Gadget, Jem, Mumbly, My Little Pony Tales, Rainbow Brite, The Skatebirds and a couple of the many Spider-Man shows.

That's maybe a sixteenth of all the programs he did. He was also occasionally heard as an actor on them…and I wouldn't want to venture a guess on how many commercials he directed. He started out in the business as a writer, producer, performer and director for the Leo Burnett ad agency.

I knew Wally and had him on a few convention panels. I think we got along well though there were times when I wasn't certain. He was a strange man, viewed by some as a stern taskmaster because he would make actors do lines over and over and over. There are voice directors in this business who figure that the actors are being paid for a four-hour session so you keep them there for the full time, no matter what. If you get the show done in three hours, you spend that last hour doing lines again and again, just in case it's possible to improve upon the performances.

Then there are directors who think that shows are better when they're recorded with more spontaneity and that you reach a point of diminishing returns; that after so many takes, the actors can only get worse. Wally was unabashedly of the first school and he sometimes clashed with actors who objected to doing Take #25 of a scene when they knew Take #2 was better. His long career and the success of so many shows he worked on would suggest that he was not wrong.

He died earlier today at the age of 93. I liked the guy and I think most of the folks who worked with him did, too.

I paid no attention to him this last weekend and it was a nice weekend because of it. But it's back to work now and back to reading stuff like this…

• Brian Resnick says that people who support Donald Trump don't care if he's lying. Gee, that's odd. I know a number of them and they sure cared like hell when they thought Barack Obama was lying about something.
• Jonathan Chait rebuts someone's claim that Donald Trump could have run as a Democrat and been elected. I think Chait's right that the person claiming that is wrong but for different reasons. I think that if Republicans were opposing Trump, they could have done a much better job that Democrats did of selling his lies and gaffes and uncouth statements and talk of pussy-grabbing as proof that the man was utterly unfit for public office.
• Fred Kaplan on what happened when Trump sat down with Putin. And guess what! Trump accepted Putin's denials that the Russians did anything to impact the outcome of the presidential election. Well, I guess that settles it.
• Andrew Kahn discusses how the Trump-Putin relationship keeps being described like a gay relationship. Is that homophobia? Is it insulting to gays? I dunno. It does seem like in some circles, the worst thing you can say about someone is that they're gay, especially when they probably aren't.  I don't much like that.
• John Cassidy on what Trump is doing to America's standing in the international community. It's a lot like what happens to your plumbing when you call in Larry, Moe and Curly to fix it.

A lot of people think Stephen Colbert owes his bump in the ratings to Donald Trump. Jonathan Merritt wonders if maybe it might be someone else…like, say, God. Me, I think it's Trump.

I try to hold down the plugs for stuff that makes me money but I have some comic books out or coming out. The first issue of the new Groo mini-series, Groo: Play of the Gods will be released to coincide with Comic-Con. It's a four-issue series in which, you may find it hard to believe, Groo does some stupid things and causes vast amounts of destruction. Surprising, I know but we thought it would be a novel change from all those issues in which Groo causes vast amounts of destruction and does some stupid things.

I continue to write Garfield stories for the occasional Garfield specials that Boom Studios issues. And Boom has partnered with Dynamite Comics for a Garfield & Grumpy Cat crossover mini-series and I wrote that, too. That'll be out in a few months. I'll let you know when we have a precise release date.

One or two e-mails a week ask me why I so rarely mention these things here and one guy just asked if I was ashamed of them. Certainly not, guy. I just sometimes find the pushing of one's own products on the Internet a bit tacky. When I see a really egregious example of it — and it's hard not to — it make me uncomfy to be doing that myself. I probably need to get over this.

Meanwhile, DC Comics has collected in one volume, Superman Meets Bugs Bunny, a mini-series I wrote for them back in the year 2000. I didn't mention that here before it came out because I literally didn't know about it until I got a box from them filled with copies. It's a nice little series, owing largely to fine illustration work by Joe Staton, Tom Palmer and Mike DeCarlo.

I dunno if I've mentioned this here before but there's an interesting difference for me in writing a character like Superman as opposed to a character like Bugs Bunny. This is above and beyond the fact that the latter is supposed to be funny. It's that famous cartoon characters all speak with familiar voices, whereas characters who are primarily from comic books or strips do not. We all know what Bugs Bunny sounds like. He either sounds like Mel Blanc or someone imitating Mel Blanc. But Superman has had dozens of voices and no one of them is definitive.

