It's so strange seeing people tap dance around the obvious connection between cities "opening up" and a spike in their formerly-declining cases of COVID-19. European nations have managed to bring the number of cases way, way down but America ain't so good at this "sacrifice" stuff. I suspect there's a way to have both — to open things up a bit and have some businesses up and functioning — while still flattening that curve but it would involve everyone admitting that the threat is real and that it isn't all about, as Tucker Carlson insists, Democratic leaders trying to take away all our freedoms. It feels like some of us are going to be in our fortresses of solitude for a long time.
The latest PBS NewsHour/NPR/Marist poll says that 58% of Americans disapprove of Trump's job while in office. This includes 49% of Americans overall who say they strongly disapprove. That last number is probably more interesting. Those who disapprove might be cajoled into approving but those who "strongly" disapprove are probably ungettable. And more interesting are the numbers in the so-called "swing" states. Nate Silver thinks Pennsylvania may be out of Trump's reach now and it would be hard for Donald to win without that state.
Lastly, here's Ezra Klein with his explanation of why Trump is doing so poorly. It has to do with not understanding that his job is to actually make things better instead of just acting like he's done that.
If Trump backers want to know why his approval numbers will soon be lower than COVID-19's, they should consider the timing of actions that lead to headlines like "Trump Asks Supreme Court to Take Away Tens of Millions of Americans' Health Coverage."
Trump doesn't seem to be running against Joe Biden anymore. He seems to be running against the wearing of masks. Expect him to brag, "I could infect someone on Fifth Avenue and not lose any votes!"
If you were in a crowd of folks who worked in the comic book industry and announced, "Joe Sinnott was the best inker who ever worked in comics," you wouldn't get a lot of argument. If you said, "Joe Sinnott was the nicest guy who ever worked in comics," you'd get even less.
He was not only a great inker, he was the guy who elevated that craft to an art; the guy who taught everyone else how it should be done. Almost every one of his peers studied what he did. Almost every one of his peers was told by some editor, at one time or another, "Try to do it more like Sinnott."
I met Joe via correspondence before I met him in person at the 1970 New York Comic Con. He couldn't have been nicer. A little later, I was sitting with Wally Wood, another fine artist whose work was much-admired and studied. Joe walked by and Wally asked me who that was. I told him it was Joe Sinnott. Wood, who'd done a lot of inking of Jack Kirby's art in his day, said, "That's the guy who inked Jack the way Jack should be inked. If I ever get another chance to, I want to do it like he does."
Joe was such a good inker, you forgot how good he was as an artist, doing it all himself. His photo-realistic style shouldn't have blended so well with such a wide range of pencil artists but it did. He always understood what they were trying to achieve on the page and what he should do to try and help them get there.
Joe Sinnott was born October 16, 1926 in Saugerties, New York, a city that would be his "home town" for his entire life. He grew up in a boarding house that catered primarily to teachers, several of whom saw talent in the young man's attempts to draw and encouraged him in that direction. He studied art in high school and also while in the Navy where he served in Okinawa during World War II. When he was discharged in 1946, he worked in a rock quarry for a few years before deciding it was time to resurrect his ambitions towards drawing.
Thanks to the G.I. Bill, he was able to attend the Cartoonists and Illustrators School (later known as the School of Visual Arts) in New York, where his work caught the eye of the school's co-founder, Burne Hogarth, and one of its main instructors, Tom Gill. Gill was drawing westerns and movie adaptations for Dell Comics and Sinnott spent nine months assisting him before deciding he was ready to solo.
His first job on his own was for St. John Comics but he soon broke in at Atlas (now Marvel) drawing war, western and horror comics for editor Stan Lee. Lee liked Sinnott's crisp style and the fact that the work was always well-researched and in on time. Joe later worked for other publishers including Treasure Chest, Charlton and Archie, but his main work was for Marvel, especially after Stan discovered how well Joe could ink the work of other artists.
Joe really got noticed as an inker for the pencil art of Jack Kirby. He inked several early, pre-superhero stories by Kirby and when the "Marvel Age" began, handled several key tales, including the first Thor story in Journey Into Mystery and the debut of Dr. Doom in Fantastic Four #5. Joe also drew the Thor strip for a time. Stan wanted Joe to ink as much as possible for Marvel but at the time, the company's low rates forced Joe to turn him down. Finally though, the pay was raised and Joe abandoned his Archie inking to work full-time for Marvel.
Jack Kirby and Joe Sinnott. Joe's on the right.
Some would call him Kirby's best inker. Even though he didn't meet Jack until years after their major collaborations, he understood the way Kirby drew and knew how to separate the planes of a drawing and make Kirby's special brand of forced perspective work to maximum effect.
