The New "Harry" (May 1991)

20 Years Later: Same Town, Same Needs


Volume 1, Issue 1, May 1991

Going through the bottomless piles of papers, magazines, and assorted rubbish/detritus in the firetrap I like to call Tom's Toxic Townhouse (see picture below)...


Tom's Toxic Townhouse

...I ran across the May 1991 premiere issue of the "new" Harry. Harry was Baltimore's "underground paper" of record from 1969-1972 that was rebooted by Tom D'Antoni in 1991, probably because he didn't feel Baltimore's putative alternative press (i.e., the City Paper) was up to snuff.

As he wrote in the masthead of this debut new Harry, "This newspaper exists because a lot of people want it to...This is the first issue. It's a start. It's the first attempt at realizing the ideals set on the page before this one..." (see below):



It's Time: The "Harry" Mission Statement

Along for Harry's brief reemergence on the scene were writers like Tom Nugent, Skeeter Snyder, and future Creative Alliance honcho Megan Hamilton; poets Tom DiVenti, David Franks, and Sandie Castle, and illustrator George Wilcox (artist brother of musician David "Steptoe T. Magnificent" Wilcox). These names, and countless more, appear in the May 1991 Harry masthead, as shown below:


"Harry" Masthead

Harry's editorial tone is typically combative and confrontational, with D'Antoni getting right to it on the first page, reprinting his January 17, 1991 letter to the City Paper - "We don't need you...We're sick of you. There were a lot of people who went to jail (I'm one of them) for the freedom you squander every week. Go somewhere else and play it safe. This town is in big trouble. You treat it like you're making a John Waters movie. This town has a lot of great talents. You haven't found them. This town has thousands of great stories waiting to be told. You missed them. This town cries for a paper that speaks by and for the people who live here. You act like your bags are packed and you're waiting for the phone call from something better" - right next to former City Paper founder-editor Russ Smith's reply, Both pieces are shown below:


D'Antoni and Russ Smith square off!

Below Smith's letter, D'Antoni adds: "When the City Paper published this letter, the neglected to inform their readers that it was written by their founder, and former publisher, who sold the paper to a company from Scranton, Pennsylvania and skipped town the next day. He currently publishes a similarly mean-spirited paper in New York City."

Here's poet-musician Tom DiVenti's article "Confessions of a Freak":


Tom DiVenti: "Confessions of a Freak"

The paper notes that DiVenti sold copies of Harry when he was a 13-year-old back in the '70s!

For film fanatics, here's Keith Tishkin's review of the East Coast Independent Film Festival, curated by George Figgs and screened at his old Orpheum Cinema theater in Fells Point:


George Figgs' "East Coast Independent Film Festival" at The Orpheum Cinema

From May 6 to May 12, Figgs screened new local works by Dan Bailey, Alan Price, Phil Davis, Steve Estes, Rebecca Barton, and tENTATIVELY a cONVENIENCE, as well as older local films by Steve Weiss, Chris Mosner, Peter Walsh, Jill Johnson. A third program screened the "funky, futuristic" films of New York director Alyce Wittenstein. Many of these local films are only available as 16mm prints at the Enoch Pratt Central Library. Tishkin's review gave a lot of ink to Chris Mosner's award-winning Towson State University student film project, Home Movie (1990). Home Movie is a 45-minute documentary about Mosner's drug-addicted brother and the effect his self-destructive 20-year habit has had on his Lutherville family. It screened at the 1990 Baltimore Film Forum (honoring winners of the Baltimore Independent Film/Video Makers Competition) and I recall Skizz Cyzyk screened it in 1995 as part of his Mansion Theatre Film & Video Screening series. (Home Movie is available in both video and 16mm formats from the Enoch Pratt Central Library.)