When I write Bugs, I hear his voice in my head and when you read a Bugs Bunny comic, you probably hear that exact same voice. We agree on what all those animated characters sound like. You might have a voice in mind for, say, Batman. You think he sounds like Adam West or Kevin Conroy or Michael Keaton or Someone Else but the writer probably doesn't have that same voice in mind. I'm not saying any of this is good or bad or anything; just that it's something I find fascinating. (And there are exceptions. I never thought the Donald Duck of the comic books sounded anything like the voice Clarence Nash did for the Donald Duck cartoons. The cartoon voice was semi-unintelligible, whereas I could understand every word the Donald of the comics uttered since it was right there in print.)

Moving on: August is the month when Jack Kirby would have been 100 years old. Here's a paragraph I swiped off this website…

DC Comics recently announced six special one-shot comic books set to release throughout August, the month of Kirby's actual 100th birthday. Each issue will tell a new story about one of Kirby's famous DC creations: Darkseid (from Mark Evanier and Scott Kolins), the Newsboy Legion (Howard Chaykin), Sandman (Dan Jurgens, Steve Orlando, John Bogdanove, and Rick Leonardi), Manhunter (Keith Giffen, Dan DiDio), Orion and the New Gods (Shane Davis and Michelle Delecki), and the Black Racer (Reginald Hudlin and Denys Cowan).

Each issue will also contain some Kirby reprints and an essay by Yours Truly. Some of the issues, by the way, have a couple of new stories and other creators are involved beyond those named above. It looks like a fun and highly appropriate project and I was pleased that they asked me to be involved.

Also, Abrams Comicart Books is issuing an updated, revised edition of Kirby: King of Comics, the book I did about Jack in 2008. It has smaller pages, softer covers, a better cover, a new chapter, some new art and I've rewritten a few hunks of it based on the realization that I could say some things clearer than I did the first time around. Copies will be available at the Abrams booth at Comic-Con next week (next week!) and maybe at other places in the hall, as well. My longer, more in-depth bio of Jack is almost finished but I'm not making any more guesses as to when it will be out.

And that concludes our personal plugging on this blog for the next month or two. Thank you for your patience and we now return you to stuff that I don't make any money off of.

Several sources are reporting the death of comic artist Bob Lubbers at the age of 95. Lubbers (pronounced "loobers") was born in 1922 and started in comic books at the age of 18, working for one of the first comic book publishers, Centaur. He drew and sometimes wrote features including The Arrow and the Liberty Scouts, but his specialty was covers featuring good-looking women. He was what they called a "good girl artist," which did not mean he drew "good girls." He drew women, some of them quite devilish, and he drew them well.

When Centaur went out of business, Lubbers shifted over to Fiction House where he became art director and continued drawing covers with sexy ladies. He served in World War II, returned to Fiction House after serving, then got a job with United Features Syndicate which took him from comic books to comic strips. He drew the Tarzan strip for three years, then hooked up with Al Capp. He assisted on Li'l Abner off and on for two decades but his main work with Capp was drawing a strip called Long Sam, which Capp created, wrote for a time then turned over to his brother, Elliot Caplin. That's Long Sam herself in the illustration above.

Over the years, Lubbers also worked on Big Ben Bolt, Rusty Riley, Secret Agent X-9 (which he signed "Bob Lewis") and his own strip, Robin Malone. In the seventies, he returned to the comic book form with a few jobs for DC and Marvel.

The last decade or two, Mr. Lubbers did mainly commissions and advertising art. In 2002, he was a guest of honor (and Inkpot Award recipient) at Comic-Con International and there, I had the pleasure of meeting and interviewing him. He was a delightful man with a great sense of humor and an obvious love of his work. He seemed genuinely surprised and humbled to learn that so many people knew and loved that work. He leaves behind a masterful body of work, including a lot of drawings of real good-looking ladies.

The wonderful pantomime of Harpo Marx…

I do not drink any liquid except plain ol' water. I do not smoke or use any drug that my doctor has not prescribed…and I do not even use all the ones he does prescribe.