Joe inked almost every major Marvel artist at one time or another and kept Fantastic Four consistent through a succession of different pencilers after Kirby. At times, he made their best artists like John Buscema and Gene Colan look great. Editors also knew that Sinnott could raise the quality of weak penciling (or finish sparsely-penciled art) and assigned him to those jobs.
No matter what they threw his way, Joe made it look good and always got it in on time. Always. No editor ever had a problem with Joe Sinnott. No editor didn't wish he had a lot more Joe Sinnotts at his disposal.
The Thing and Joe Sinnott. Joe's on the right.
I've met darn near every major writer and artist who worked in comics from the sixties through the eighties. I never met a nicer man than Joe Sinnott, and few who were as inarguably good at what they did. Joe was a gentleman in every sense of the word. I could cite dozens of examples but this one will do…
In 1975 at a comic convention in New York, we made plans to meet for lunch. Just before we were about to leave the con and head across the street, a fan asked Joe for an autograph. Then another asked and another. The requests escalated into quick sketches and soon, Joe was mobbed by folks who loved his work and simply had to have a little Thor or Thing drawing from the great Joe Sinnott. After several dozen of these had delayed our lunch departure by close to an hour, I waded into the throng to play Bad Guy, stop the sketching and drag Joe off to eat.
He declined. He didn't want to disappoint all the people who were swarming around him, some of whom had been waiting for that entire hour. At his behest, my friends and I went to lunch without him. I brought him back a burger and found him in the same place, still sketching for fans. Three hours later, he was still at it and the hamburger was stone cold and untouched. If the convention hadn't kicked everyone out and closed that room, he'd probably still be there.
That was the Joe Sinnott I knew. Like I said, I never knew anyone nicer. I miss all these great artists who are, way too often, the subject of obits on this page but I'm really going to miss Joe. He died peacefully this morning at 8:40am at the age of 93, beloved by all who knew the man and his work.
Jon Stewart is making the rounds plugging his new movie and here are two of his many appearances. First, here he is going on a British TV show to talk about the film and not saying much about it. But he says some interesting things about what's going on in this country…
And here he is, phoning it in from the same room on Pod Save America…
When my buddy Frank Ferrante isn't transforming himself into You-Know-Who, he often morphs into a gentleman who's a little hard to describe. Any time you're in the same room with Caesar, you're at a party. What kind of party is it? That's also a little hard to describe but he always makes you feel like you're the Guest of Honor but all the attention should be on him.
Caesar has just started his own web series. Here's Episode One of All Hail Caesar: An American Love Story…
Something weird happened with the online voting for this year's Eisner Awards. I don't exactly understand if it was Russian hacking or something having to do with Hillary's e-mails but erring on the safe side, the administrators have decided to do as follows: They've tossed out ballots that might be in question and they're sending new invites to vote to all who cast those in-question ballots. You may be receiving one and if you do, your deadline to vote anew is June 30, 2020 at 11:59 PM Pacific time.
Keep that deadline in mind and also remember that Walt Kelly's Pogo, Vol. 6: Clean as a Weasel is nominated in the category of Best Archival Collection/Project — Strips. In fact, don't just remember that. Do something with that information.
A recurring topic on this blog is the foolishness of those who argue against rules with folks who have no power to change or override them…what I call "Dead-End Complaining." You may or may not be right that the law or rule you're expected to follow is stupid but you're wasting your time, breath and indignity to argue the point here and now.
This morning on my way home from an insignificant doctor visit, I stopped off at a market for a few edible necessities. My way into said market was blocked by an argument — a lady was screeching at a store employee, insisting she couldn't legally be denied entrance even though she wasn't wearing a mask and never would. The employee was adamant that she could.
By now, I've lost track if this is a state law or a city law or just this chain's law. It may be all three but it's still No Shoes, No Shirt, No Mask, No Entrance…and in this case, No Groceries. Me, I think it's a wise law but even if it isn't, she was arguing with someone whose job was to enforce that rule, not make exceptions. The man even had a little plastic envelope of single-use disposable masks and was quite willing to provide her with one…
…but no. That would not do. "I'm not going to be on one of those sheeple," she kept saying…and I don't know about you but I've never seen that insult hurled by anyone who wasn't a sheeple (by their own definition) listening to a different shepherd. I listened to a little of the argument then politely asked if they could move it to one side so some of us masked lambs could get in before the rotisserie chickens were all gone.
She whirled towards me and said, "Don't you feel stupid wearing that mask?" I said, "No, because of it, I'm way less likely than you to get the coronavirus and way more likely to get a half-dozen russet potatoes and some parmigiano reggiano. All you're going to do is get yourself on YouTube for all eternity screaming like a maniac."
I pointed to some other shoppers who had their cell phones out shooting her and one of them said, "Smile for the camera, lady!" Then I went in and did my shopping and when I came out, she was gone.
