George gave me this. This is the original drawing done for George’s beautiful book PÉREZ* * ACCENT ON THE FIRST ‘E’. It was published in 1977, I think. Marvel gave George a license to use its characters for no charge (or, maybe a dollar). I presume DC did the same. George autographed a copy of the book for me.
Month: August 2011 Page 1 of 3
George gave me this. This is the original drawing done for George’s beautiful book PÉREZ* * ACCENT ON THE FIRST ‘E’. It was published in 1977, I think. Marvel gave George a license to use its characters for no charge (or, maybe a dollar). I presume DC did the same. George autographed a copy of the book for me.
I came across some things that relate to previous posts and comments. JayJay, the brilliant Blog Elf will provide links to the discussions.
The Famous ROM #1 Cover That Wasn’t
Here is the unused cover for ROM #1 penciled by Michael Netzer:
Dave Sim tells the story about Gene Day’s health problems and death here:
http://tinyurl.com/4c8cw75
To summarize… Day came down to Manhattan to do a rush ink job on an issue of Master of Kung Fu. Marvel put him up in a roach-infested hotel, and when he complained he was told he could either stay there or sleep at the Marvel offices. He chose the latter, not realizing the heat would be turned off in the office at night. It was winter, and sleeping in the very cold Marvel offices caused him to develop a kidney infection, which was the beginning of serious health problems that culminated in his tragic death by heart attack.
I haven’t read Moench’s comments, but I would assume he blamed Shooter for the above incident with the infested motel/cold Marvel office (though Shooter was not directly involved in the situation or even aware of it as far as I know). Chronic kidney problems can be a contributory factor in heart disease, so I assume he then blames the situation for ultimately causing Gene’s death.
“I must say it’s very impressive that you’ve saved so many items from your tenure at Marvel, and I assume, the rest of your career.
Is this some sort of an Obsessive Compulsive Disorder-kind of thing, or did you one day make a conscious decision to save everything for posterity?”
Toward the end of my time at Marvel, Marvel’s upper management duo, Galton and Calamari, along with Shelly Feinberg and a few other Cadence bigwigs (as “CMI” — Cadence Management Inc.) had taken Cadence, Marvel’s parent, private and sold the Marvel division to New World Entertainment (NWE). Throughout the process, as they furthered their quest to cash in and line their own pockets on what we, the comics people had built, they took certain unethical and, I believe, illegal steps.
I was senior enough that all I had to do was keep my mouth shut, help them sell my troops down the river and I would have been handsomely rewarded. One executive on a lower level than I ended up with a $3 million payoff. Mine would have been bigger, if I had merely cooperated.
I chose instead to become a “labor leader.” As the pension plan was cashed out, benefits were withdrawn, health coverage was diminished, etc., all done to fatten cash flow to increase the value of CMI’s sale-price multiple, I resisted. They even tried to retroactively eliminate the royalty plan. That battle I won — by threatening a class action lawsuit. At the top of my lungs.
Sometime in February, 1984, my secretary (it was okay to say “secretary” in those days) the wonderful Lynn Cohen told me that Bill Sarnoff was on the phone. Not his secretary, Bill Sarnoff himself, holding for me.Great Scott!
Bill Sarnoff was the Big Cheese, I forget his exact title, of the publishing arm of Warner Communications. Among the operations under his purview was DC Comics.
Bill introduced himself, as if that was necessary. What he wanted to talk about was licensing the publishing rights for all DC characters to Marvel Comics.
Holy hegemony, Billman!
Bill said, more or less, that Marvel seemed to be able to turn a substantial profit on publishing comics, as opposed to DC, which consistently lost money, a lot of money, and had for a long time. On the other hand, LCA (Licensing Corporation of America), Warner’s licensing arm did very well with the DC properties, while Marvel “didn’t seem to do much licensing.”
I guess the few million a year we made from licensing, mostly from Spider-Man, seemed paltry to him, what with the fortune that just their big four, Superman, Batman, Robin and Wonder Woman brought in.
I told him I thought Marvel would be very interested, and that I would discuss it with Marvel’s President, Jim Galton.
So, I did. I told Galton about my conversation with Sarnoff. Galton said he’d give Sarnoff a call.
The next day, I went upstairs, poked my head into Galton’s office and asked whether he’d called Sarnoff and, if so, how that went?
Galton said he told Sarnoff we weren’t interested.
I was stunned. Why not?!
Chicago was a terrific show that year. Among other things, I remember meeting this aspiring young artist, a kid named Mark Silvestri. I liked his stuff. Claremont heard about it and swooped down on him like a mutant hawk.
When at conventions I often took con people and creators, especially Marvel creators, to lunch or dinner on Marvel. It was a little thank you for all they did, for representing Marvel at the con, for general good will and PR. You know. So, one afternoon, I asked a couple of Marvel guys if they’d like to have dinner at Lowry’s. Lowry’s is a classy Chicago joint famous for its prime rib, in case you are a vegan and therefore unaware of notable carnivore hangouts.
Len Wein and Marv Wolfman overheard me and asked if they could come along. Well…both were DC guys at that point, but, why not? They’d done plenty of dinners’ worth of work for Marvel, and…why not?
I’d learned that, being Editor in Chief of Marvel, if I attended a panel, often I was asked to participate, though usually I just wanted to listen. So I tried to be inconspicuous.
Yes, it is difficult to be inconspicuous when you’re six-foot-seven. Stop laughing.
Howard Cruse sent me a letter sometime in the mid-1980’s asking about the rights to some Barefootz stories he had created for Marvel some years ago. On his website his is how he describes how that came about and how it went:

Near the end of 1980 or very early in 1981, Stan turned up at my office door as he did occasionally, usually when there was something bothering him. He closed the door—always a bad sign—and sat down in the guest chair. He had a letter in his hands.
He said it was a complaint about what a terrible Editor in Chief I was. The main crime alleged was that I was allowing an artist named John Byrne to ruin the Fantastic Four.


