Popeye the Sailor’s man in Glen Rock

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Popeye the Sailor’s man in Glen Rock
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Popeye the Sailor’s man in Glen Rock

Meet Hy Eisman, last of the old-time cartoonists

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By [32]Larry Yudelson December 20, 2018, 12:01 pm [33]0 [34]Edit
[35]Hy Eisman
Hy Eisman

Editor’s note: This article won the Rockower David Frank Award for
Excellence in Personality Profiles: First Place – Division A.
Newspapers 15,000 circulation and over; Broadcast

Comment: Good read, the subject comes alive, along with the era when
Sunday comics were king.
__________________________________________________________________

Toward the end of the interview, Hy Eisman of Glen Rock pulls out a
comic strip featuring an old man with a beard.

[36]Get The Jewish Standard Newsletter by email and never miss our top
stories [37]Free Sign Up

The reporter has closed up his notebook, but Mr. Eisman still is
flipping through the framed comic strips that are propped up against a
bookcase in front of his artist’s desk. He shows the reporter the
strips, each in a different style of illustration, each featuring
different characters, all drawn by Mr. Eisman.

The old man shows up in the center of a nine-panel Sunday cartoon. (The
strip would have arrived in Sunday newspapers in glorious color, but it
left Mr. Eisman’s drawing board, and entered his collection, in black
ink.) “There goes Mr. Geezil,” Popeye muses, as he watches the old man
go by. We see Popeye from behind, his sailor’s hat, corncob pipe,
jutting chin, and prominent muscles instantly recognizable. “I ain’t
seen ‘im in years,” Popeye says.

“I didn’t like him,” Mr. Eisman said, explaining Mr. Geezil’s long
absence from Popeye’s neighborhood. As longtime Popeye readers might
know, Mr. Geezil is a Russian Jewish immigrant, complete with a
stereotyped accent and a job as a pawnbroker.

Mr. Eisman has been drawing the Sunday Popeye comic strip since 1997.
(The weekday strip has been in reruns since then.) As he talks about
Mr. Geezil, it’s clear the insult inherent in the character is personal
for Mr. Eisman, the son of Polish Jewish immigrants. Mr. Eisman grew up
in Paterson, speaking Yiddish. (Polish was the language they spoke to
each other when they didn’t want their children to understand.) Mr.
Eisman didn’t learn English until he started school. His mother learned
it with him. His father never did.

George W. Geezil was created by Elzie Crisler Segar, the cartoonist who
first created Popeye as a bit character in his popular comic strip,
“Thimble Theater.” Mr. Geezil first appeared in 1932. Popeye first
showed up on January 17, 1929.

And yes, that means that Popeye is turning 90 next month. Mr. Eisman
first brought back Mr. Geezil as part of a reunion to celebrate
Popeye’s 75th birthday in 2004. He already has finished his celebratory
90th anniversary strip and mailed it to Kings Feature Syndicate,
Popeye’s owner and his employer. This one features a reproduction of
Popeye’s first appearance. Mr. Geezil does not appear.

With Popeye about to turn 90, it seems a good opportunity to visit with
Mr. Eisman, who is older than the spinach-eating sailor, but not by
much: He is 91.

Hyman Eisman was 5 when he first met Popeye. He was living in
Daughter’s of Miriam, the Clifton orphanage that later morphed into a
nursing home, then. It was 1932, and the Great Depression was underway.
Hyman’s father had lost his job as a weaver in Paterson’s silk
industry. His mother was hospitalized with tuberculosis. His aunt, who
had cared for him and his brother and housed the family, had to sell
the apartment building where they all lived. Yet the gloomy stay at the
orphanage had one bright technicolor redemptive virtue: On Sunday,
visitors would bring the Sunday papers, with their colorful comic strip
sections.

Hyman had never seen such wonders before. At home, his parents had
gotten the Yiddish Forverts.

“New York had eight papers on a Sunday,” Mr. Eisman said. “All of them
had different comics.”

It’s hard to recapture the intensity comic strips offered then. “They
were in color, when nothing else was in color, not even magazines,” he
said. The real world of the Depression of course was not in the black
and white of our media-formed memories, but the media world actually
was in black and white back then. There was the real world, there was
the black-and-white world of print and movie screen, and then there
were the comics, a beacon of color.

