{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://thebreman.aviaryplatform.com/iiif/pc2t43kj2d/manifest","type":"Manifest","label":{"en":["Hasen, Irwin"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/082/original/TheBreman_SecondaryMark_Horizontal_Blue_Black.png?1713640889","metadata":[{"label":{"en":["Date"]},"value":{"en":["2004-07-10 (captured)"]}},{"label":{"en":["Agent"]},"value":{"en":["Hasen, Irwin (Interviewee)","Berman, Sandra (Interviewer)","Leavy, Jane (Interviewer)"]}},{"label":{"en":["Source"]},"value":{"en":["William Breman Jewish Heritage Museum","Esther and Herbert Taylor Oral History Collection","Jewish Oral History Project of Atlanta Special Exhibition Collection"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eIrwin Hasen was interviewed by Sandra Berman and Jane Leavy on July 10, 2004, in Atlanta Georgia. \u003c/p\u003e (general)","\u003cp\u003eIrwin Hasen was born in Harlem, New York City. He was the only child born to Jack and Serena [Rosen] Hasen. Irwin was raised in Bensonhurst, a neighborhood in Brooklyn. His grandfather owned a furniture store in the Lower East Side where Irwin’s father worked. At the onset of the Great Depression, the Hasen family lost all of their wealth and Irwin lived with his parents and grandparents in various tenement buildings in New York City. \u003c/p\u003e\r\n\u003cp\u003eIrwin’s mother helped him enroll in the National Academy of Design and Irwin attended the academy for three years, taking night classes and working as a sports cartoonist during the day. Irwin’s uncle, also an artist, suggested that Irwin show his work to Jack Liebowitz at National Comics Publications (a predecessor of DC Comics). Irwin was hired by Sheldon Mayer and began illustrating comic book covers.\u003c/p\u003e\r\n\u003cp\u003eIrwin served in World War II and became editor of the camp newspaper. Irwin traveled frequently and after the war, he participated in USO trips with fellow cartoonist, Gus Edson. Together Gus and Irwin created the comic strip Dondi, considered one of the most successful comic strips ever, running for 32 years. Following the success of Dondi, Irwin continued traveling and visited Israel for the first time. This experience had a profound impact on him and helped him reconnect with his Jewish faith. Irwin taught at the Joe Kubert School of Cartoon and Graphic Art for 31 years. He received many awards in his extensive career, including the National Cartoonists Society's Story Comic Strip Award twice, and the Inkpot Award. Irwin passed away in March 2015 and is buried in Manhattan, New York. \u003c/p\u003e (bioghist)","\u003cp\u003eThe interview focuses on Joe’s career in the comic book and cartoon industries, how he joined the industries, and how he started his successful comic strip Dondi. He recalls his early childhood, growing up in Harlem and Brooklyn. He discusses his family’s wealth and success and how the Great Depression caused them to lose their wealth, greatly impacting his home life. He recounts moving next to the National Academy of Design and his mother enrolling him in classes there. He expresses throughout the interview that he had a difficult childhood and a strained relationship with his family, but he feels his mother must have loved him to give him the opportunity to study there. \u003c/p\u003e\r\n\u003cp\u003eIrwin describes attending classes at night and working as a sports cartoonist during the day. He shares about working with boxing promoters to create sports illustrations to sell to magazines. He mentions that he made very little money and decided to pursue the suggestion that he should try to get a job for National Comics Publications (a predecessor of DC Comics). Irwin recounts being hired by Sheldon Mayer and drawing comic characters Green Lantern and Wonder Woman. Irwin describes Harry Donenfeld and Jack Liebowitz, two of the founders of DC Comics. He goes on to describe fellow artists, including Alex Toth.\u003c/p\u003e\r\n\u003cp\u003e Irwin talks about his ultimate goal of having his own comic strip, influenced by cartoonist Roy Crane. He recalls his father bringing home copies of the New York World-Telegram newspaper and falling in love with the comic strips he saw. Irwin shares about being fired from DC Comics in 1952, speaking about the traveling he did after being let go. He talks about his military service, being drafted, and mentions being editor of the camp newspaper. \u003c/p\u003e\r\n\u003cp\u003eIrwin is asked about the importance of Judaism during his childhood and he shares that it was not a significant part of his early life. He mentions his grandfather celebrating holidays, but that his father was very secular. He shares about visiting the Dachau Concentration Camp Memorial Site after the war while participating in USO tours, he describes being one of two Jews on the trip, along with cartoonist Gus Edson, and the impact of that experience. \u003c/p\u003e\r\n\u003cp\u003eIrwin details the origins of the comic strip Dondi, working with Gus Edson to create it, and the struggle of working with Newspaper Syndicates. He describes the difficulty in trying to make a living while creating a comic strip. \u003c/p\u003e\r\n\u003cp\u003eIrwin reflects on why so many young Jewish men were drawn to the industry, and he expresses that he does not believe that Judaism was a factor in the talent in the industry. He talks about his belief that Jewish people have an affinity for artistic talent and performing. He describes his desire for approval despite his Jewish heritage. He recounts how he got the nickname “Zooie” from fellow artist Charlie Biro, and what it was like to work with other artists and the creative process. Irwin discusses Batman creators Bob Kane and Bill Finger, and how Bob Kane retained the rights to his work. \u003c/p\u003e\r\n\u003cp\u003eHe goes on to reflect on the popularity of comic books with service members, mentioning that he never felt part of the “in-crowd”. He fondly remembers Bill Finger and Sheldon Mayer, discussing their careers and talent. When asked about the meaning of “superhero” and the codification of comics in American art, Irwin talks about his disdain for the direction of modern comic books and strips. He talks about corporate greed impacting the comic book industry and leading to its decline. He discusses Green Lantern and how the comic addressed social issues, he describes this as Jack Liebowitz’s influence. \u003c/p\u003e\r\n\u003cp\u003eIrwin talks about who influenced his career most, sports cartoonist Willard Mullin and comic strip creator ​​Roy Crane. Irwin then shares his recollections of people involved in the comic book industry, including Bob Kane, Will Eisner, and Mort Meskin. \u003c/p\u003e\r\n\u003cp\u003eThe interview concludes with Irwin reminiscing about a trip to Israel and the impact that had on his relationship with Judaism. He describes looking down at Jerusalem from a vantage point and realizing he was Jewish. This was a powerful experience and changed his outlook on his faith. \u003c/p\u003e (scope content)"]}},{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://archivesspace.thebreman.org/repositories/2/archival_objects/29212"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eAll rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, recorded by any information storage and retrieval system, without the express written consent of the William Breman Jewish Heritage Museum.\u003c/p\u003e"]}},{"label":{"en":["Subject"]},"value":{"en":["Biro, Charlie (1911-1972) (personal name)","Caniff, Milton Arthur Paul (1907-1988) (personal name)","Caplin, Alfred “Al Capp” (1909-1979) (personal name)","Chesler, Harry (approx. 1897-1981) (personal name)","Crane, Royston “Roy” (1901-1977) (personal name)","Donenfeld, Harry (1893-1965) (personal name)","Edson, Gus (1901-1966) (personal name)","Eisner, Will (1917-2005) (personal name)","Ellsworth, Whitney (1908-1980) (personal name)","Finger, Bill (born Milton Finger) (1914-1974) (personal name)","Fox, Gardner Francis Cooper (1911-1986) (personal name)","Gaines, Maxwell Charles “M.C.” (born Max Ginzberg) (1894-1947) (personal name)","Hasen, Irwin (1918-2015) (personal name)","Jacobs, Mike Strauss (1880-1953) (personal name)","Kane, Bob (born Robert Kahn) (1915-1998) (personal name)","King, Donald (b. 1931) (personal name)","Kubert, Joe (1926-2012) (personal name)","Liebowitz, Jack (born Yacov Lebovitz) (1900-2000) (personal name)","Louis Barrow, Joe (1914-1981) (personal name)","Mayer, Sheldon (1917-1991) (personal name)","Meskin, Morton (1916-1995) (personal name)","Michelangelo (1475-1564) (personal name)","Mullin, Willard (1902-1978) (personal name)","Nodell, Martin “Marty” (1915-2006) (personal name)","Novick, Irving “Irv” (1916-2004) (personal name)","Runyon, Alfred Damon (1880-1946) (personal name)","Shuster, Joe (1914-1992) (personal name)","Siegel, Jerry (1914-1996) (personal name)","Simon, Joe (1913-2011) (personal name)","Toth, Alex (1928-2006) (personal name)","Batman (personal name)","Green Lantern (personal name)","Superman (personal name)","Wildcat (personal name)","Wonder Woman (personal name)","AOL Time Warner (corporate name)","DC Comics (corporate name)","EC Comics (corporate name)","Enron Corporation (corporate name)","Hanna-Barbera (corporate name)","The King David Hotel (corporate name)","Marvel Comics (corporate name)","The National Academy of Design (corporate name)","National Comics Publications, Inc. (corporate name)","The New York World-Telegram (corporate name)","The William Breman Jewish Heritage Museum (corporate name)","WorldCom (corporate name)","Bensonhurst, New York City (geographic term)","The Bronx, New York (geographic term)","Brooklyn, New York (geographic term)","Cairo, Egypt (geographic term)","Dachau Concentration Camp Memorial Site (geographic term)","The Hamptons, New York (geographic term)","Harlem, New York (geographic term)","Hollywood, Los Angeles, California (geographic term)","Israel (geographic term)","Jerusalem (geographic term)","Lod, Israel (geographic term)","London, England (geographic term)","The Lower East Side (geographic term)","New York City, New York (geographic term)","Paris, France (geographic term)","Rome, Italy (geographic term)","Upper West Side (geographic term)","The Great Depression (named event)","The Holocaust (named event)","The Six-Day War (named event)","World War II (named event)","The Golden Age of comic books (chronological term)","Passover (chronological term)","Dondi (other)","The Four Questions [Ma Nishtana] (other)","Li'l Abner (other)","Prizefighters (other)","Sports cartoons (other)","SS Liberte [French: Liberté] (other)","The Statue of Liberty (other)","Secularism (other)","Wash Tubbs (other)"]}}],"summary":{"en":["\u003cp\u003eIrwin Hasen was interviewed by Sandra Berman and Jane Leavy on July 10, 2004, in Atlanta Georgia.\u0026nbsp;\u003c/p\u003e","\u003cp\u003eIrwin Hasen was born in Harlem, New York City. He was the only child born to Jack and Serena [Rosen] Hasen. Irwin was raised in Bensonhurst, a neighborhood in Brooklyn. His grandfather owned a furniture store in the Lower East Side where Irwin\u0026rsquo;s father worked. At the onset of the Great Depression, the Hasen family lost all of their wealth and Irwin lived with his parents and grandparents in various tenement buildings in New York City.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003eIrwin\u0026rsquo;s mother helped him enroll in the National Academy of Design and Irwin attended the academy for three years, taking night classes and working as a sports cartoonist during the day. Irwin\u0026rsquo;s uncle, also an artist, suggested that Irwin show his work to Jack Liebowitz at National Comics Publications (a predecessor of DC Comics). Irwin was hired by Sheldon Mayer and began illustrating comic book covers.\u003c/p\u003e\r\n\u003cp\u003eIrwin served in World War II and became editor of the camp newspaper. Irwin traveled frequently and after the war, he participated in USO trips with fellow cartoonist, Gus Edson. Together Gus and Irwin created the comic strip Dondi, considered one of the most successful comic strips ever, running for 32 years. Following the success of Dondi, Irwin continued traveling and visited Israel for the first time. This experience had a profound impact on him and helped him reconnect with his Jewish faith. Irwin taught at the Joe Kubert School of Cartoon and Graphic Art for 31 years. He received many awards in his extensive career, including the National Cartoonists Society's Story Comic Strip Award twice, and the Inkpot Award. Irwin passed away in March 2015 and is buried in Manhattan, New York.