Cleveland unveils statues of Superman and his creators 8/2/25

87 years after Superman debuted...

33 years after original Superman artist Joe Shuster died...

29 years after original Superman writer Jerry Siegel died...

18 years after I first came to Cleveland while researching Boys of Steel...

...the city finally installed statues to honor its hometown legacies Superman, Jerry, Joe, and Jerry's wife Joanne [inspiration for Lois Lane]. 

[I know you're not supposed to start sentences with numbers that are not written out, but Jerry and Joe broke some rules, too, and look how that turned out.]

I'd estimate at least 200 attended.

The Boys [and Girl] of Steel are cast in bronze. Superman is, of course, stainless steel.

Donations are still desperately needed to cover the $2.2 million cost.

Thanks to the Siegel & Shuster Society for their tireless efforts. Getting public art up [up and away] does not go faster than a speeding bullet... [Another example: still no Bill Finger statue in New York City.]

Jerry's daughter Laura Siegel Larson and grandson James

the Gray family, who lived in Jerry's former house 

when I went there for research in 2007 

[and who still live there today], 

and George Gene Gustines, 

who wrote the New York Times article about the event

fellow Super Boy of Steel author Brad Ricca

Tracey Kirksey, who was Executive Director of the

Glenville Development Corporation when I was 

researching Boys of Steel [Glenville was the neighborhood

where Jerry and Joe were living when they created

Superman]

Tracey and me in the background of a CBS affiliate news report

Gary Kaplan, Roy Schwartz, me, Brad Ricca,

Samantha Baskind, Jamie Reigle

center: sculptor of the statues, David Deming

George was perched above the plaza for the unveiling and

caught this guy in gray pants trampling on the landscaping.

Inside the adjoining convention center, an orchestra played

the John Williams Superman theme.

Both are creators!

a view inside the phone booth 

that is part of the installation

I flew in just for the event, landing the night before.

Walking to my hotel at 1:30 am, I passed the covered statues.

Nearby, a city carnival was empty aside from crew, 

but despite the lateness of the hour, still aglow.

Up, up, and...here to stay.

Speaking at the Capital Jewish Museum [AKA DC in DC]

This past summer, I reluctantly loaned Bill Finger’s paperweight—one of the only items he owned that still survives—and other items to a Lillian and Albert Small Capital Jewish Museum exhibit about the role of Jews in the comic book industry, with special focus on Washington DC-area contributors. 

On 11/11/24, I gave a talk at the museum about Bill—and Jerry, and Joe, and Jews. 

I have long compared the dramas of the creators of Superman and Batman to Biblical tales. I liken the conflict between Superman creators Jerry Siegel and Joe Shuster and what is now DC Comics to David and Goliath—an upstart underdog versus a seemingly immovable object. I see the Bill Finger/Bob Kane injustice as a Cain/Abel allegory—brother versus brother. You can’t overlook that homophonic Cain/Kane.

And then there’s the Moses parallel.

Thank you, CJM, both for inviting me to speak with your community and for taking good care of Bill’s bronze bug.

"CBS Evening News" announces Superman creators will receive benefits, restored credit (12/23/75)

Introduced by Walter Cronkite, the closing segment of the 12/23/75 CBS Evening News announced that after decades of lawsuits, humilliation, and other hardships, writer Jerry Siegel and artist Joe Shuster (then age 61) would finally receive yearly benefits and restored credit for Superman, who debuted in 1938.

Segment from the Television News Archive at Vanderbilt University.

The historic route Superman co-creator Jerry Siegel ran in 1933 (time-lapse)

Boys of Steel: The Creators of Superman came out in 2008. The year before, I had made my first trip to Cleveland (where Superman was born) for a four-day research binge. That publication year and the next, I made several trips to Cleveland to speak at schools, museums, community gatherings, and other venues. The last was in 2010—until last week, when I returned for a school visit in Warren, OH, about an hour’s drive from Cleveland.

If you told me then that nine years would pass between visits, I would have found that hard to believe, given how often I was in Cleveland from 2007-2010.

The biggest change since then was not unique to Cleveland: this trip will end up being my last by plane for at least a month, if not more, as communities nationwide accept the severity of COVID-19, the coronavirus, and begin self-quarantining. The mood at the school and the few other places I went (namely restaurants) seemed status quo, at times even upbeat, but I was sensing an underlying societal anxiety everywhere I went (even though I was keeping my distance!). Even in rural Warren, store shelves that once displayed disinfectants were barren.

