In the second half of this audio clip from Monday’s PBS NewsHour, senior Utah senator Orrin Hatch rips apart the federal health care law. The gist of his argument is it’s too expensive. He says he’d love for everybody to have health coverage, but “they outta trash the bill and get rid of it” and come up with a bi-partisan bill.
[audio:http://newshour-tc.pbs.org/newshour/rss/media/2011/02/28/20110228_healthredo.mp3|titles=PBS NewsHour: Health care compromise]
Hatch says Utah’s health care [PDF link] is good, so maybe I should read up on how it compares to what we have here in Massachusetts, enacted into law by Mitt Romney, who has his own ties to Utah. If Hatch truly opposes government health care coverage, I assume he must not take advantage of it himself, as he is entitled to do as a United States senator.
Hey, this is great! Film historian Kevin Brownlow was on stage tonight with Francis Ford Coppola and (a very old) Eli Wallach. So I’m going to celebrate by posting part 13 of Hollywood: A Celebration of the American Silent Film, the documentary that Brownlow made with the late David Gill.
He had been working on the second album, The Freewheelin’ Bob Dylan, and he had a Columbia photographer [Don Hunstein] take a picture of him and Suze, walking arm and arm along West Fourth Street. [It was actually Jones Street.] “The cover’s the most important part of the album,” he told friends as he passed around advance printings of the album jacket. It shook up everyone. “She was the envy of every folk singer’s chick in the Village,” Terri Thai says. “It was a big ego trip being on a record jacket.” Some friends believe Dylan was deliberately trying to affect Suze’s ego, “to give her some of the taste of what he was getting, and to make his hold on her a little tighter,” one of them says.
Dylan, An Intimate Biography, by Anthony Scaduto, 1973, p. 157
One of the more important women in the history of music wasn’t a musician. Suze Rotolo is gone. I was fascinated by her when I read Anthony Scaduto’s Dylan biography in high school. She wasn’t a great beauty, but she was the right girl at the right time for Bob Dylan, and her influence was significant. But it’s curious how many of Dylan’s greatest non-protest songs from that period, and into his time with Joan Baez, seem to have an almost negative attitude towards women.
This is a great outtake shot from the photo session for the cover of Freewheelin’. I found it on old fashion is lovely fashion.
Last weekend D.F. Rogers was in NYC, and he saw Spider-Man: Turn Off The Dark, a musical that’s still in previews, but has been playing longer than many past Broadway shows.
Denro got a copy of the program book for me, and I’m flipping through it right now, and OUCH….! Paper cut. Darn, I dropped it on the floor. I’ll pick it up and OW!!! Hit my head on the desk.
So the reports are true. The Spider-Man show is dangerous!
Monday, while Denro and I were hanging out with Joe Sinnott, on the Kirby Dynamics blog Robert Steibel happened to post a nice piece about Joe’s inking on a classic Jack Kirby splash page, and today he posted a follow-up. This is a scan of the page from a copy of the original 1968 comic book that you can click to enlarge.
What isn’t obvious on the printed page, but can’t be missed on the original art, is the white-out and re-inking that was done on Alicia Masters’ hair.
My vote is this work was not done by Joe, but in the Marvel bullpen by somebody else, and I’m tempted to say Dick Ayers. Although it isn’t easy keeping a consistent line when inking on top of dried white-out, the brushwork doesn’t look like Joe’s “feathering” technique. It would be helpful to see a scan of the original art for page #2, because Alicia’s hair appears to have been partially reworked there, too, especially in the second panel, although the pen lines are definitely Joe’s.
Joe’s perfectionism might have led him to go over his work again, but when more than one panel is involved it’s more likely that Stan decided he wanted changes made. And if the finished art were already in Stan’s hands in the city, he wouldn’t have sent it all the way back up to Saugerties, he would have had somebody in the office do it.
Here is a short interview with Joe that confirms something I’ve always assumed — Joe met Jack Kirby for the first time in 1972, and not in 1975 as has been repeated many times.
The reason why I have always thought that Jack and Joe met in ’72 is because I know they were both at Phil Seuling’s 1972 Comic Art Convention in New York, as was I.
I wonder what the Statler-Hilton management thought when they saw the huge, broken mirror on a hallway wall? Did they write it off, or make the con pay for it? They should have charged the convention, because Seuling broke it. I saw it happen when he jumped up on a table that was placed against the mirror. He was with some other guys, and they all ran off like school kids who had broken a window while playing baseball. I was only 16 years old, and I wasn’t going to get blamed for it and try to convince hotel security it was broken by the guy who organized the convention, so I took off too!
Follow-up: The Kirby Museum has just posted photographic proof that Jack and Joe met in ’72, and here it is.
I’m back home from my visit to Saugerties, and I sure hope I didn’t give Joe Sinnott my cold! Today I had the great pleasure and honor of spending time with Joe in his studio.
Here’s a rarity — Stan Lee original art! Stan sent this hand-made card to Joe for his birthday some years back.
My thanks to Mark Sinnott for the invitation to Joe’s open house at the Dutch Ale House, and thanks to Joe, Mark, and the Sinnott family for their hospitality this weekend.