I do not eat candy, cake, cupcakes, ice cream, pastries, pie, any pudding except Yorkshire, cookies or any dessert items. I am cautiously experimenting with some fruits now and then.

I have many food allergies and if you cook me something, there's at least a 65% chance I will not be able to eat it. If it has five or more ingredients, it's more like a 90% chance.

Please. I appreciate that you'd like to give me a gift but if it's edible, it probably will not be edible for me. That makes things very awkward, especially if you went to great trouble to make it or buy it. If you want to do something nice for me, don't put me in that position. I will appreciate that more than any food or beverage you could possibly give me. Thank you.

The Programming Schedule is up and operating for this year's Comic-Con International in San Diego. If you're attending, I highly suggest that you take the time before the con to peruse the schedule, jot down the items you want to attend and jot down the second-choices you'll attend if/when your first choices prove impossible to get into.

Here are links to the schedules for programming at Comic-Con on Preview Night, Thursday, Friday, Saturday and Sunday — in that order. And to make things even easier for you, here's the list of the important panels — i.e., the ones I'm hosting…

Thursday, July 20 – 11:30 AM to 12:30 PM in Room 4
SPOTLIGHT ON MIKE ROYER
As part of this year's gala Jack Kirby Centennial, here's an hour-long chat with Jack's favorite inker of his work, the man who worked with him on the Fourth World comics, Kamandi, The Demon, and many others. But Mike Royer was so much more than just Jack Kirby's inker. He worked with Russ Manning on the Tarzan comic books and newspaper strip and again with Russ on the Star Wars newspaper strip. He drew for Creepy, Eerie, and Vampirella and worked on the '60s Marvel superhero cartoons and for Gold Key Comics and had a multi-decade career working for Disney on things as un-Kirbylike as Winnie the Pooh. Come hear him be interviewed by his friend and colleague, Mark Evanier.

Thursday, July 20 – 3:30 PM to 4:30 PM in Room 8
THE MARK, SERGIO, STAN AND TOM SHOW
The old "Sergio and Mark Show" has a new name-but what it doesn't have is new panelists. It's still the crew who bring you the bumbling adventures of Groo the Wanderer, talking about what they do and why they do it. See the award-winning team of Sergio Aragonés and Mark Evanier along with Stan Sakai (the creator of Usagi Yojimbo) and the hardest-working man in comics, colorist Tom Luth. They'll be discussing the latest Groo miniseries, many upcoming projects, and why Mark doesn't get paid for the work he does on their comic. Then again, he's not getting paid for writing this panel description either.

Friday, July 21 – 10:30 AM to 11:30 AM in Room 8
POGO, WALT KELLY AND CAROLYN KELLY
Some call Walt Kelly's Pogo the greatest newspaper strip of all time. This program provides a discussion on Kelly, his legacy, and his lovely daughter, who passed away in April. Topics include the future of the Eisner Award-winning Pogo reprint series from Fantagraphics Books that Carolyn had been co-editing and that will continue to reprint that wonderful feature. On the dais: comic historian Maggie Thompson (Comics Buyer's Guide), film critic Leonard Maltin, cartoonist Scott Shaw!, friend John Plunkett, Fantagraphics's Eric Reynolds (co-editor of the Complete Pogo series), and moderator Mark Evanier (co-editor of the Complete Pogo series).

Friday, July 21 – 1:30 PM to 2:30 PM in Room 8
JACK KIRBY: FRIENDS AND FAMILY
If Jack Kirby were as immortal as his work, he'd be 100 years old next month . . . and he's still here in spirit and impact. Today a group of his family members and closest friends will talk about the man they knew, the man whose genius revolutionized the comic book industry again and again, and they'll even tell you what he liked on his pizza. Your moderator is former Kirby assistant Mark Evanier (author, Kirby: King of Comics).

Saturday, July 22 – 11:45 AM to 1 PM in Room 6BCF
QUICK DRAW!
It's the fastest, funniest panel in the whole convention! Once again, your Quick Draw Quizmaster Mark Evanier pits three super-speedy cartoonists against one another with dueling Sharpies as they create great cartoon art right before your very eyes. Competing this year are (as usual) Sergio Aragonés (MAD magazine, Groo the Wanderer) and Scott Shaw! (The Simpsons), joined this year by Maria Scrivan (Half Full) plus a couple of highly surprising surprises!