Special thanks to the school, Champion Middle, and especially Andrea Baer and Sandy Amoline, for being such gracious hosts under these uneasy, ever-changing circumstances. Years ago I switched from high-fives to fist bumps, and now it’s elbow bumps, or sometimes no bumps. Everyone understands. Same camaraderie with none of the contact. 

Sandy and her crew went all out decorating to welcome a Superman and Batman junior ambassador. A glimpse:

The other highlight of this short, strange trip was returning to the historic neighborhood of Superman’s genesis, specifically the former house of writer Jerry Siegel and the site where artist Joe Shuster’s apartment stood when these two teens dreamed up the world’s first superhero in 1933. 

Both locations have had a new sheen put on since I was last there, thanks to money raised largely by fans in 2009. Jerry’s house got a major renovation (restoring it to how it may have looked when Jerry lived there) plus a couple of spiffy signs on a front fence. The site of Joe’s apartment is now commemorated by a blown-up version of the first Superman story placed along a corner fence. Both addresses are in the Glenville neighborhood, which used to be predominantly Jewish and is now predominantly black.

 10622 Kimberley Avenue,

where Jerry lived in 1933

 10905 Amor Avenue (AKA 998 Parkwood Avenue),

where Joe lived in 1933

 less angled view of the beginning of the first Superman story,

from Action Comics #1 (1938),

as exhibited at the site of Joe’s former apartment

 street signs on one side of Jerry’s street

  street signs on other side of Jerry’s street

  street signs on one side of Joe’s street

 street signs on other side of Joe’s street

 950 Parkwood Avenue, which is a few doors down

from Joe’s former building (immediately below); both were

clearly built by the same developer (note the white squares)

 former synagogue that is now a church

 note the Hebrew on right

 In January, I had a layover in Cleveland, where I saw for 

the first time this Superman mini-museum in baggage claim.

(It was installed in 2012.)

Jerry and Joe...thanks for the hospitality.

And, you know, for Superman.

Now for the best part.

The legend goes that Jerry was up most of a summer night documenting visions of the character who would become Superman; the morning after, hyped up, he ran from his house to Joe’s apartment to ask his artist friend to draw what Jerry saw.

He would have taken one of two routes: Parkwood Avenue (9.5 blocks, which is about a sixth or a mile) or East 105th Street (eighth of a mile).

Because the Parkwood route is slightly shorter, I suspect he went that way.

And so did I, taking what is probably the first-ever time-lapse of the Jerry Siegel Run.

At the Cleveland airport, I asked the gate agent for my inbound flight if I could get a seat with no one next to it. She said “You already have one”—without asking for my seat number or looking at a screen.

The new abnormal.

Truth, justice, and the worldwide way…

Stay safe, all.

Sensitivity adjustment in my school visit presentations

I believe I began talking about Boys of Steel: The Creators of Superman at schools even before the book came out in 2008. My presentation includes the two photos I uncovered of the small apartment building where then-teenaged Joe Shuster lived in the 1930s.

The first photo (which I found at the Cleveland Public Library) was taken in 1959:

The second (which the Cleveland City Planning Commission located for me) was taken in 1974:

For years, I would transition from the first to the second image while saying “The other photo I found of Joe’s apartment was taken fifteen years after this one, and as you can see, the neighborhood had gone downhill.” I would then explain that soon after, the building was demolished.

A couple of years ago, I realized that my wording could be hurtful to certain kids. While it was clear that the neighborhood had changed from what I think would have been considered middle class to a lower-income population, some would construe the word “downhill” as pejorative. It is also subjective; some people of lesser means would describe themselves as content whereas some of greater means are miserable. The physical condition of their environment does not factor significantly into their outlooks.

Surely some kids in some of my audiences lived in buildings that were in a state similar to Joe’s. 

Though no one has ever called this word choice to my attention, I felt badly that I had let it go unchecked for so long. 

Now I say that “the neighborhood had changed,” which I feel is both fair and non-judgmental.