The new May 1991 Harry included an eight-page insert called "Old Harry" which reprinted some of the best pieces and comics from vintage issues past. I like the photo of the 1971 Harry staffers:



"Old Harry" insert section

The 1971 Harry staff depicted in the photo are (left to right): Unknown neighborhood kid, Christianne Cottrell, Glen Ehasz, Alan Rose, Thomas V. D'Antoni, Michael Klahr, Anita Monique (Dolores Deluxe), Patrick Jake O'Rourke, and Emily Jenkins. "Dolores Deluxe" is, of course, the designer wife of John Waters artist/production set-designer Vince Peranio.

OK, back to digging through my trash, er, archives!

Comic Noir: Sam Hill & Johnny Dynamite

On a recent visit to BCPL's Cockeysville Library to grab more titles from their impressive graphic novel collection, I scored Dan Nadel's fascinating Art in Time: Unknown Comic Book Adventures 1940-1980 (Abrams ComicArts, 2010), the follow-up volume to his Art Out of Time: Unknown Comic Visionaries, 1900-1969 (Abrams, 2006). Both Nagel books highlight the unheralded work of visionary comic books and cartoonists, with the author's stated goal of moving toward "a more open and inclusive understanding of what makes a compelling comic."


Dan Nagel's "Art": Time for rediscovery

Well for me the two most compelling comics were Harry Lucey's hard-boiled, wise-cracking gumshoe Sam Hill - the "Ex Ivy League halfback" private eye with a white streak in his hair and a sexy redhead secretary named Roxy - and Peter Morissi's Mike Hammer-inspired one-eyed "wild man from Chicago" who's as explosive as his name, Johnny Dynamite.

Like Sam Hill, Johnny Dynamite had a curvy secretary in Judy Kane, but after issue #4 he lacked Sam's extra eye and started sporting an eyepatch; in 1987 Max Allan Collins and Terry Beatty resurrected the JD character for four appearances in their Ms. Tree comic, then created a 4-issue Johnny Dynamite homage for Dark Horse Comics in 1994.


Max Allan Collins rekindled Johnny Dynamite's fuse

Both pencil-and-ink tough guy sleuths date from the Mickey Spillane-dominated 1950s era of detective comics, but I like Sam Hill better because he's less violent and more stylized like the pulp dicks of the '30s and '40s. He's cut more from the mold of a Sam Spade, Philip Marlowe or Paul Pine, whereas Johnny Dynamite is more like Spillane's cartoonishly mean-spirited Mike Hammer (or Donald Westlake/Richard Stark's Parker) - a pure brutarian who seems to enjoy killing a little too much. And, unlike Sam Hill, Johnny Dynamite is completely humorless; he only cracks hard, not wise.

I don't know a while lot about comics - certainly not as much as my pal Dave Cawley, who can spot one panel and instantly tell you who wrote it, who drew it, who penned it, and what company published it (whether you ask for a cornucopia of detail or not!) - but I love the hard-boiled PI genre, so my research choices were either the perpetually wired Dave Cawley or the intrinsically wired Internet. I chose the Internet and found out the following...

Sam Hill by Harry Lucey
7 issues, 1950, MLJ


"What the Sam Hill?" Premiere ish intro.

Born in 1950, Sam Hill lived fast and died young, lasting only seven issues. I guess the reader mail didn't come in "heavy enough" (as pitched below in the premiere ish), which is a real shame because Sam Hill is a fun read - and an eccentric personality as well - how many PIs drank milk and wore bow ties (pretty distinctive - guess that was the "Ivy League" touch of "class"!)?


Sam Hill's talking to you, chum!

I like how every adventure was called a caper ("The Cutie Killer Caper," "The Double Trouble Caper," etc.) and featured a preview of each caper's dramatis personnae on the first page (e.g., "Roxanna...my indispensibe Gal Friday"; "Barbara Berkley...my lucious client"; "Rick Marks...Barbara's attorney"), not to mention the denouments that always seemed to find Hill flirting with his Gal Friday.