“I lived for Sundays,” Mr. Eisman said. “It took me out of the misery
of being there. I felt alive again.”

He would ration out the fun, saving his favorite strips for last. He
still can visualize the bright pages, remembering which strip appeared
where in which paper. “Popeye was in the front of the Mirror,” he
remembers.

There’s another, earlier memory, from back when he was still living in
Paterson, before the orphanage, of when Hyman first met a drawing desk.
One of the neighbors in the six-family apartment building was an
animator. “I wandered into his house. He let me watch him. I watched
him drawing. It was like magic.”

With Hyman’s visual imagination sparked by the comics, “I would draw on
everything. I would get into trouble. In school, we had these chairs
with a table built in. I would draw on that and they caught me. I would
draw on anything I could grab.

“Some teachers were wise enough to put me at the blackboard to draw
stuff for the holidays. I would produce big full-color stuff with
chalk. It occupied me.

“Other teachers would call my mother into school. They’d say, ‘He sits
and draws all day.’ My mother would say, ‘He wants to be a cartoonist.’
‘Don’t worry,’ the teachers told her. ‘He’ll grow out of it.’”

Spoiler: He didn’t.

He did, for a time, grow out of his given name, Hyman. Hyman was, back
in the day, an all-purpose English equivalent for the hard-to-pronounce
and harder-to-spell Yiddish Chaim. It also, as he learned to his
chagrin in grammar school, had a gynecological homonym.
Wimpie has tried online dating in this Popeye cartoon by Hy Eisman.
(King Features Syndicate)

So Hyman Eisman became Herman Eisman.

Until, that is, it was time to go to the army.

There, he would become Hyman Eisman again, Jewish name and all.

Or so was the plan.

“I ended up in Camp Blanding, in Florida, with a bunch of southerners.

“During the Jewish holidays, a guy came to the hut where we slept and
banged on the door. The oldest guy let him in.

“He asked, ‘Are there any Jewish soldiers here? There’s a bus going
into Jacksonville for services.’

“The guy in my hut said, ‘There ain’t no Jews here,’” The way he
enunciated Jews convinced Hyman not to volunteer his identity. “I
better just be Private Eisman,” he said. “It was that way until I got
out of the hut. The whole place was loaded with guys from Georgia and
North Florida. One guy was 16 years old — he faked his age, because he
would make more sending home his army pay. Another guy said: ‘I hit
some guy upside the head with an axe handle. The judge said either
penitentiary or the army. I picked the army. I should have picked the
penitentiary.”

Mr. Eisman, however, would not rank his army service as worse than
prison. The war ended while he was still in basic training. Rather than
being sent overseas to invade Japan, or even to replace returning
troops, he was assigned to work in a hospital in Fort Pickett,
Virginia. There was a newspaper for the base, which featured a cartoon,
Male Call, contributed by Milt Caniff, creator of Terry and the
Pirates. The paper ran another cartoon by a Texas guy on the base. Mr.
Eisman decided that he could draw better than that cartoonist, so he
contributed his own strip to the paper. That other cartoonist went on
to make his mark as a publisher rather than an artist: It was Hugh
Hefner.

Released from the army, Mr. Eisman decided to use his G. I. Bill
funding to go to art school; he lived in Paterson but knew he’d have to
commute to New York. He considered the Art League’s school in
Manhattan. Mr. Eisman was determined to take a classical anatomy class
because as much as he laughed over Popeye, his eye was most taken by
Hal Foster’s realistic drawings in another comic strip, Prince Valiant.
The Art League offered that class.

The problem, however, was that former G.I.s who were discharged before
he was already filled the Art League’s classes. The anatomy class had a
two-year backlog of would-be students.
Hy Eisman’s local take on Ripley’s Believe It or Not! ran in the Newark
Evening News from 1954 to 1957.

(Today, the once-transient beauty of newspaper strips has been captured
in full-color full-broadsheet-size reproductions from publishers like
Fantagraphics. Mr. Eisman opens a volume of Prince Valiant reprints to
delightedly point out the quality of Mr. Foster’s illustrations.)