First photo with Phil Yeh, the first journalist to cover Siegel and Shuster's plight

In 2008, the year I started this blog, I had the honor of interviewing cartoonist and writer Phil Yeh. All fans of superhero comics owe Phil a debt: he was at the forefront of a group that helped writer Jerry Siegel and artist Joe Shuster get (restored) credit and compensation for their genre-launching brainstorm, Superman. As a young journalist running a free California arts publication, Phil helped the industry recognize the imperative of acknowledging (and fandom the imperative of speaking up for) the creative underdog.

Without him, I might not have written Boys of Steel: The Creators of Superman. 

That interview was conducted by email but Phil and I have since met in person several times, mostly at comic conventions. Yet we had not taken a photo together till 10/3/18, when I spoke at a school in San Bernadino, where he lives. He and his wife Linda (a public librarian, and more) kindly came to my talk.

A warm man committed to the arts.

"The Joe Shuster Story: The Artist Behind Superman"

Today is the 80th anniversary of the first appearance of Superman. In honor of that...

Comic book creator duos often mirror their creations: one is the star, one is the sidekick. In the Bob Kane/Bill Finger dynamic, Bob hoarded the spotlight—until recently. In the Jerry Siegel/Joe Shuster partnership, Jerry has tended to overshadow Joe, but in a less contentious way than the Batman boys. Joe was simply the more soft-spoken of the two, always in Jerry's wake in their efforts to receive more for Superman. But unlike Bob and Bill, and despite intermittent frictions, Jerry and Joe remained a unit for most of their superhero saga.

That makes a new graphic novel written by Julian Voloj and illustrated by Thomas Campi especially inviting. It takes an atypical approach by unspooling Superman's real-life origin story from Joe's perspective. In most tellings, including my own (Boys of Steel: The Creators of Superman), Jerry and Joe are presented on equal footing. In The Joe Shuster Story: The Artist Behind Superman, the sidekick speaks up.

That voice is largely fictionalized. Though meticulously researched, the book is heavy on dialogue, much of which had to be imagined. However, based on what I remember from my own Siegel and Shuster research (way back in 2004), most of it reads as authentic. Joe sounds here like he sounded in my head. And though tragedy recurs in both men's timelines, Joe suffered in ways Jerry didn't (namely, his eyesight deteriorated for most of his adult life—particularly brutal for a visual artist). 

Voloj cleverly frames the story with a 1975 incident in which a police officer rouses a downtrodden Joe resting on a bench in a Queens, New York park, then treats him to soup at a nearby diner. It's a woefully low point for one of the minds behind a high-flying hero—the opposite of the way many would expect such a story to start. And that's why it works. It punctures the skin immediately. In Joe's passivity is a pathos that is painful to observe. 

Like Joe himself, the book has a gentle aura. The lettering is small and delicate, the colors a wash of muteness. This has the effect of lulling the reader, which gives certain turning points (even if small) more kick, such as when Joe meets Jerry—but not the Jerry you're thinking of.

The book does a deft job of weaving in historical context from World War II to the machinations of the sometimes shady characters who called the shots at the company that would become DC Comics. This is especially well done with respect to the softcore artwork a conflicted yet desperate Joe agreed to do in the 1950s, and the paranoia and fear he felt when it was revealed that the Brooklyn Thrill Killers, prior to their murder spree, had read some of the lurid stories Joe had illustrated. One choice that I feel is a cliché is the way Bob Kane morphs into the Joker when he betrays Jerry and Joe in their first attempt to sue National.

I loved seeing scenes I have read (and written) about and places I have visited come to life in this format, which allowed for a good but not overwhelming amount of depth. This was no easy book to illustrate. Though at its core a story of two people at desks, in execution it is much broader than that, requiring scenes in grand-scale settings such as the 1940 New York World's Fair. Campi has clearly done thorough research and it's a joy to absorb the details he includes throughout. 

In terms of text and pace, a standout passage is a sweet seven-page scene where young Joe takes lead (Jerry is there, too) in welcoming a similarly young female model to his apartment so he can sketch from life. That model, Jolan Kovacs, would be one of the inspirations for Lois Lane, would later reinvent herself as Joanne Carter—and would become Jerry's (yes, Jerry's) wife. Joe left in the dust again. 

Being stringent about accuracy, I was disappointed to see that Joe can see—he is depicted without eyeglasses. To an extent this is defensible because in most if not all photos of Joe from the early days of Superman, he is not wearing glasses. But he did wear glasses then—except when being photographed. I don't believe it was a stylistic choice to leave out the eyeglasses, but this oversight (pun not intended) can be overlooked if interpreted thematically—Joe was "blind" to dominance (first Jerry's, later National's) insofar as he let both steer his course.