\u0026nbsp;\u003c/p\u003e","\u003cp\u003eThe interview focuses on Joe\u0026rsquo;s career in the comic book and cartoon industries, how he joined the industries, and how he started his successful comic strip Dondi. He recalls his early childhood, growing up in Harlem and Brooklyn. He discusses his family\u0026rsquo;s wealth and success and how the Great Depression caused them to lose their wealth, greatly impacting his home life. He recounts moving next to the National Academy of Design and his mother enrolling him in classes there. He expresses throughout the interview that he had a difficult childhood and a strained relationship with his family, but he feels his mother must have loved him to give him the opportunity to study there.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003eIrwin describes attending classes at night and working as a sports cartoonist during the day. He shares about working with boxing promoters to create sports illustrations to sell to magazines. He mentions that he made very little money and decided to pursue the suggestion that he should try to get a job for National Comics Publications (a predecessor of DC Comics). Irwin recounts being hired by Sheldon Mayer and drawing comic characters Green Lantern and Wonder Woman. Irwin describes Harry Donenfeld and Jack Liebowitz, two of the founders of DC Comics. He goes on to describe fellow artists, including Alex Toth.\u003c/p\u003e\r\n\u003cp\u003e\u0026nbsp;Irwin talks about his ultimate goal of having his own comic strip, influenced by cartoonist Roy Crane. He recalls his father bringing home copies of the New York World-Telegram newspaper and falling in love with the comic strips he saw. Irwin shares about being fired from DC Comics in 1952, speaking about the traveling he did after being let go. He talks about his military service, being drafted, and mentions being editor of the camp newspaper.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003eIrwin is asked about the importance of Judaism during his childhood and he shares that it was not a significant part of his early life. He mentions his grandfather celebrating holidays, but that his father was very secular. He shares about visiting the Dachau Concentration Camp Memorial Site after the war while participating in USO tours, he describes being one of two Jews on the trip, along with cartoonist Gus Edson, and the impact of that experience.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003eIrwin details the origins of the comic strip Dondi, working with Gus Edson to create it, and the struggle of working with Newspaper Syndicates. He describes the difficulty in trying to make a living while creating a comic strip.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003eIrwin reflects on why so many young Jewish men were drawn to the industry, and he expresses that he does not believe that Judaism was a factor in the talent in the industry. He talks about his belief that Jewish people have an affinity for artistic talent and performing. He describes his desire for approval despite his Jewish heritage. He recounts how he got the nickname \u0026ldquo;Zooie\u0026rdquo; from fellow artist Charlie Biro, and what it was like to work with other artists and the creative process. Irwin discusses Batman creators Bob Kane and Bill Finger, and how Bob Kane retained the rights to his work.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003eHe goes on to reflect on the popularity of comic books with service members, mentioning that he never felt part of the \u0026ldquo;in-crowd\u0026rdquo;. He fondly remembers Bill Finger and Sheldon Mayer, discussing their careers and talent. When asked about the meaning of \u0026ldquo;superhero\u0026rdquo; and the codification of comics in American art, Irwin talks about his disdain for the direction of modern comic books and strips. He talks about corporate greed impacting the comic book industry and leading to its decline. He discusses Green Lantern and how the comic addressed social issues, he describes this as Jack Liebowitz\u0026rsquo;s influence.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003eIrwin talks about who influenced his career most, sports cartoonist Willard Mullin and comic strip creator ​​Roy Crane. Irwin then shares his recollections of people involved in the comic book industry, including Bob Kane, Will Eisner, and Mort Meskin.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003eThe interview concludes with Irwin reminiscing about a trip to Israel and the impact that had on his relationship with Judaism. He describes looking down at Jerusalem from a vantage point and realizing he was Jewish. This was a powerful experience and changed his outlook on his faith.\u0026nbsp;\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eAll rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, recorded by any information storage and retrieval system, without the express written consent of the William Breman Jewish Heritage Museum.\u003c/p\u003e"]}},"provider":[{"id":"https://thebreman.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["William Breman Jewish Heritage Museum"]},"homepage":[{"id":"https://thebreman.aviaryplatform.com/","type":"Text","label":{"en":["William Breman Jewish Heritage Museum"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/082/original/TheBreman_SecondaryMark_Horizontal_Blue_Black.png?1713640889","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/209/744/small/Hasen_Irwin.mp4_1696897162.jpg?1696897163","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744","type":"Canvas","label":{"en":["Media File 1 of 1 - Hasen_Irwin.mp4"]},"duration":2413.412,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/209/744/small/Hasen_Irwin.mp4_1696897162.jpg?1696897163","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/content/1","type":"AnnotationPage","items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-thebreman.s3.wasabisys.com/collection_resource_files/resource_files/000/209/744/original/Hasen_Irwin.mp4?1696897161","type":"Video","format":"video/mp4","duration":2413.412,"width":640,"height":360},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744","metadata":[]}]}],"annotations":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426","type":"AnnotationPage","label":{"en":["Hasen, Irwin [Transcript]"]},"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BERMAN: . . . He has graciously agreed to participate in this interview for the\nWilliam Breman Jewish Heritage Museum, and I'd like to begin by just asking you\nto tell us a little bit about your roots, your early life, where you grew up,\nwhen you were born.\n\nHASEN: When I was born? I was born on 110th Street near Harlem, New York and my\nfirst place of dwelling with my mother and ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=0.0,30.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"father was in Harlem. In those days,\nHarlem was a very respectable area, elegant blacks used to . . . Sundays, used\nto walk around in derbies and elegant clothes. It was an interesting . . . I\ndon't know, I was one year old, but I remember vaguely. Then we moved to\nBrooklyn, Bensonhurst, and we lived in Bensonhurst with my grandmother and\ngrandfather, my mother's parents. My ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=30.0,60.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"father married the boss's daughter, as it\nwere. Grandfather owned a furniture store down on the Lower East Side of\nManhattan and I was raised in Bensonhurst. In 1930, we lost everything, as a lot\nof people did. We were rich in Bensonhurst, we had a car and chauffeur,\nincredible. I never could understand the life we led. My grandmother,\ngrandfather, my father, mother and I in a ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=60.0,90.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"house with a car and chauffeur. I\nremember the name of the chauffeur and his wife, who was our maid, Bessie and\nDave Winfield. We lost everything and we came to New York, and we lived on the\nUpper West Side of Manhattan . . . I didn't know the circumstances, my parents,\nin terms of monetarily fixed . . . we had lost everything, and we moved in\ntenures. ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=90.0,120.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In those days, when you moved, you'd get a . . . It was called a\nconcession from the landlord, apartment buildings, two months concession . . . I\ndidn't know what that meant. It meant that we were broke and we had to move\nevery two years. My father worked, my grandfather went out of business, and we\nall lived together. It wasn't easy for me at all, I was an only ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=120.0,150.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"child. We moved\nto 110th Street, right next door to the National Academy of Design. My mother,\nGod bless her, she died very young, took me by the hand and enrolled me in the\nNational Academy of Design. Where she got the money? I don't know. I went to\nthat school for three years, five nights a week, drawing all the statues of\nMichelangelo in ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=150.0,180.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"charcoal. I'm a cartoonist, I was a cartoonist during the day, I\nworked in the fight business.\n\nBERMAN: Your mother just noticed your talent when you were very young?\n\nHASEN: She must have, and she must have loved me. I had a strange relationship\nwith my father, my mother, my grandmother. She died when she was 44 years old,\nwhen I was in the Army, but she managed to get me to that school.\n\n","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=180.0,210.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BERMAN: You were formally trained? Was your true love cartoons?\n\nHASEN: Formally trained at night, and during the day I would sell sports\ncartoons for the fight business. I was privy to Joe Louis, meeting all these\ngreat champions. In those days, they were really prizefighters. Today, you've\ngot, pardon the expression, whatever the hell they are. They're not\nprizefighters. They're 600 pound hulks working for the ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=210.0,240.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"promoters, that's all it\nis. In those days, you had skill, and I did drawings for all those magazines.\nOne magazine, and also Madison Square Garden. I worked for the equivalent of Don\nKing today, a man named Mike Jacobs, a Jewish gentleman who was a very tough\nman. I was a sports cartoonist for about two years. Not very . . . very little\nmoney, I lived with my parents. ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=240.0,270.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Then someone said that there's a comic book\ncompany called DC [Comics] . . . National [Comics Publications], that's when I\ngot down to National and I was introduced to Sheldon Mayer, one of the great\neditors, and he took me on. I was his protégé and I created, co-created . . .\nCartoonist didn't really create, Batman was the only one. That was created by\nBob Kane. I drew the first Green Lantern, ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=270.0,300.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"one of the first Green Lanterns, and I\ncreated Wildcat. These are the characters that we used to deal with when we went\nto editors down there. They had a cartoonist sit down and say, \"This is what we\nwant.\" They created the costumes, and we went home and did it, then the rest of\nthe thing is history. I worked for 12 years.\n\nBERMAN: Who hired you? Harry [Donenfeld] . . . ?\n\nHASEN: Sheldon Mayer.\n\nBERMAN: Did you have a relationship with Harry Donenfeld?\n\nHASEN: No! ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=300.0,330.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"No!\n\nBERMAN: Why is that?\n\nHASEN: He didn't have a relationship with anybody. He was not a creative man, he\nwas in the business, let's say. He was a very incredibly . . . a character guy.\nDamon Runyon, kind of a man. Not Damon Runyon himself, but that genre of New\nYorkies. He was the one who owned the company and when I went there to get an\ninterview, I ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=330.0,360.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"showed my samples, and he sent me down to Sheldon Mayer.\n\nBERMAN: What about Jack Liebowitz?