Next, Mr. Eisman looked into the new Cartoonists and Illustrators
School that had just started up in Manhattan, fueled by the G.I. Bill
tuition payments. “It was the first place I ever saw original cartoons
hanging on the wall,” he said. That was a draw. The downside was
downstairs. The school was above a stable for police horses and he
could smell its downstairs neighbors in the classroom. “This place will
never make it,” he decided, and looked elsewhere. Without him, the
school moved on from the stable and grew into the School of Visual
Arts; some of its graduates went on to help create Mad Magazine and
Spider-Man.

So he found the Art Career School — it wasn’t too crowded and it didn’t
have horses — in the Flatiron Building, on Manhattan’s Fifth Avenue at
23rd Street. Today Mr. Eisman has pictures of the triangular building
pinned to a bulletin board in his studio. His desk, on the top floor,
was at the triangle’s apex.

He studied there from 1947 to 1950, taking the Susquehanna Railroad
under the Hudson. He learned commercial illustration — “A lot of
renderings of beer bottles with sweat” — and hand lettering. “A lot of
the typefaces I designed have been turned into computer fonts,” he
said.

He got his first job drawing Valentine cards and the packages they came
in. “They found a way of printing on a transparent package so you could
see the cards inside,” he said. “I would do the design they would print
on top of them. They distributed their stuff to Sears, to
five-and-tens. They wanted a different logo on every package.”

The card company offered him a full-time job. He declined. “I said to
the guy, if I ate regularly, I would never be able to go into what I
wanted to do” — which was draw comic books.

As a freelance artist, he would earn $25 for each package design. “I
would do three of those a day. I would do those and then spend a lot of
time doing comic books, for $7.50 a page.” He could pencil in only
about two pages a day, he said.

As he started to get more of a foothold in the comic book business, the
business started going into decline. You might blame the rise of
television in the mid 1950s for this. Mr. Eisman blames psychiatrist
Dr. Fredric Wertham, whose 1954 book “The Seduction of the Innocent”
blamed comic books for a wide range of social ills. Senator Estes
Kefauver (D-Tenn) turned the focus of his televised hearings on crime
and juvenile delinquency toward comic books.

“I would be walking around New York with my portfolio,” Mr. Eisman
remembered. “I would sit back in front of the TV at night and that was
the only thing on. As I walked around every week there was one less
comic book company.”

He came up with an idea for a newspaper strip: “It Happened in New
Jersey.” It borrowed the font and the tone from Ripley’s Believe It or
Not. He took it to the Newark News, which bought it for $20 a week. “It
took a long time for research and drawing,” he said. His plan was to
syndicate it around the state. The News had other ideas: They insisted
on exclusivity. So it didn’t make him rich, “but it was stuff I wanted
to do.”

Around this time he met his first wife, Adri Abramson. She was a book
jacket designer and letterer (and her business card read Adri Ames, for
obvious reasons).
Hy Eisman drew Little Iodine from 1967 to 1983. (Imaged by Heritage
Auctions, HA.com)

“She was doing better than I did but she was willing to get married,”
he said. “She had an elevator apartment at the corner of 17th Street
and Irving Place. I said, for that $90 a month she was paying in rent,
we could get six rooms in Paterson. She agreed. It was the dumbest move
I ever made.”

The move, that is. Not the marriage. The couple had two daughters,
Merle and Mindy. In 1960, after Merle was born, the family moved to
Glen Rock and joined the Jewish Center there. Adri supported Hy’s comic
strip dreams, even advising him to turn down a full-time job as an
editor for Gold Key Comics that came with health insurance. She
continued to work as a book designer.

He developed a reputation for reliability. “My first comic books were
ghosting other people’s work. Whenever someone was going on vacation or
needed to bring their stuff up to where the deadline was, they would
call me.” At least once, a job he thought was helping out a fellow
artist actually was set up by the comic strip syndicate to prove to the
artist that he was expendable, and push back against a request for
higher pay.

In the early 1960s, he tried to launch his own comic strip with writer
Zachary Ball, based on Ball’s series of Joe Panther books for teenage
boys.