I also felt the ending was underwhelming. Again like Joe, it was too quiet for its own good. I craved a more trenchant emotional payoff. The material is there; perhaps a slightly more dramatic breakdown of the text or a more memorable final image would've done the trick. 

Despite my few quibbles, I highly recommend The Joe Shuster Story. I'm happy that Joe, like Bill Finger not long ago, is finally getting his chance to be the hero, or at least the heart, of the story.

Note: Julian Voloj is a friend and I was sent an uncorrected advance review copy.

“By special arrangement with the Jerry Siegel family” explained

Jerry Siegel and Joe Shuster’s big idea, Superman, debuted with their names on it in 1938. After they sued their publisher and lost in 1947, their names were removed and not restored until 1976 (Superman #302).

But in 2013, the credit line changed again. It was no longer just “Superman created by Jerry Siegel and Joe Shuster.” Well, it was and it wasn’t. Underneath the longstanding credit now appears the elaboration “By special arrangement with the Jerry Siegel family.”

I’m way late in addressing this, and technically I’m not capable of addressing it at all, but my friend and legal maestro Jeff Trexler is. I asked him to explain why this additional, seemingly redundant line has been added. His response:

Settlements are funny things. We tend to speak of them in legal terms—each side has a claim and reaches an agreement that in some way accommodates both without acknowledging either as the winner. As with lawsuits themselves, however, there is often much more at stake than the letter of the law. For the Siegels, the settlement embodied decades of perceived injustice, abuse, and misperception—they saw it as their chance to set history aright, and not just the history between the creators and DC.

From Joanne’s perspective, it appears that she didn’t see Joe Shuster as an equal—I bet if you asked her in private, she would have said that Joe ultimately didn’t matter at all. You may recall that she had Joe pay a percentage of his DC pension to her as a commission for negotiating raises (see Larry Tye’s book, pages 269-70)—her sense was that Joe wouldn’t have received anything if Jerry hadn’t pursued it.

Her perception of Joe as undeserving had deep roots. Remember that Joe drew Superboy when Jerry was in the military, which means that technically, since the victory leading to the settlement in the 1940s involved Superboy, not Superman, she could have seen Joe’s share of that settlement too as wholly underserved. Go back even further and there’s Joe’s decision to quit the character for a while in the early ‘30s, which left certain core elements to be first drawn by Russell Keaton.

And then there’s the storied Superman creation myth, which has Siegel alone in his room inspired to create the character fully formed. Sure, he gets Shuster to draw it, but in Siegel is the hero of the tale—if it hadn’t been Shuster, it would have been someone else. It’s akin to what Kirkman argued in regard to Tony Moore’s art for the early issues of The Walking Dead, as well as Tony Isabella’s insistence that Trevor von Eeden was not Black Lightning’s co-creator.

All of which brings us to the settlement. While the Siegels kept the hard-fought Siegel and Shuster credit, they also requested and received a credit acknowledging the family’s special place in the character’s existence—Superman et al. couldn’t appear anywhere without their permission. Legally this wasn’t true—DC held the Shuster share and could do what it wanted with the character, even if they’d let the Siegels claim their 50%—but it made the Siegels feel vindicated and so in it went.

Here’s a telling bit of correspondence in which [lawyer Marc] Toberoff ends up rejecting over twenty million bucks; if I recall correctly, there’s more recent info in the filings taking the rejected amount well over thirty mil. Without Toberoff’s jumping in to try to get her share for his production company, Joanne might have passed away happy and rich.

Jay Emmett, negotiated Siegel and Shuster’s Superman settlement, 1928-2015

Twice in a two-week period, I was too late.

My list of pop culture figures to track down and interview was reduced by two with the deaths of actress Amanda Peterson and former Warner Communications (now Time Warner) executive Jay Emmett, who passed on 6/22/15. (Yes, this is the world’s only post that mentions both of them.)

I’ve already quoted Jay here (in 2014), and that quotation is worth reposting at any time, not just in light of the circumstances. In 1975, when Jay was Executive VP of Warner Communications, he said of Jerry Siegel and Joe Shuster: “Legally, nothing has to be done. Morally, I think something should be done, and we will do it out of compassion.”