\n\nHASEN: You just took the words out of my mouth. I didn't see Harry, [I saw]\nJack. My uncle knew Jack, my uncle was an artist. He said, \"Listen, I have a\nfriend of mine, Jack Liebowitz. Get down to see him, Irwin, and take your\nsamples.\" That's Jack Liebowitz. Jack, he didn't . . . He just said, \"Go down\nand see Sheldon Mayer.\" Sheldon Mayer worked for M.C. Gaines, EC Comics, ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=360.0,390.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"down on\nLafayette Street. I went down there and he hired me, and Sheldon Mayer and I\nbecame dear friends. He taught me how to horseback ride, my Jewish boy in New\nYork doing horseback riding.\n\nBERMAN: You drew Green Lantern right from the beginning?\n\nHASEN: Right from . . . No, there was another cartoonist . . .\n\nBERMAN: Marty Nodell.\n\nHASEN: Marty Nodell, and he worked there for two years. He ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=390.0,420.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"claims that he was\nthe one who created the Green Lantern and I suppose he did. What the heck, it's\ntoo late now. But we all did all the characters.\n\nBERMAN: Who else did you work on?\n\nHASEN: Wonder Woman, I did a lot of the covers. There's a book that they issued\na couple years ago, a little pocketbook of all the colored covers, and I look\nthrough that book and I saw so many of my covers. I can't believe that I worked\nthat hard in those ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=420.0,450.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"days.\n\nBERMAN: What year was . . . ?\n\nHASEN: 1952.\n\nBERMAN: You did Wonder Woman?\n\nHASEN: I did most of the Wonder Woman covers. I'm a cover man, I was a cover\nman. I really was not an inside artist. There was some wonderfully talented\ncartoonist, Mort Meskin, Joe Kubert, and a lot of the others. Alex Toth, who\nhappens to be the best of all of us and he lives in California. He's a hermit,\nsort of . . . He loved my work. He was 16 years ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=450.0,480.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"old when he came to me and he\nsaid, \"I like your work, Mr. Hasen.\" I said, \"You like my work?\" Because I\ndidn't have any false pretenses, in the back of my head I wanted to be a comic\nstrip artist.\n\nBERMAN: Was that your goal?\n\nHASEN: Yes, in my back of my head.\n\nBERMAN: Why is that?\n\nHASEN: I was influenced when I was very young with a cartoonist named Roy Crane\nwho did Wash Tubbs, comic strip. My father would bring back home at ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=480.0,510.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"night the\nWorld-Telegram newspaper, New York World-Telegram, and that was the strip in\n1927 that I saw. I loved it, the first one I saw . . . I get religious about\nthis because I looked at that strip and I said, \"I want to have my own comic\nstrip someday.\" This was in 1927, and I guess in the back of my head, the dream\nwas there. I went into comics because they ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=510.0,540.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"paid money for the bills. I had a\nheck of a good time being a cartoonist with the comic book people, made a lot of\nfriends, and then I was fired. DC . . .\n\nBERMAN: Fired?\n\nHASEN: I was told that . . . It's a wonderful story that I've told many times.\nMy books weren't selling, whatever artwork I was doing was . . . I couldn't\ncompete with the other great ones, like Mort Meskin and all ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=540.0,570.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that. The head\neditor, Whit Ellsworth, who has since passed on, asked me to come into his\noffice and he said, \"Irwin, baby, you know, you're a great guy. We really love\nyou, and you're a single guy. You're a bachelor. Why don't why don't you take a\ntrip? Take a boat, get on a boat and see the world.\" And I'm looking at him like\na schmuck. I left the office not knowing I was ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=570.0,600.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"fired, and I went to the bar at\nthe pier. I had good taste in bars, I still do. I had two Manhattans, cocktails,\nand I went to a travel agent. I booked passage on the Liberte [French: Liberté]\nwithout having any money. I had a second . . . state room, second class\nconverted into first class because it was the off season. I had my dad and my\nfriends come and give me a farewell ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=600.0,630.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"party and I went to Europe. I went to London\n[England], Paris [France] and Rome [Italy]. I was fired after I left the Statue\nof Liberty in the harbor, as we're leaving, I said to myself, \"What the hell am\nI doing?\" And I realized I had been fired. They wanted to get . . . Anyways,\nthat's the story. Great, wonderful time.\n\nBERMAN: What year was that?\n\nHASEN: 1952.\n\nBERMAN: That was after the war?\n\nHASEN: That was after the war.\n\nBERMAN: During the war did you . . . ?\n\nHASEN: I'm ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=630.0,660.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"sorry, we didn't get to the war. I was drafted, and I was under the\nheight requirements. I got into the army just like a stamp of the guy who . . .\nOne of the clerks. How . . . life can be very strange. Just by his arm going\ndown, limited service. I'm five foot two. I edge myself . . . I must have had a\nfeisty little way about ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=660.0,690.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"me and I talked myself into being the editor of the camp newspaper.\n\nBERMAN: If we can digress a little bit?\n\nHASEN: Absolutely.\n\nBERMAN: Back to your family . . .\n\nHASEN: Yes.\n\nBERMAN: Was Judaism an important part . . . ?\n\nHASEN: No, no, no.\n\nBERMAN: . . . Part of your family growing up?\n\nHASEN: My grandfather, of course, made a thing of the holidays, the holiday\ndinners at home but my father would sort of laugh. My father came from Russia,\nand he was not at ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=690.0,720.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"all religious. We did all the questions, [indistinct: 12:04\npossibly 'and eat this'] and it was like a ritual that . . . Let's get it over\nwith and eat. Anyways, I was not raised in any way, shape or form to be Jewish.\n\nBERMAN: Did the war changed your attitude at all because of what was happening\nto the Jews in Europe?\n\nHASEN: When I went to Germany in 1952 . . . My attitude changed at another ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=720.0,750.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"time\n. . . I went to Germany, I saw Dachau. I visited Germany with a group of\ncartoonists entertaining the troops, and they took us to Dachau on a holiday,\nday off, two days off. There are people on this planet who still don't believe\nit happened, but you've got to go there. I was with 12 cartoonists and Gus\nEdson, who co-created Dondi with me. He and I were the only Jews on the ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=750.0,780.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"trip,\nand we went through all this. You just . . . What you do is you don't believe\nit's true. You yourself can't believe man's inhumanity to man. You don't believe\nit, but when you see the devices they did to kill off the Jews . . . We got back\non the bus, going back to our hotels, and no one said a word. Nobody, none of\nthe cartoonists said a word. We just got on a bus and we ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=780.0,810.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"sat. Gus and I were the\nonly two Jews. We got back to our hotel, and we looked at each other and you\njust don't believe it. That was that. In 1954 and 1955, I went to Korea with a\ngroup of . . . I was at liberty, I was fired. Those three wonderful years of\nbeing at liberty gave me the chance to meet Gus Edson who, after we left\nGermany, sends me a ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=810.0,840.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"letter. \"Would you be interested in doing a comic strip with\nme?\" He said, \"What are you doing by the way? Are you doing any work?\" When\nyou're unemployed, you say, \"I'm in advertising.\" That's the thing you tell\neverybody. \"What are you doing?\" \"I'm in advertising.\" I wasn't in anything, I\nused up all my army war bonds, and he sent me a letter with a picture of Dondi,\nhis interpretation. I looked at the letter, I was in my car, parked ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=840.0,870.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"car, and I\nwent up to my apartment at the hotel, and I said, \"Gus, I got your letter. We\nhave the best strip in America.\" He said, \"You're kidding.\" It was me all the\nway. Him, of course, but it was me. It was like going to a party and looking\nacross a crowded room and seeing a woman standing there and you say, \"That's\ngoing to be my wife.\" That's how Dondi was born. I worked two ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=870.0,900.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"years on that\nstrip. [Newspaper] Syndicate doesn't give advances. Most miserable consortium of\ncommercial people, that \"syndicate\". It's a wonderful name for it, by the way.\nIt has done it with many of the cartoonists, even Al Capp, Li'l Abner, was being\ncheated. They are . . . I can't tell you how bad. At least in the book business,\nyou get an advance to live on while you're working. I had ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=900.0,930.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"nothing. It took two\nand a half years, but I had a goal.\n\nBERMAN: How long did Dondi run?\n\nHASEN: 32 years.\n\nBERMAN: It was considered one of the most successful strips ever.\n\nHASEN: Yes. It never made a lot of money because it was too much splitting, the\nsyndicate gets 50 percent. Imagine an agent getting 50 percent! Gus got 25\n[percent] and I got 25 [percent]. We had the best papers in the country, but it\nstill ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=930.0,960.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"didn't add up to a lot of money.\n\nBERMAN: Again, if we can just go back a little bit . . .\n\nHASEN: Yes.\n\nBERMAN: The 1930's . . .\n\nHASEN: 1930's.\n\nBERMAN: . . . When the comic book business began.\n\nHASEN: Yes.\n\nBERMAN: Considered by some to be the most antisemitic period in United States\nhistory. How difficult was it for Jewish men to find employment?\n\nHASEN: I have no idea, dear . . . I know what you're talking about. We just were\nkids who were ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=960.0,990.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"talented and tried to make a living. I don't know, I can't . . . I\nknow what you're saying, but I don't know what went on with Jewish kids.\n\nBERMAN: Do you have any idea whatsoever why there were so many of you in this\none business?\n\nHASEN: Now, you say so many of us. There are a lot of non-Jewish cartoonists.\n\nBERMAN: It just seems like it . . .\n\nHASEN: It seems like it . . .\n\nBERMAN: . . . The creators of the superheroes, especially.\n\nHASEN: Siegel and Shuster, Donenfeld . . .\n\nBERMAN: ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=990.0,1020.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yourself, Bob Kane . . .\n\nHASEN: Bob Kane.\n\nBERMAN: Jerry Siegel, Joe Simon . . .\n\nHASEN: Yes, they were Jewish. Yes. I think for some reason or another, most\nentertainers are Jewish, comics. I think that the Jewish strain has a certain\naffinity to be born or blessed with not only a talent, but a need to express\nhimself in that genre of cartooning, show [business]. I ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1020.0,1050.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"wanted to be on the\nstage and I was very good. I could have if someone had pushed me in another\ndirection. There is in the Jewish genre of the talented young man, young person,\nto be an entertainer. To . . . I think it has to do with approval, looking for\nthe world to say, \"I'm Jewish, but I'm going to make you laugh, son of a\nbitches. I'm going to make you laugh.\" That is what I've always done all my\nlife, ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1050.0,1080.