I was fortunate to attend this panel discussion with these three seminal comics creators some 13 years ago. They talked about the golden age of comics, and the state of that industry. I think about cartoonists like them, all these years later, as the movie business makes billions from their work-for-hire creations.
I remember Irwin Hasen telling everyone in the audience that he was, as a teenager drawing DC Comics covers, looking to "make it big" in syndication. Comic books were trash. A stepping stone to a lucrative syndicated comic strip deal. He never dreamed anyone ever would interested in his recollections of his early years working in the the throwaway comic book industry.
Here's my short blog piece from 2006:
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A short comment about a lovely event. My thanks to
Stan Goldberg, a guy who started out at Timely Comics (now Marvel) as a teenage assistant to Carl Burgos, for inviting me along.
Last night,
The Jewish Museum
held a 90 minute panel discussion about the Golden Age of comic books
(1938-50). This is in conjunction with its Masters of Comic Art show.
(NY Times review
here.) Author
Gerard Jones (MEN OF TOMORROW) hosted the evening, and gave some historical background about the time.
He
introduced the participants in order of age. First was Irwin Hasen,
born in 1918. Irwin read from a hand lettered script; a statement of
his early life. Irwin wanted to be a sports cartoonist, like his idol
Willard Mullin (more about Mullin's work
here).
He wound up working for a couple of newspapers in NYC, and became, in
the Golden Age, one of DC Comics' most prominent cover artists. He is
best remembered for Dondi, co-created by Gus Edson.
Jerry
Robinson worked as an assistant to Batman creator Bob Kane. Jerry
created The Joker, and contributed to the character of Robin. Jerry's
had an extensive career. He's President of the Cartoonists and Writers Syndicate, and is the author of a seminal book THE COMICS, a
history of the comic strip. THE COMICS had a big impact on me, and
has been reprinted in a revised paperback from Dark Horse Publishing. And there's a lot more, if you peek at his NCS autobio above.
Jules
Feiffer, whose first pro job was working for his idol Will Eisner on "The Spirit," is best known as a
political and social cartoonist, as well as a playwright, screenwriter
and author. The day of the panel discussion, he had a cartoon in the NY
Times. His 1965 book THE GREAT COMIC BOOK HEROES "was the beginning of
serious scholarship of the comic book," said Mr. Jones.
Irwin
Hasen talked about his first sale, to a socialist paper, in the 1930s.
"This was before those kind of organizations had a bad connotation."
When he finished his drawing and asked the editor for payment, the
editor sent him to the publisher. When Irwin asked the publisher to be
paid, the guy eyed him, and asked, "PAYMENT?! Don't you believe in the
cause, Comrade?" Irwin got a nickel subway fare out of the guy. But, he
confessed, he didn't care. He was published!
Jerry
talked about fighting for Siegel and Shuster, the creators of
Superman, who were destitute in the early 1970s. (Jerry Robinson and Joe Shuster worked
at side by side drawing boards at DC Comics, and were friends. They
would go on double dates, said Robinson, and tried their best to impress
girls with their superhero connections.)
It was great
to hear the story directly from Jerry Robinson, the guy who, with some
help from Neal Adams, got some justice for the creators of one of the
most lucrative properties of the 20th century. Jones' book
MEN OF TOMORROW tells the story in detail. Mark Evanier has a short review
here.
Jules
Feiffer was asked if there was any idea that what they were creating
would one day have lasting value and be considered art. And Feiffer
said, no. Eisner felt the work was throwaway and not meant to last. And
Hasen added that comic books were a stepping stone to better things,
like getting syndicated.
This is just a fraction of what was said on a chilly evening in The Jewish Museum auditorium that night.
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