And they did. And ever since, fans have debated how fair the settlement was. In one of my earliest blog posts, I sketched out ways (according to me) in which Jerry Siegel and Joe Shuster were “right” and “wrong” and the ways in which the company that is now DC Entertainment was “right” and “wrong.”

When I quoted Jay last year, I also asked out loud where he had gone. Then I immediately tried to answer my own question, surprised that it took me that long to think to do so. Thanks to fellow Superman author Larry Tye, I did reach out to Jay with an interview request, but did not hear back. I followed up, but again, no reply. I now know that he was not well of late, though perhaps he would not have responded in any case; another Superman author/friend, Brad Ricca, said it’s possible Jay was bound by a NDA.

Whatever you think of the Siegel and Shuster settlement, it was something—far more than Bill Finger got. If you’re a Superman fan, you owe Jay a debt of gratitude. Apparently he was a heckuva guy in his own right.

“Holding Kryptonite: Truth, Justice, and America’s First Superhero”

To paraphrase the back cover of the 2014 self-published book Holding Kryptonite by Lauren Agostino and A.L. Newberg: “In 1997, a young law firm assistant stumbled on a secret cache from Superman’s creators Jerry Siegel and Joe Shuster. These original documents, private correspondence, legal papers, and artwork expose the muted history of the relationships of the early Superman family.”

In other words, this is a study of Jerry and Joe—particularly Jerry—that we haven’t seen before. Not even close. The authors reproduce a fascinating series of letters in order from 1937 to 1947, which reveals to an unmatched degree just how noodgy—whether justified or not—Jerry was, and just how much this exasperated Jack Liebowitz, co-owner of National Allied Publications (later DC Comics).

Naturally I’m interested in any book about Siegel and Shuster, but this one struck me on another level. Lauren was neither a more-than-casual Superman fan nor a writer before she discovered this discarded collection of materials. But she took the time to read it and was inspired to not only share it but also do additional research to expand on it. An interview with Lauren and A.L. is below, but first…

I took notes as I read:

page xv – For Jerry’s retyped letters, the authors used the font that came close to matching Jerry’s typewriter, a Royal Portable Quiet Deluxe. Nice touch.

14 – $6 to draw a cover of Action Comics!

18 – Upon reading the 1938 Jerry letter here, I noted “neither dumb nor greedy.” (Though as Jerry’s frustration mounts over the coming years, a lack of clarity—and eventually a sense of desperation—begins to seep into his correspondence.)

21 – Jack to Jerry: “If I thought for a moment that our magazine depended on your strip…” Perhaps it was too early to see this, but within a year of debuting, it was clear to anyone paying attention that Action very much depended on Superman. Kids asked not for Action but for the comic “with Superman in it.”

Also on 21, in response to Jerry stating (top of page 18) that Superman was the most popular feature in Action, Jack cites that while Superman got 30% of the votes in a reader poll, each of the remaining characters got between 15% and 25%. In other words, Superman did not win by a landslide. (However, this is a bit manipulative on Jack’s part—Superman was still the favorite, which is all Jerry said.)

25 (and subsequent chapter-ending pages) – I see the point in comparing Jerry and Joe’s salaries to the national average, but on one level that’s unfair. Jerry was not asking to be paid more than anyone else; he was simply asking to be paid what he felt he and Joe deserved based on the success of their creation.

30 – I don’t think I knew that the assistant artists were paid solely from Joe’s half.

34 – I don’t think I knew that Jerry and Joe got a 5% royalty on commercial use.

50-51 – I wonder if anyone has tried to track down the Pauls, Cassidy and Lauretta (and other assistant artists named here and on page 162 of Super Boys). I’m sure they’re gone, but if not, they’d have some stories.

54 – There was a Superman song and Jerry wrote lyrics. Why couldn’t those have been salvaged?

By now, a pattern is clear: Jerry often makes what I feel are valid points. However, he makes them in a long-winded manner, and too often. The more resistance he got, the more he pushed. As a creator and freelancer myself, I understand.

64 – The Hitler myth again.

65 – I love that the glass pane in the door of Joe’s studio door was frosted to reduce the risk of fans walking in. I’d love to know if that ever actually happened. I will never know.