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"make people laugh. Nothing to do with Dondi. I have honed, for my own\ndevices, a way to make people laugh. Everybody thinks I'm so very funny, and I\nam, but there's a reason. It's approval, I want approval. That's why these . . .\nIn the comic book business, they were those guys that you're mentioning. Joe\nKubert, I teach at his school now, for 25 ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1080.0,1110.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"years.\n\nBERMAN: I read in one of your other interviews that you have a very interesting nickname.\n\nHASEN: Zooie.\n\nBERMAN: How'd that come about?\n\nHASEN: I was working at an \"entrepreneur\", named Harry Chesler, and he had a\nsort of a schoolroom of all these young cartoonists that you're talking about.\nPaid them very little, at the end of the week he'd get each of us up like a\nschool man and we would sit on school ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1110.0,1140.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"benches with drawing [indistinct: 19:02].\nHe'd say, \"How little do you need to live on?\" He became a millionaire, of\ncourse. With that kind of an attitude, you got to be a millionaire. The original\nentrepreneur. \"How little do you need to live on?\" That's how he paid us.\nCharlie Biro, another cartoonist, called me Zooie. To this day, I don't know\nwhy. It's not the biggest issue in the world, ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1140.0,1170.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but I still . . .\n\nBERMAN: What was it like to work with all of these talented people? What was the\ncreative process like?\n\nHASEN: You didn't work with them, you did everything at home. Just happened to\nbe that workshop teacher school environment that Harry Chesler . . . They were\ncalled shops, not sweatshops, shops. In those days, these cartoonists who later\nbecame . . . Used to come in with holes in their sweaters. I was a ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1170.0,1200.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"kid, I was 19\nyears old. I sat with them and I just did fillers, sports cartoons. I was part\nof that wonderful group of young men at that time. Then the cartoonists then\nwent home and did their work.\n\nBERMAN: Where did the ideas come from? Did they come from the ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1200.0,1230.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"illustrators, the writers?\n\nHASEN: The editors.\n\nBERMAN: The editors.\n\nHASEN: Bob Kane . . . Siegel and Shuster and Bob Kane were the first real\ncreators in our business. Bob Kane was the only one who came out of it with a\nsmile and a lot of money.\n\nBERMAN: Why do you think that's the case? What happened?\n\nHASEN: Because he had a father who, when he got the first check from DC and back\nof the ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1230.0,1260.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"check, his father said, \"No way, the rights are going to my son.\" His\nfather was a feisty man who lived in the Bronx. If it hadn't been for his\nfather, he'd be in the same boat as all the other creatives, Siegel and Shuster.\nBut he had a father who went down to the office at DC, \"My kid created the\nBatman idea! He's not signing that check!\"\n\nBERMAN: He retained rights.\n\nHASEN: He ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1260.0,1290.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"retained rights. He's the only one.\n\nBERMAN: During the war years, the comic book was read by more American G.I.'s\nthan any other medium. How does that make you feel that you were a part of that?\n\nHASEN: I think when you are involved in that process, you don't feel anything\nexcept it was a living. I was really never ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1290.0,1320.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"involved in that process . . . I keep\nsaying to myself, of course you were. I did the covers, I did the Green Lantern,\nbut I never felt I was part of the in-crowd of Joe Kubert, and Batman, and this\nand that. For some reason or another. Before Dondi I tried two other strips. I\nsold one, but I was going through a depression, and I was going to a therapist.\n","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1320.0,1350.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I sold a strip to a syndicate and I couldn't go through with it. I did indeed\nhave my eye on the star, I wanted a comic strip.\n\nBERMAN: In one of your other interviews, I read some really nice comments that\nyou made about Bill Finger.\n\nHASEN: Ah, the best!\n\nBERMAN: Tell me a little bit about him.\n\nHASEN: He was a very lovely, classy man who always needed money, always was\n","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1350.0,1380.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"late, but he was the creator of a lot of those big-time heroes. Of course,\nWildcat. He did most of the Green Lantern stories. He was always late and always\nneeded money and he died impoverished. Sad, sad ending.\n\nBERMAN: Why so? Why did he die impoverished? What happened?\n\nHASEN: Because he had no money.\n\nBERMAN: No, but what happened to his career?\n\nHASEN: Nothing ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1380.0,1410.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"happened. He just wrote and wrote and died. It's a heck of a\nthing to say about somebody.\n\nBERMAN: I read that he was very, very talented.\n\nHASEN: He was the genius of those writers. Respected, but alive? No, in that respect.\n\nBERMAN: You also described Shelley Mayer as a genius.\n\nHASEN: Yes, he was a great guy. There's an expression, crazy like a bed bug, but\ncrazy like a fox. Because ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1410.0,1440.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as erratic as he was, and he and I got very close, he\nknew how to handle cartoonists. You had to have a lot of guts to take his stuff.\nHe would look at my work sometimes, I'd bring in a couple of pages, seven or\neight, he'd sit looking with his pipe. He'd look at them and then he'd throw\nthem up at the ceiling. In those days, you didn't have any doors in your\noffices, you had ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1440.0,1470.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"windows all over. Everybody would be looking and there's Hasen\ngoing in to see Shelley. Crazy times and yet, we were kids!\n\nBERMAN: What do you think a superhero is?\n\nHASEN: What do I think a superhero is? A superhero is somebody that sells books.\nA ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1470.0,1500.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"character that sells books. That's all it is, it's a figment of the\npublisher's imagination. I think today it's so out of whack, the business is so\n. . . It's almost like a computer world gone crazy. There's no heart, there's no\ntalent, really. It's all computerized, everything now is a mishmash of tin cans\nlooking like ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1500.0,1530.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"people. Don't ask the Golden Age people \"What do you think of\ntoday?\" When I go to conventions, there are so many people who come over to me,\nEven the young people say, \"Irwin, it's so wonderful to see real art, real\ncharacters.\" He said, \"Today, you look at the magazines on a newsstands, and\nmishmash of mechanical . . .\".\n\n","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1530.0,1560.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BERMAN: How does it make you feel that people today are claiming what you and\nthe other young men of your generation did as classic American art?\n\nHASEN: I don't have any feeling at all because it's so far away from where I am\nnow. You're talking 60 years ago with me. I think if you ask me how do I feel\n","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1560.0,1590.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"about the American cultural scene, I would say, \"Oy.\" That's all I would say. \"Oy!\"\n\nBERMAN: Did you ever think that your art would have such an effect on . . . ?\n\nHASEN: Yes.\n\nBERMAN: . . . On pop culture?\n\nHASEN: I would imagine that timing of that time, we were very innocent, our\ngeneration. It was the greatest, I think, greatest generation in . . . the war,\nand America. World War II, ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1590.0,1620.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the comic books, and this drawing. It was a\nwonderful humanistic kind of a sense of a country that you love to be born in,\nand grateful! That's the word I use a lot, I'm grateful . . .\n\nBERMAN: Why do you think the comic book industry has sort of died out? What do\nyou think happened?\n\nHASEN: The corporations, the corporate structure, greed, manipulation. Do you\n","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1620.0,1650.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"think Enron and WorldCom . . . ? In those days, that was what this whole thing\nwas, manipulating, publishing, distribution was the answer. Now, you're talking\nto a guy who really doesn't know that much. It started to come down to that kind\nof thing. Marvel Comics, DC . . . It's my alma mater, so I'm not going to talk\nabout ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1650.0,1680.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that.\n\nBERMAN: Do you have a favorite issue of the Green Lantern that you did?\n\nHASEN: No. I don't remember. There are aficionados who know every page of every\ncomic book. I have no idea. These people come up to me at the conventions and\nsay, \"Boy, in number 38 issue, you did a drawing . . .\" I said, \"What?\" \"You did\na drawing in that number 32 ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1680.0,1710.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"issue.\" That was 1950. I said, \"What are you talking\nabout?\" There are fans who live their lives through that kind of thing . . . I'm\njust lucky that was my first career.\n\nBERMAN: It's interesting because a number of the books I've read about early\ncomic books, and this one in ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1710.0,1740.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"particular, talked about the Green Lantern as being\nthe comic book that addressed issues of social justice.\n\nHASEN: Yes, that's DC. They did a great job in those days of attacking social\ninjustice. We had to fight Professor Wertham, who was trying to be the Jack\nValenti of the movie business. Fredric Wertham, doctor who was a psychiatrist,\nwho put the kiss of death on all the comic ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1740.0,1770.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"book codes and all that. But we beat\nhim, we prevailed.\n\nBERMAN: Was it DC or was it the writers who wanted to address those issues?\n\nHASEN: DC, the editors, and the publisher. I guess, Jack Liebowitz . . . I was\nnever privy to that kind of connection.\n\nBERMAN: Who influenced you most in your ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1770.0,1800.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"career?\n\nHASEN: Two people. One was a sports cartoonist named Willard Mullin, one of the\ngreat sports cartoonists of all time. The other one was Roy Crane, who I\nmentioned to you. I have his book here. Very primitive cartoonist. He is known\nas the cartoonist's cartoonist and the greatest of all of them. He was a\nnewspaper cartoonist, 1927. His style was so beautifully ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1800.0,1830.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"simple that . . . I'll\nshow it to you before you leave, it's a book of his collection of his work.\nMilton Caniff, of course, influenced everybody, but not me as much as Roy Crane\nand Willard Mullen. Willard Mullen sort of gave me the impetus to draw as an\nartist, that I learned at the National Academy of Design with Michelangelo. He\nsort of . . . In looking at his ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1830.0,1860.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"work, taught me how to draw as a cartoonist.\n\nBERMAN: As I mentioned earlier, there were so many Jewish figures, personalities\nin the comic book business. If I mention some names . . .