Let me know if you see her on YouTube. She was about 5'2" with hair that looked like Professor Irwin Corey's and eyes that were so closely set together, there was ample room for a third eye on her face. Oh — and she was wearing a Trump 2020 t-shirt but you probably guessed that.
In a few hours, I'll be doing an online conversation with my buddy of 40 years, Jim Brochu. Jim is the person in the above photo who isn't Carl Reiner, Mel Brooks or Charlotte Rae. He's a director, a writer, an actor and an all-around entertainer, mostly these days in live theater. He also knows just about everyone in show business who I don't know and vice-versa.
At a party, I am usually confident that no one present has a better supply of show biz anecdotes but that's because Jim lives in New York. You will enjoy hearing about his life, his career and all the amazing folks he's known. We start at 7 PM Pacific and it should be viewable right here or over at www.newsfromme.tv.
Two days ago in this message, I said: "I'm waiting for the commercial that the Lincoln Project group must be making even as I type this, probably featuring that quote of Trump's about ordering that the testing be slowed down. If you were running for public office, you'd pray for your opponent to say something in front of a camera that was as self-destructive as that."
And sure enough, here it is…
How could this be worse? Maybe if he'd said, "Slow the testing down! It's making me look bad and hurting my poll numbers and that's way more important than saving lives and actually getting rid of this damned virus!"
His handlers tried to say he didn't mean it; that he was just making a joke. It must be awful working for that man because he always undercuts his own people. Today, he was asked if he was joking and he replied, "I don't kid." It's starting to look like he's bet an awful lot of money on a Biden victory.
Here's how one Las Vegas buffet has been retooled for a pandemic world. Even though we see a lot of yummy-looking food being served, this has strangely little appeal to me. (I also with my reduced-size stomach cannot possibly eat enough at any buffet to make it worth $48.99 to me.)
As I look at restaurants reopening with spread-out tables, masked servers, temperature checks, etc., I see nowhere I want to go. I also don't want to ride on an airplane with all the new rules and the possibility for infection., I can't imagine being comfortable enough at a show to enjoy the show. I understand of course why businesses want to reopen and folks who've depleted their savings (or have none) want to get back to work. I just have no desire to reopen me…
Earlier today, I posted the lineup of panelists for the Cartoon Voices Panel I'm hosting this coming Saturday.
Back on May 30, I did one that had to be aborted in progress. It was the afternoon that my neighborhood was filled with protesters and looters and police officers and reporters. Those four kinds of folks should not be confused with one another. There were also more helicopters overhead than you'd see if you watched every episode of the M*A*S*H TV show and counted every chopper you saw on screen, including repeats in the opening titles.
The Internet service in my area went kablooey on me that day and we had to shut down the panel. I have decided to pretend it never existed. You will not find what we did on YouTube or anywhere else.
So now I'm back doing them again starting this Saturday. Many people are writing to ask why most of the panelists on this one aren't the panelists who were on that one and will those panelists be on future ones?
Yes. I expect to do three in the month of July, one of which is already recorded and will debut in connection with Comic-Con International's Comic-Con at Home project. The others who were on the Incredible Disappearing Cartoon Voices Panel will be on one of these panels by the end of July, assuming they're available. On July 11, I'll be doing one and so far, I have the guy who did The Brain on Pinky & The Brain, the lady who did Jimmy Neutron on Jimmy Neutron: Boy Genius and the fellow who does The Whammy on the current version of Press Your Luck.
And I'm doing some other panels for Comic-Con at Home including, yes, The Annual Jack Kirby Tribute Panel. I've gotten so accomplished at hosting panels, I can now do it without even leaving my house.
Floyd Norman began his cartooning career assisting Bill Woggon, artist of the Katy Keene comic books. In 1956, he got a job as an in-betweener (an assistant animator) at the Walt Disney Studio where he started by working on Sleeping Beauty. He was the first black artist to work there and he subsequently applied his talents to other Disney films, including One Hundred and One Dalmatians, The Sword in the Stone and The Jungle Book, moving from animation to the story department in the process.
He has not spent his career exclusively at Disney — though he worked there enough to be named a Disney Legend in 2007. He popped up at almost every animation studio in town — I met him at Hanna-Barbera — and even co-ran a studio for a time. (It was Vignette Films, which among its other projects did a lot of the early animation for Sesame Street and produced the first Fat Albert cartoon for Bill Cosby.) He's one of those guys who's done just about everything in animation. He's also an incredibly nice, clever guy.
I ran this item and photo five years ago here to wish Floyd a happy 80th birthday. I'm running it again today to wish him a happy 85th and I intend to run it when he's 90 and when he's 95, as well. If and when he makes it to a hundred, I'll come up with a new item and a new photo. You can get a lot of re-use with a guy who never seems to age.