81 – Jerry signed away rights to Robotman, too! Sounds funny, but at least Robotman wasn’t a big hit…

97 – Jerry on Joe: “He seems to have developed a genius for saying the wrong things at the wrong times to the wrong people.” Ouch. A side of Jerry I wish I hadn’t seen.

98 – When Jerry and Joe collectively signed autographs for fans, Jerry said he always passed the sheet to Joe but Joe didn’t always pass it to Jerry. More ouch.

112 – They hired Winsor McCay Jr.! They considered “lending” him to Superman! Worlds almost collided.

116 – “I’m pretty sure, though, that I won’t be a civilian much longer.” Haunting, even though Jerry did not end up serving in a combat capacity.

137 – Though it’s a bit wackadoo, I love that editor Mort Weisinger (who developed a quite fearsome reputation) advises Jerry that he’s spending too much on postage. His suggestion on what to do with the extra money: “buy Junior some ice cream cones.”

Q&A with Lauren and A.L.:

Were you a Superman fan before finding these documents?

Lauren: No. Wonder Woman was my girl.
Andrew: I was a Superman fan in the way many kids were—by movie and by “legacy.”  There’s a great oral history attributed to Superman.  Generations of kids are referred to Superman to “be brave…like Superman,” “be strong…like Superman.”

Why did you decide to do a book, and how long after you found the documents?

Lauren: A book was the best medium to share my find and tell this fascinating story. It was 13 years after I found them.

Did you first try to publish the book through a traditional publisher? If so, what happened? If not, why not?

Lauren:  I explored the traditional route and chose self-publishing because it allowed me to include a lot of material that told the authentic story. 
Andrew: We wanted the control of presenting these documents as Lauren wished—“as I found them…without all the mildew and mold.”

Why did you write the book in the third person even though you, Lauren, are listed as the co-author?

Andrew: We had many versions with different structures, different story elements and dabbled with first and third and even second person. What was important and remains important to Lauren is that the reader finds these documents the way she did. Third person seemed the best POV to give the reader this opportunity.

Where did you find the annual earnings for Jerry and Joe?

Andrew: In the documents that Lauren found, the information of their annual earnings was included in the court-ordered audit that was submitted as evidence by Joe and Jerry.

What is a favorite reaction you’ve gotten on the book?

Lauren: I have had so much amazing feedback that it’s hard to pick just one. 
Andrew: My favorite reaction is from the readers who respond to me with a surprised lilt in their voice “I actually really found this interesting—and I’m not even into comics!” I do feel this book appeals to people whether they’ve read a comic or haven’t.

Have you heard from anyone whose opinion about Jerry changed after reading your book?

Andrew: I have and it is largely from people who are in the creative arts. They were unaware of the relative success that Jerry and Joe had. Yes, it is not comparable to the ledgers of DC, but relative to the industry—they were paid well. As you see from the correspondence in the book, DC knew they had a hit and kept it a hit through hard work and diligence. Many artists who read this go into it one way and come out with a different experience. Our job isn’t to make that decision; we wanted to provide the material to let people arrive at their own conclusion. As inequitable as the relationship appeared, agreements and terms were not hidden.

Have you gotten a copy of the book to the Siegel and Shuster families?

Andrew: We have not. We haven’t sent this to Detective Comics or Warner Bros. either.

What is your overall takeaway from the Siegel and Shuster story?

Lauren: This is a large chunk to an even bigger story. It’s an important one so I hope whatever people can take away is useful in their understanding. 
Andrew: Well, the toughie with that question is that whatever my takeaway is will be entirely different than someone else. It’s complicated…just like the story.

Where are the letters now? Do you plan to keep them, sell them, donate them?

Lauren: I don’t have any plans of selling them.

Are you writing another book—or planning to?

Lauren: At the moment, no. 
Andrew: When Lauren wants to share her personal journey with this material—that will be the next book I’ll write on the subject of Superman. She’s the story.

Anything you’d like to add?

Andrew: I have been introduced to a community of amazingly talented writers, researchers, and scholars on the subject of not only Superman but the entire comic industry. They continue to preserve the rich history of one of our culture’s most important exports: imagination. Through the years, no matter what was going on, to escape or re-imagine things through the comics has proved incredibly valuable; that has helped many to personally navigate tricky times. We hope that this information Lauren has generously and bravely shared will help those scholars complete a picture that has faded in some panels of the overall story. The men and women of both the creative and business side must coexist to exist. They each need recognition.