\n\nHASEN: Yes.\n\nBERMAN: . . . You could give me just a couple lines on each one.\n\nHASEN: Absolutely, I can do that.\n\nBERMAN: Bob Kane?\n\nHASEN: Ego, ego, ego. I don't ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1860.0,1890.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"think Bob really did a lot of work in his life,\nbut he did create Batman. Ego. He's dead, he's long gone . . . Fatuous ego. I'm\nsorry, kiddo, but that's just . . . Everybody feels that way about him, but he\nwas a guy, he started the hero stuff.\n\nBERMAN: Bob Kane?\n\nHASEN: Bob ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1890.0,1920.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kane. He was the creator of Batman, and he started the whole thing .\n. . I think he was lucky enough to have backups like Jerry Robinson. Bob wasn't\nup to the task, but he did create the image. He and I were not close . . . Who else?\n\nBERMAN: Joe Shuster?\n\nHASEN: Joe Shuster, I didn't know at ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1920.0,1950.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"all. Again, Siegel and Shuster were the\ncreators of Superman that made AOL Time Warner possible.\n\nBERMAN: Jerry Siegel?\n\nHASEN: I didn't know him.\n\nBERMAN: Alex Schomburg?\n\nHASEN: I didn't know him either.\n\nBERMAN: Syd Shores?\n\nHASEN: Who?\n\nBERMAN: Syd Shores.\n\nHASEN: No.\n\nBERMAN: Mort Meskin?\n\nHASEN: Yes, great artist, fine artist . . . Mort Meskin very shy, fine artist.\nWe were very fond of each ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1950.0,1980.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"other. He would probably . . . One of the best\nartists, but he didn't he didn't stay long. I think he became a storyboard\nartist for an advertising company.\n\nBERMAN: Will Eisner?\n\nHASEN: He's 87 and still going strong. He was the most incredible producer,\ncreator and producer of his genre. He paved the way for graphic novels and\nthings like ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1980.0,2010.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that. Will Eisner, incredible creative personality.\n\nBERMAN: Irv Novick?\n\nHASEN: A very dear friend of mine. Irv Novick was a very close friend and he,\nagain, was one of the best. You've got to mention some other guy, if you're not\ngoing to mention him, I'm going to yell at you. Alex Toth.\n\nBERMAN: I was getting there. Alex Toth?\n\nHASEN: Alex Toth, to ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2010.0,2040.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"me, is the greatest of all of them.\n\nBERMAN: Why so?\n\nHASEN: He . . . It's hard to define why. He was a designer of everything he did.\nHe was the ultimate. He was the Roy Crane of comic books, as far as I'm\nconcerned. He was his own man, feisty. I have letters of his that are incredible\nall by hand, hand lettered, six, eight pages of immaculate ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2040.0,2070.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"lettering that I'm\nsaving, I'm holding . . . He is to me, of all of them, the best, most creative.\nI can't say enough, and he liked me, my work.\n\nBERMAN: Who did he work on mainly?\n\nHASEN: He doesn't work anymore.\n\nBERMAN: But who did he work on?\n\nHASEN: I don't know, he worked for mostly DC. Alex Toth worked for DC, and also\nHanna and Barbera in Hollywood. ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2070.0,2100.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He was a very temperamental kind of a man.\n\nBERMAN: Gardner Fox?\n\nHASEN: Gardner Fox, I worked with occasionally at DC. We just had a nodding acquaintance.\n\nBERMAN: Joe Simon?\n\nHASEN: No, I never met Joe Simon. He's alive and well, but I don't, I never . . .\n\nBERMAN: Jack Kirby?\n\nHASEN: No.\n\nBERMAN: You mentioned the other ones ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2100.0,2130.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"already. I think that Jane [Leavy] has a\nfew questions.\n\nLEAVY: No, I think we've sort of covered it.\n\nBERMAN: I thank you very much, I appreciate it. Is there anything that we didn't\ntouch upon or anything that you want to say about the industry, your career?\nAnything that we missed?\n\nHASEN: In the industry, I can't . . . Because I was out of it, I had a comic\n","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2130.0,2160.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"strip for 33 years. But let's get back to the Jewish part, if you will. I was\nnever a really good Jew, and I always thought I was a sheigetz. I had red hair,\nI had freckles, and my family situation made it almost like I was rebelling. It\nwas not good . . . My childhood was terrible. Not poverty, but grinding, yelling\nand ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2160.0,2190.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"insecurity. I guess I rebelled in that sense, the ladies that I went out\nwith were all Irish. I never went out with a Jewish girl until recently, five\nyears . . . A girl? She's a woman. I'm a man . . . I never went out with a\nJewish girl in my life. I was a rebellion, complete rebellion. One summer, I won\na raffle from a temple. A friend of mine was the president of a ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2190.0,2220.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"temple, and he\nlives in [New] Jersey. He calls me up out in the Hamptons where I was staying.\nHe said, \"You little son of a gun.\" I said, \"What?\" He said, \"You took a $10\nchance on a raffle. You won a trip to France, Italy, etc.\" I said, \"What?\" He\nsaid, \"I can't believe it, because you don't go to temple. You don't do anything\nin ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2220.0,2250.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that genre of being a Jewish person.\" I said, \"I can't believe it.\" Out of\n600 people, I won the prize. I was going with a lady at the time, she was Irish,\nand she was kind of in love with me or whatever, it was a very crazy romance. We\nwere going to go, and I said, \"We won.\" She said, \"I want to spend Christmas in\nCairo.\" I looked at her and I said, \"I'm ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2250.0,2280.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Jewish.\" In those days, you couldn't\nget a passport to go there. She fought it and that was the end of the\nrelationship. I changed . . . I went to the travel agent, and I said, \"I want to\ngo to Israel.\" It was supposed to be England, France and Italy. I said, \"I want\nto change, can I change? Is it okay? I want to go to Israel.\" This is the rebel.\nI want to go to Israel and the Greek ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2280.0,2310.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"islands. I went alone to Israel and at\nGreek Islands and when I got to the airport, Lod . . . Lod is the airport in\nIsrael. I had my driver; I hired a driver. I figured, what the heck, I won this\nthing. His name was Svi, they all had names like that. This is before the 1967\nwar. He drives me from the airport ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2310.0,2340.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to the King David Hotel, where I was staying.\nHere is this renegade Jew, who thought he was a . . . I said, \"Wait a minute.\nLet me stop the car for a minute.\" Down below in the valley was Jerusalem. I got\nout of the car, and I looked at that city and it's as though God was shining\nlights over the city, being an artist, in my imagination. I started to ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2340.0,2370.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"cry, and\nI realized I was a Jew. I realized something inside me said, \"Look, schmuck,\nthis is who you are.\" I said this to Svi, and he said, \"Everybody cries.\nEverybody cries when they get to this area.\" That's when I realized, Jesus, I am\n. . . I'm not blaming myself for feeling that way . . . I knew what went on in\nmy head with the family . . . I managed to ","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2370.0,2400.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/transcript/59426/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"survive in my life, and that's it.\n\nBERMAN: I thank you very, very much.\n\nHASEN: I hope I didn't go off at the mouth on this.\n\nBERMAN: No, it was very . . .","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2400.0,2430.0"}]},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162","type":"AnnotationPage","label":{"en":["Annotations [Transcript]"]},"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/82","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe William Breman Jewish Heritage Museum in Atlanta celebrates and commemorates Jewish history, culture, and art through events and museum spaces. The Breman also contains the Cuba Family Archives for Southern Jewish History, which houses thousands of manuscripts, oral histories, and photograph collections, related to southern Jewish history and the Holocaust.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=0.0,30.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/83","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eHarlem is a neighborhood in Upper Manhattan, New York City. It was established as a Dutch village in 1658, named after the city of Haarlem in the Netherlands. In the 19th century, Harlem was home to primarily Jewish and Italian Americans. In the 20th century, the Great Migration brought large numbers of African Americans, leading to Harlem becoming the center of the Harlem Renaissance. Following World War II, Harlem became a place of urban renewal and has continued to be gentrified since.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=0.0,30.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/84","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eDerbies are a type of dress shoe that became popular in the early 1900s. Derbies have open lacing, making them more comfortable than Oxford shoes. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=30.0,60.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/85","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eBrooklyn is a borough of New York City. It is named after the Dutch town of Breukelen. It is located on the westernmost edge of Long Island and shares a border with Queens.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=30.0,60.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/86","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eBensonhurst is a neighborhood in the New York City borough of Brooklyn, in the southwest section. In the early 20th century, Bensonhurst had large Italian and Jewish populations. Following World War II, an influx of immigrants from Southern Italy added to its recognition of the area as Brooklyn’s Little Italy. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=30.0,60.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/87","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe Lower East Side is a neighborhood in the southeastern part of Manhattan in New York City. It was historically an immigrant, working class neighborhood. It had a large number of tenement buildings where the immigrants settled. By the 1920s, the Jewish population was one of the largest ethnic groups on the Lower East Side.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=60.0,90.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/88","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eBessie Winfield (1886-1961) was a maid for the Hasen family before the Great Depression. Both Bessie and her husband, David, were born in Virginia. In 1943, David was declared missing in action in the Pacific Theater of World War II and Bessie passed away in 1961. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=90.0,120.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/89","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eDavid Winfield (1879-1943) was a butler and driver for the Hasen family before the Great Depression. Both David and his wife, Bessie, were born in Virginia. He was declared missing in action in 1943 while serving in World War II in the 855th Engineers Battalion Aviation, one of the earliest African American units to be sent to serve in the Pacific theater. He is honored on the Honolulu Memorial in the National Memorial Cemetery of the Pacific. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=90.0,120.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/90","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe Upper West Side is a neighborhood in Manhattan, New York City. It is considered an affluent area with many cultural institutions, including schools and museums. The Upper West Side is a significant Jewish neighborhood, with one of the largest communities of Orthodox Jews outside of Israel. Shearith Israel, the oldest Jewish congregation in the United States is also located in the Upper West Side. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=90.0,120.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/91","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe National Academy of Design is an association of American artists founded in New York City in 1825. The academy has a school and a museum, and members are elected by their peers for admission to the association.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=150.0,180.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/92","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eMichelangelo di Lodovico Buonarroti Simoni (1475-1564) was an Italian sculptor, painter, architect, and poet of the High Renaissance who is considered to be the greatest living artist during his lifetime. His most famous sculptures are the Pietà and David. Michelangelo also created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=150.0,180.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/93","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJoseph Louis Barrow (1914-1981) was a professional boxer, competing from 1934 to 1951. He was nicknamed “the Brown Bomber” and is regarded as one of the greatest and most influential boxers of all time. He became a focal point of anti-Nazi sentiment because of a historic rematch against German boxer Max Schmeling in 1938. Louis won 25 consecutive title defenses, and he had the longest single reign as champion of any boxer in history.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=210.0,240.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/94","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eA prizefighter competes in a contest between fighters for a prize, typically a sum of money. Prizefighters include professional boxers and mixed-marital artists. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=210.0,240.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/95","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eMadison Square Garden is a multipurpose indoor arena in New York City. The current venue is the fourth venue to be built in the area, the first built in 1879 and replaced in 1890. Madison Square Garden hosts various professional sports including ice hockey, basketball, and boxing. The venue also hosts other entertainment, particularly concerts. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=240.0,270.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/96","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eDonald King (b. 1931) is a boxing promoter, known for his involvement in several historic boxing matches. He is a controversial figure due to allegations of dishonest business practices and a manslaughter conviction in 1967. King has promoted many famous boxers including Muhammad Ali, Joe Frazier, George Foreman, and Mike Tyson. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=240.0,270.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/97","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eMichael Strauss Jacobs (1880-1953) was a boxing promoter and one of the most powerful figures in American sports from the 1930s to his retirement in 1946. He was born to Jewish immigrant parents in New York's Greenwich Village. Posthumously he has been elected to the World Boxing Hall of Fame and the International Boxing Hall of Fame. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=240.0,270.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/98","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eDC Comics, Inc. is a comic book publisher, the flagship unit of DC Entertainment, and a subsidiary of Warner Bros. Discovery. DC Comics was the result of the merge of multiple publishing companies founded by Harry Donenfeld, Paul Sampliner, and Jack Liebowitz. The first comic published under DC Comics was in 1937, with comics being published earlier by the company’s predecessors. DC Comics has created many well-known superheroes, including Superman, Batman, Wonder Woman, and Flash, and teams such as the Justice League and Teen Titans. DC Comics is a long-time competitor of Marvel Comics.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=270.0,300.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/99","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eNational Comics Publications, Inc. was a comic book publishing company and the direct predecessor of DC Comics. Originally two companies, National Allied Publications, Inc. and Detective Comics, Inc., the companies merged in 1946 and officially adopted the more widely known name, DC Comics, in 1977.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=270.0,300.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/100","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eSheldon Mayer (1917-1991) was a comic book artist, writer, and editor. He was one of the earliest employees of National Allied Publications, later known as DC Comics. Mayer is one of various comic book professionals to have claimed to have a role in having Superman published. He was born in Harlem, New York to a Jewish family.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=270.0,300.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/101","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eBatman is a superhero character appearing in comics published by DC Comics. Batman was created by writer Bill Finger and designed by artist Bob Kane. The character debuted in the comic book Detective Comics #27 in 1939. Batman is the vigilante alias of Bruce Wayne, a wealthy playboy, philanthropist, and industrialist living in Gotham City. Considered to be a darker departure from the tone of Superman, Batman’s origin centers around him witnessing the murder of his parents as a child, prompting him to seek vengeance against the criminals of Gotham City. Today, along with Superman, Batman is one of the most well-known superheroes, having been adapted in many other forms of media, including novels, video games, film, and television.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=270.0,300.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/102","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eRobert Kane (born Robert Kahn) (1915-1998) was a comic book writer, animator, and artist best known for co-creating DC Comics’ Batman with Bill Finger. For many years Kane was credited as the sole creator of Batman until advocates for Bill Finger helped him posthumously earn co-creator status. Kane also helped contribute to the creation of many early Batman characters such as Robin, the Joker, and Catwoman. Kane was born in New York City to a Jewish family.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=270.0,300.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/103","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eGreen Lantern is the name used by several superhero characters appearing in comics published by DC Comics. Green Lantern was created by writer Bill Finger and artist Martin Nodell. The character first debuted in the comic book All-American Comics #16 in 1940. This iteration of Green Lantern’s real name was Alan Scott who came into possession of a magic lantern that granted him powers after a railway crash. In following years, Green Lantern has been reimagined and given new identities, including John Stewart, one of DC Comics’ first black superheroes.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=270.0,300.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/104","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWildcat is a superhero character appearing in comics published by DC Comics. Wildcat was created by writer Bill Finger and designed by illustrator Irwin Hasen. The character debuted in the comic book Sensation Comics #1 in 1942. Wildcat is the alias of Theodore \"Ted\" Grant, a world-class heavyweight boxer who developed his hero identity to clear his name after inadvertently becoming involved in the criminal underworld.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=300.0,330.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/105","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eHarry Donenfeld (1893-1965) was a publisher most well-known for distributing Detective Comics and Action Comics, comics that introduced the superheroes Superman and Batman. Donenfeld’s company National Allied Publications would later become DC Comics, making him an early contributor and pioneer of the comic book industry. He was born in Romania to a Jewish family, immigrating to America with his family as a child.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=300.0,330.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/106","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eAlfred Damon Runyon (1880-1946) was a journalist and short story writer, he is known to New Yorkers of his generation for evoking a distinctive social type of character from Brooklyn or Midtown Manhattan.  His name has been used as an adjective, “Runyonesque” to describe something, and “Runyonese” to describe his distinctive style of speaking. Runyon was also a newspaper reporter, covering sports and general news for Hearst papers. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=330.0,360.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/107","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJacob Liebowitz (born Yacov Lebovitz) (1900-2000) was an accountant and publisher best known as the business partner Harry Donenfeld, co-owning National Allied Publications, later known as DC Comics. Liebowitz and Donenfeld distributed comics through their company Independent News Company, shortly after they launched Detective Comics. Liebowitz is credited with establishing comic book publishing as a legitimate business endeavor. He was born in present-day Ukraine to a Jewish family, immigrating to New York City as a child.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=360.0,390.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/108","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eMaxwell Charles Gaines (born Max Ginzberg) (1894-1947) was a publisher, considered one of the key figures in the creation of the modern comic book. In 1933, he created a pamphlet that became the precursor to color comics. Gaines was also the publisher of the comic book All-American Comics which introduced well-known characters such as Green Lantern and Wonder Woman. He was born in New York City to a Jewish family. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=360.0,390.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/109","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eEntertaining Comics, also known as EC Comics, was a comic book publisher founded by Maxwell Gaines until his death in 1947, when his son, William Gaines, took over. The company published a variety of genres including horror fiction, crime fiction, satire, and science fiction. EC Comics publications were noted for being high quality and containing progressive themes such as racial equality, anti-war, and environmentalism. During the Silver Age of comics, comic book censorship prompted EC Comics to focus on its humor magazine, Mad. Mad magazine became the company’s most successful publication, leading the company to cease publication of all comics except Mad in 1956. Mad is still published today. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=360.0,390.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/110","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eMartin Nodell (1915-2006) was a comic book artist and illustrator, best known for creating the DC Comics superhero character Green Lantern during the Golden Age of comics. Nodell was born in Philadelphia, Pennsylvania to a Jewish family. He also notably worked on commercial storyboards in the 1950s and 1960s, contributing to the creation of the Pillsbury Doughboy.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=390.0,420.