Dan Nagel writes that Lucey was influenced by film noir's "expressionistic angles" and probably Will Eisner's The Spirit, noting that his character's facial expressions and his panel-framing technique in presenting the narrative almost made words superfluous: "Remove the words from a Lucey story and readers still know precisely how each character feels and what that means for the plot. This strong technique makes Lucey's cartoon characters seem alive on the page like few others, and gives Sam Hill an urgency that raises it above its obvious genre and cinematic infleunces."

Creator Harry Lucey (1913-1979/1980) spent most of his career at Archie publishers MLJ, where he worked on Madam Satan, Magno, Crime Does Not Pay - and even Archie - between 1950 and 1970. In the 1960s he developed an allergic reaction to graphite and had to wear white gloves while drawing, and in the 1970s he contracted Lou Gehrig's disease, followed by cancer. He passed away in 1979 or 1980.

But he left behind these "7 Wonders" of Private Eye comics, as reproduced below:


Sam Hill #1


Sam Hill #2


Sam Hill #3


Sam Hill #4


Sam Hill #5


Sam Hill #6


Sam Hill #7

Johnny Dynamite by Pete Morisi
Comic Media, 1953-1954; Charlton 1954-1956


The early "Two-Eyed" Johnny Dynamite

Johnny Dynamite was created by writer "William Waugh" (nom du plume of Ken Fitch, who co-created Hourman and Tex Thompson for DC Comics) and artist Pete Morisi (1928-2003). Under the title Dynamite, Fitch and Morisi continued to write and draw the character until issue #9 (May, 1954), after which Morisi moved to Charlton Comics and revived the character between 1955 and 1956 under the title Johnny Dynamite.



According to the excellent online source Comic Vine (comicvine.com), "It ran three issues under that name, then three more as Foreign Intrigues, with Johnny retooled as a government agent..."


Johnny Dynamite turns Fed to battle the commies

Comic Vine continues the story: "...With #16 (November, 1957), [Charlton] dropped Johnny and took on the title Battlefield Action. As such, it ran, sporadically at least, until 1984, but Charlton never used Johnny Dynamite again." That's probably because Moresi not only left the series - he left the cartoon profession itself - at least for a while.

In 1956, Morisi became a NYPD police officer and started leading a double life. Because the NYPD forbade extracurricular work, he worked as cop by day and cartoonist by night. Using the pseudonym "PAM" (for "Pete A. Moresi"), he drew hundreds of comics for Charlton (like Thunderbolt and Montana Kid) up until 1976.

Of Morisi's technique, Nagel writes:

He was a master of moment-to-moment storytelling...each action, each pose, was fondly defined and crisply rendered so that a reader can't help but be immersed in his spaces. Morisi told his stories through a series of still images using every camera angle and filmic device he could think of. As if to accentuate the "screen effect, the panels all have rounded corners and there is nary a speed line, sound effect, or any of the other trappings in sight...his panels are crowded compositions full of close-ups on his hero's invariably agonized or beat-up face...the sheer crowded claustrophobia of a teeming city is always at the fore, and characters are always right up agaginst something, surrounded by buildings, trapped in rooms.

Though Johnny Dynamite remained lost for almost 30 years, he was rediscovered in the '90s by a fellow pulp comics fan. Comic Vine again picks up the story:

Widely regarded by fans of the genre as the best and most interesting of the 1950s comic book private eyes, Johnny Dynamite was a favorite of crime novelist and comics writer Max Allan Collins, one of Chester Gould's successors on Dick Tracy. Collins acquired the character in 1987, when many Charlton properties were sold. His first use of Johnny was as reprints in the back pages of his own Hammer-inspired character, Ms. Tree's comic book. Since then, he's branched out into new adventures from a couple of small publishers. His most prominent modern publisher is Dark Horse Comics, where Concrete and Hellboy started.

JD: Two-fisted (but one-eyed) action!


Related Links:
Johnny Dynamite (Toonepedia)
Sam Hill (Toonopedia)
Sam Hill @ Comic Vine (www.comicvine.com)
Johnny Dynamite @ Comic Vine (www.comicvine.com)