Saturday, July 22 – 1:00 PM to 2:30 PM in Room 6BCF
CARTOON VOICES I
Each year, moderator Mark Evanier gathers a bevy of the most talented cartoon voice actors working today and invites them to explain and demonstrate their artistry. This year's lineup includes Grey Griffin (Scooby-Doo!, DC Super Hero Girls), Richard Horvitz (Invader ZIM, The Angry Beavers), Jeff Bergman (Bugs Bunny, Fred Flintstone), Mick Wingert (Kung Fu Panda: Legends of Awesomeness, The Avengers: Earth's Mightiest Heroes), Kaitlyn Robrock (Mr. Pickles, Golan the Insatiable), Josh Robert Thompson (Family Guy, The Late Late Show with Craig Ferguson), and maybe a few other members of the vocal majority.

Saturday, July 22 – 4:30 PM to 6:00 PM in Room 5AB
THAT 70'S PANEL
It was a time of change in comics, with a new generation intermingling with the old and taking command. Hear what the comics industry was like in the 1970s from Mike Grell (The Warlord; Jon Sable, Freelance), Paul Levitz (Legion of Super-Heroes, Stalker), Keith Pollard (Fantastic Four, Thor), Ron Wilson (The Thing, Super Boxers), Marv Wolfman (Tomb of Dracula, New Teen Titans), Joe Staton (E-Man, Dick Tracy), and moderator Mark Evanier (Groo the Wanderer, Blackhawk).

Sunday, July 23 – 10:00 AM to 11:15 AM in Room 5AB
THE ANNUAL JACK KIRBY TRIBUTE PANEL
Continuing the celebration of the Kirby Centennial, this is the annual panel about Comic-Con's first superstar guest, the man they call "The King of Comics," Jack Kirby. Jack left us in 1994, but his influence on comics, film, and this convention has never been greater. Discussing the man and his work this year are Jim Chadwick (editor at DC Comics), Paul Levitz (former president at DC Comics), Mike Royer (Kirby's favorite inker), attorney Paul S. Levine, and several highly surprising surprise guests. Naturally, it's moderated by former Kirby assistant Mark Evanier.

Sunday, July 23 – 11:30 AM to 12:45 PM in Room 6A
CARTOON VOICES II
With the smash-hit success of yesterday's Cartoon Voices I panel, there's no choice but to do another one-with different but equally talented actors from the world of animation voicing. Once again, moderator Mark Evanier has assembled an all-star dais that will include Neil Kaplan (Transformers, Voltron), Nickie Bryar (Family Guy, American Dad!), Bob Joles (Puss in Boots, SpongeBob SquarePants), Debra Wilson (MADtv, Family Guy), Chuck McCann (Fantastic Four, DuckTales), and probably someone else.

Sunday, July 23 – 2:00 PM to 3:00 PM in Room 25ABC
COVER STORY: THE ART OF THE COVER
What does it take to make a great cover for a comic book? Let's ask five of the top artists . . . all folks who've created some of the best. Come hear the "shop talk" of Arthur Adams (Longshot, Monkeyman and O'Brien), Mike Grell (Warlord; Jon Sable, Freelance), Joyce Chin (America, Deadpool the Duck), Joe Staton (E-Man, Dick Tracy), and Erica Henderson (The Unbeatable Squirrel Girl, Jughead). Moderated by Mark Evanier.

Sunday, July 23 – 3:00 PM to 4:30 PM in Room 25ABC
THE BUSINESS OF CARTOON VOICES
Interested in a career doing voices for animation and videogames? There are plenty of people around who'll take your money and tell you how to go about it, but here's 90 minutes of absolutely free advice from folks who work actively in the field. Hear from cartoon voice actors Gregg Berger, Julie Nathanson, and Debra Wilson, talent agent Sandie Schnarr (AVO Talent) and your moderator, voice director Mark Evanier (The Garfield Show).

I am actually on some panels I'm not moderating too so don't be surprised if you see me where you don't expect me. As always: Times, room assignments and panel participants are subject to change. Matter of fact, I'm still trying to get them to postpone the whole convention to late August because I'm not ready for it. It's not looking good for that though so the above schedule will probably happen.

Baby chicks, baby chicks, baby chicks…