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/111","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWonder Woman is a superhero character appearing in comics published by DC Comics. Wonder Woman was created by writer William Moulton Marston and artist Harry G. Peter. The character debuted in the comic book All Star Comics #8 in 1941. Wonder Woman is the alias of Princess Diana of Themyscira, born on the island nation of Themyscira to Queen Hippolyta who sculpted her from clay. Later she is portrayed as the daughter of Hippolyta and the Greek God Zeus. When outside Themyscira, Diana adopts the identity of Diana Prince. Early depictions of Wonder Woman show her fighting Axis forces, and later monsters from Greek mythology. Many depictions of Wonder Woman show her freeing herself from bondage, a contradiction to the trope that was especially popular in racy magazines and other comic books of that era.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=420.0,450.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/112","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eMorton Meskin (1916-1995) was a comic book artist known for his work in the Golden Age and Silver Age of comic books. Meskin created work for National Periodical Publications (a predecessor to DC Comics) and Marvel Comics. He was born in Brooklyn, New York to a Jewish family.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=450.0,480.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/113","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJoseph Kubert (1926-2012) was a comic book artist, art teacher, and founder of The Kubert School. He is known for his work for DC Comics on Hawkman, and his own creations, the Viking Prince, and comic strip, Tales of the Green Beret. Kubert’s children and grandchildren are also involved in the comic book industry as artists and editors. In 1997, he was inducted into the Jack Kirby Hall of Fame and in 1998, the Will Eisner Comic Book Hall of Fame. He was born in southeast Poland, now modern-day Ukraine, to a Jewish family. His family immigrated to East New York when he was two months old. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=450.0,480.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/114","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eAlexander Toth (1928-2006) was a cartoonist best known for his animation designs for Hanna-Barbera and work for DC Comics, including Green Lantern and the Black Canary. Toth worked on animated series including Fantastic Four and Sealab 2020. In 1990, he was inducted into the Jack Kirby Hall of Fame. He was born to Slovak parents who immigrated from Hungary. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=450.0,480.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/115","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eRoyston “Roy” Campbell Crane (1901-1977) was a cartoonist best known for creating the comic strip characters Wash Tubbs, Captain Easy, and Buz Sawyer. He is credited for pioneering the adventure comic strip genre, his work has been influential, especially in the artistic approach to the genre. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=480.0,510.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/116","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWash Tubbs was a daily comic strip published from 1924 to 1949, when it merged with Crane’s related Sunday page, Captain Easy. In 1943, Crane left both strips and began Buz Sawyer. The strip was originally titled Washington Tubbs II, a gag-a-day daily strip that eventually had continuity storylines.  \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=480.0,510.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/117","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe New York World-Telegram, later known as the New York World-Telegram and The Sun, was a New York City newspaper published from 1931 to 1966. The newspaper was founded by James Gordon Bennett Sr. as The Evening Telegram in 1867. In the early 1930’s the paper had a reputation as a liberal paper but under the ownership of Scripps Howard, the paper became increasingly conservative. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=510.0,540.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/118","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eFrederick Whitney Ellsworth (1908-1980) was a writer and editor for National Allied Publications and National Periodical Publications, predecessors to DC Comics. He was also a producer and story editor for DC Comics’ Superman television series. He was an integral contributor to DC Comics during the Golden Age and Silver Age of comics.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=570.0,600.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/119","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eA Manhattan cocktail is an alcoholic cocktail traditionally made with whiskey, sweet vermouth, and bitters, garnished with a cherry and an orange or lemon peel twist. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=600.0,630.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/120","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe SS Liberte was originally built as the SS Europa, a German ocean liner for transatlantic sea routes. After World War II, the Europa was awarded as a war prize to France. The ship was refitted and in 1950, the ship sailed to New York as the Liberte, a transatlantic liner in the French Line fleet that operated until 1961. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=600.0,630.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/121","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eRome is the capital city of Italy and the Lazio region. It is the most populous municipality in Italy and the third most populous city in the European Union. It is located in the central-western part of the Italian Peninsula, along the shores of the Tiber River. Vatican City is an independent country inside the city of Rome, the center of the Catholic Church. Rome is one the oldest continuously occupied cities in Europe, Roman mythology dates the founding of Rome around 753 BC. However, the area has been inhabited even longer, almost three millennia. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=630.0,660.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/122","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe Statue of Liberty is a neoclassical sculpture located on Liberty Island in the New York Harbor of New York City. The copper statue was designed by Frederic Auguste Bartholdi and was given to the United States from the people of France.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=630.0,660.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/123","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWorld War II (abbreviated WWII or WW2) was a global war involving fighting in most of the world and most countries. Most countries fought in the years 1939–1945 but some started fighting in 1937. Most of the world's countries, including all the great powers, fought as part of two military alliances: the Allies and the Axis Powers. World War II was the largest and deadliest conflict in all of history. It involved more countries, cost more money, involved more people, and killed more people than any other war in history. Between 50 to 85 million people died. The majority were civilians. It included massacres, the deliberate genocide of the Holocaust, strategic bombing, starvation, disease, and the only use of nuclear weapons against civilians in history.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=630.0,660.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/124","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe Four Questions [Yiddish: Fir Kashes; Hebrew: \u003cem\u003eMa Nishtana\u003c/em\u003e] are part of the Passover seder. These questions provide the impetus for telling why this night is different from all other nights. They are traditionally asked by the youngest child (who is able to speak) and are: (introductory question) Why is this night different than all other nights? 1. Why is it that on all other nights we eat either bread or matzah, and on this night we eat only matzah? 2. Why is it that on all other nights we eat all kinds of vegetables, but on this night we only eat bitter herbs? 3. Why is it on all other nights we do not dip our vegetables even once, but on this night we dip them twice? 4. Why is it on all other nights we eat either sitting or reclining, but on this night we only eat in a reclining position?\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=720.0,750.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/125","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eInterviewer refers to The Holocaust, the systematic, government-sponsored attempt by the German Nazi government to annihilate the Jews of Europe between 1939 and 1945, which resulted in the deaths of 6,000,000 Jews.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=720.0,750.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/126","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eEstablished on March 22, 1933, Dachau was the first concentration camp established by the Nazi regime. It was located in southern Germany near the town of Dachau, about 10 miles northwest of Munich. Over 188,000 prisoners passed through Dachau between 1933 and 1945. Prisoners at Dachau were used as forced laborers and tens of thousands were literally worked to death. The Dachau concentration camp operated a vast network of 140 subcamps. Most of these subcamps were in southern Bavaria, in close proximity to armaments factories. American troops liberated the camp on April 29, 1945.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=750.0,780.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/127","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eGus Edson (1901-1966) was a cartoonist best known for two long-running comic strips, The Gumps and Dondi. Edson studied at the Pratt Institute and the Art Students League. He worked as a sports cartoonist from 1925 to 1935. In the 1950s, he participated with Irwin Hasen in European USO Tours, and together they created Dondi in 1955. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=750.0,780.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/128","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eDondi was a daily comic strip published from 1955 to 1986 by the Chicago Tribune New York News Syndicate. It was named after its main protagonist, a large-eyed war orphan. The series was created by Gus Edson and Irwin Hasen.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=750.0,780.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/129","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eA newspaper syndicate is an agency that sell the exclusive rights to writing and art to newspapers.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=900.0,930.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/130","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eAlfred Caplin “Al Capp” (1909-1979) was a cartoonist best known for his satirical comic strip, Li'l Abner, which he created in 1934 and continued writing and drawing until 1977. Capp also wrote the comic strips Abbie an’ Slats and Long Sam. He was born in New Haven, Connecticut to Jewish immigrant parents. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=900.0,930.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/131","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eLi'l Abner is a satirical comic strip created and written by Al Capp. The comic was about a group of people living in the mountain village of Dogpatch in the U.S. It appeared across newspapers in multiple countries, originally distributed by United Feature Syndicate, and later the Chicago Tribune New York News Syndicate.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=900.0,930.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/132","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJerome Siegel (1914-1996) was a comic book writer best known for co-creating DC Comics’ superhero character Superman with friend Joe Shuster. Siegel contributed to many characters and comics for both DC Comics and Marvel Comics. Shuster and Siegel were involved in multiple legal disputes regarding the ownership of Superman. He was born in Cleveland, Ohio to a Jewish family.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=990.0,1020.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/133","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJoseph Shuster (1914-1992) was a comic book artist best known for co-creating DC Comics’ superhero character Superman with friend Jerry Siegel. Shuster and Siegel were involved in multiple legal disputes regarding the ownership of Superman and his comics career after Superman was relatively unsuccessful. He was awarded multiple awards for contributions to the comic book industry. Shuster was born in Toronto, Canada to a Jewish family.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=990.0,1020.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/134","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJoseph Henry Simon (1913-2011) was a comic book creator and illustrator. He is best known for creating the superhero character Captain America and his extensive working partnership with Jack Kirby. Simon and Kirby are considered pioneers of the comic book industry, creating the romance comic genre, and creating enduring superhero characters. Simon was born in Rochester, New York to a Jewish family.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1020.0,1050.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/135","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eHarry Chesler (approx. 1897-1981) was an entrepreneur, who owned the first company that packaged comic books, initially Chesler Shop, and later Eisner \u0026amp; Iger, and Funnies Inc. Chesler employed well-known comic book artists such as Charles Biro and Mort Meskin. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1110.0,1140.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/136","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eCharles Biro (1911-1972) was a comic book writer, artist, and cartoonist. He is best known for working on the comic book Daredevil (not to be confused with Marvel Comics' Daredevil) and creating comic book characters Airboy and Steel Sterling. He is credited with contributing to the development of the crime comic genre.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1140.0,1170.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/137","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe Bronx is a borough of New York City. The borough covers 42 square miles and the only borough not primarily on an island. Yankee Stadium, the New York Botanical Garden and the Bronx Zoo are in the Borough. During the 19th and 20th century, the Bronx has been home to various immigrant groups.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1260.0,1290.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/138","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eBill Finger (born Milton Finger) (1914-1974) was a comic book, film, and television writer. He is best known for co-creating DC Comics’ superhero Batman with Bob Kane. Despite his contributions to many well-known characters and comics, he was not officially credited as Batman’s co-creator until 2015, previously relegated to ghostwriter. Finger was born in Denver, Colorado to a Jewish family, after his death in 1974 his granddaughter fought to restore his legacy and attribute credit for his contributions to comics.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1350.0,1380.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/139","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe Golden Age is the era of comic book publications that is considered to have begun with the first publications of Superman in 1938 and Captain America shortly after in 1941. The era is considered to have ended around 1956, following moral panic regarding the content of comic books. This moral panic led to the creation of the Comics Code Authority [CCA], which controlled and often censored content that dealt with themes of racial and religious prejudice, violence, and horror.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1530.0,1560.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/140","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eEnron Corporation was an energy company founded in 1985 from the merger of two smaller regional energy companies. The corporation was seen as successful, with approximately $100 billion in revenue, until it filed for bankruptcy in 2001. In what became known as the Enron Scandal, the corporation’s fraudulent accounting was revealed. Enron has become synonymous with corporate fraud and corruption. The scandal also affected the fraudulent bankruptcy of WorldCom and the auditor for both companies, Arthur Andersen accounting firm. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1650.0,1680.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/141","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eMCI, Inc., formerly known as WorldCom and MCI WorldCom, was a telecommunications company. It was the second largest long-distance telephone company in the U.S., after AT\u0026amp;T for a period of time. In 2002, it filed for bankruptcy after an accounting scandal. Several executives, including the CEO, were convicted of a scheme to inflate the company’s assets. In 2006, Verizon Communications acquired the company and integrated it into Verizon Business. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1650.0,1680.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/142","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eMarvel Comics is a comic book publisher, the property of The Walt Disney Company since 2009. Marvel was founded by Martin Goodman as Timely Comics in 1939, by 1951 being known as Atlas Comics, and finally Marvel Comics in 1961. Marvel Comics has created many well-known superheroes, including Spider-Man, Iron Man, Captain America, and teams such as the Avengers and Fantastic Four. Today the Marvel Franchise has an extensive cinematic universe featuring its superheroes, and owns the licensing to other popular franchises, including Star Wars comics. Marvel Comics is a long-time competitor of DC Comics.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1650.0,1680.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/143","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJack Valenti (1921-2007) was a political advisor and Special Assistant to President Lyndon B. Johnson, and lobbyist. He was the longtime president of the Motion Picture Association of America (MPAA) and created the MPAA film rating system in 1968. He is generally regarded as one of the most influential pro-copyright lobbyists in the world. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1740.0,1770.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/144","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eFriedrich Ignatz Wertheimer (1895-1981) was a German-American author and psychiatrist. Wertham was born in Nuremberg, Germany to a Jewish family. He has a reputation as a progressive psychiatrist, working with black patients in Harlem, New York. His findings published in his textbook on the brain proposed the concept of institutional stressors, a concept cited when courts overturned segregation laws, including Brown V. Board of Education. The publication of his book The Seduction of the Innocent in 1954 laid charges against comic books for their depictions of violence, sex, and drug use and how these themes negatively impacted children and their behavior. Wertham’s claims stirred up considerable concern, leading to his testimony before the Senate Subcommittee on Juvenile Delinquency and the establishment of the Comics Code Authority.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1740.0,1770.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/145","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWillard Mullin (1902-1978) was a sports cartoonist best known for his creation of the Brooklyn Bum, the personification of the Brooklyn Dodgers baseball team. He was widely published and was awarded the National Cartoonists Society Sports Cartoon Award eight times. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1800.0,1830.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/146","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eMilton Arthur Paul Caniff (1907-1988) was a cartoonist best known as the creator of the comic strip Terry and the Pirates. Caniff was one of the founders of the National Cartoonist Society and served as its president from 1948 to 1949.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1830.0,1860.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/147","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJerry Robinson (born Sherrill David Robinson) (1922-2011) was a comic book artist best known for his work on DC Comics’ Batman. Robinson was born in New Jersey, his father was Jewish and immigrated from Russia to America. Robinson co-created Robin and the Joker, two well-known characters in the Batman universe. He was also known for his advocation for creators’ rights, rallying behind Jerry Siegel and Joe Shuster when they sought to win back the rights to their creations from Warner Communications in 1975.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1920.0,1950.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/148","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eSuperman is a superhero character appearing in comics published by DC Comics. Superman was created by writer Jerry Siegel and designed by artist Joe Shuster, both Jewish. The character debuted in the comic book Action Comics #1 in 1938. Superman was born Kal-El on the planet Krypton, facing impending destruction of their home planet, Kal-El’s parents send the infant to Earth in a rocket. After landing in Smallville, Kansas, the infant is adopted by Jonathan and Martha Kent, and given the name Clark Kent. In the comics, Clark often expresses concern about fitting in and feeling like an outsider given his heritage, suggesting similarities between the experiences of Clark Kent and his Jewish creators. Today, Superman is one of the most well-known superheroes, having been adapted in many other forms of media, including radio serials, novels, film, and television.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1950.0,1980.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/149","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eTime Warner was established in 1990, following the merger of Time Inc. and Warner Communications. It was the predecessor of WarnerMedia, a multinational entertainment company based in New York City. In 1967, the company acquired DC Comics.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1950.0,1980.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/150","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eAlexander A. Schomburg (born Alejandro Schomburg y Rosa) (1905-1998) was a comic book artist and painter best known for his cover art for Marvel comics and a long career in comics.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1950.0,1980.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/151","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eSydney Shores (1916-1973) was a comic book artist best known for his work on Marvel Comics’ Captain America in both the Golden Age and Silver Age of comics.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=1950.0,1980.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/152","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWilliam Erwin Eisner (1917-2005) was a cartoonist, author, and entrepreneur. 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As a result, Israel launched a series of preemptive airstrikes against Egyptian airfields on June 5 following the mobilization of Egyptian forces along the Israeli border in the Sinai Peninsula. The outcome was swift and decisive. Israel took control of the Gaza Strip and the Sinai Peninsula from Egypt, the West Bank and East Jerusalem from Jordan, and the Golan Heights from Syria. The Sinai was returned but the other territories were incorporated into Israel.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=2310.0,2340.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/annotation_set/1162/annotation/164","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe King David Hotel is a 5-star hotel in Jerusalem. It opened in 1931, founded by Ezra Mosseri. 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","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744#t=273.0,400.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/108377/file/209744/index/79638/annotation/180","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Then someone said that there's a comic book company called DC [Comics] . . . National [Comics Publications], that's when I got down to National and I was introduced to Sheldon Mayer, one of the great editors, and he took me on. 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