“It was a series about Joe Panther, a Seminole Indian in Florida. His
books were all about the Seminoles. He came up with this idea of Joe
Panther coming into Miami as a private detective. It was Miami Vice
years before Miami Vice.

“We peddled it around New York. United Features was very interested.
They picked it up. Then they got back to us. They said the strip did
very well in the North. But there were a lot of papers in the South
that would not pick up a strip with Indians dealing with white people.
Could you put him back in the village like he was in the book?”

All this work was on spec.

Mr. Ball and Mr. Eisman remade the strip, now set in the Seminole
village. “We did a number of pencils. I inked a whole week and a Sunday
page. United Features loved it.”

Then they started talking contract terms.

“They explained something that I never knew before. That a contract
with a cartoon syndicate is 50/50, after expenses. Expenses include the
building on 42nd Street, that guys that go out and peddle the strip,
paying for lunches for editors, and so forth. It could be a long time
before there could be any revenue.”

That’s when Mr. Eisman learned the story of Charles Schulz, who didn’t
see any money from Peanuts for 19 months. “He was living on a couch in
Mort Walker’s house while he was waiting for the strip to be sold,” Mr.
Eisman said. Mr. Eisman then understood why he had seen one-page
Charlie Brown cartoons in the Nancy comic book Mr. Eisman drew for a
while. “Schulz was getting $17.50 for that page. That was his income.”
While the Private Secretary romance comic only lasted for two issues,
Hy Eisman found steady work with Archie Comics for many years.

Ouch!

“So we had to pass. That’s how close I came to doing my own stuff.”

Around this time he drew his single most valuable cartoon panel. It was
a page from Private Secretary — a romance comic that lasted all of two
issues. He made about $17 for the page, which comes to $3 for the
panel. That wasn’t a lot of money. One person who saw the comic,
however, was Roy Lichtenstein. Some 40 years later, an art instructor
named David Barsalou set out to find the source materials used by Mr.
Lichtenstein for his pop-art paintings. He determined that “Girl in a
Window,” which hangs in the Whitney museum and last sold for $30
million, was based on Mr. Eisman’s drawing.

“I ghosted for Roy Lichtenstein,” Mr. Eisman says with a laugh.

For Merle and Mindy Eisman, having a father who drew comic books had
its perks.

“We were doing a comic book about a doll called Bunny Ball,” Mr. Eisman
said. “A toy company had made it as a competitor to Barbie. The doll
never took off but the comic book took off. I was doing the comic book
for 17 years.

“I was supposed to use the toys that came with the doll in the comic
book. So the kids had all that stuff here. Then I had to give it all
back. That was a big problem,” he said.

In 1967, he started writing and drawing the Little Iodine comic book.
He had that gig for 17 years. In 1987 he was hired to take over the
Sunday strips for the Katzenjammer Kids, the oldest continuing-running
comic strip. (It started in 1897.) The strips featured accents that
were much more accessible to children in the late 19th and early 20th
century, when German immigration was high, than they were in the 1980s.
He continued with the strip until it went into permanent reruns in
2006.

In 1997, Adri died. They had been married for 42 years. His second
wife, Florenz Greenberg, died in 2013.

Popeye, however, lives on.

“After 90 years there are certain things about the strip that everybody
know,” Mr. Eisman said. “Wimpie likes hamburgers. Wimpie thinks he’s
God’s gift to women. Olive Oyl, Brutus, that kind of thing. Essentially
I’m rewriting gags and coming up with different approaches to it. It’s
90 years. I’m locked into what this guy can do.
David Baralou connected the dots between a $30 million Roy Lichtenstein
and the $3 Hy Eisman panel that inspired it.

“He eats spinach. He punches people.”

Which isn’t to say that nothing changes. In one recent strip, Wimpie
brings his lady-killer confidence to the realm of online dating.
Another strip mentioned climate change. At 91, Mr. Eisman relies on his
daughters to double check the terminology for the technology he uses in
the strip. He is one of the last holdouts against drawing on a
computer. “Technology to me is going to Mail & More, making a copy of
the strip, and mailing it down to Orlando,” he said.

The Orlando office of King Feature scans the art and emails it to a
colorist in Ohio. Now, coloring is done in Photoshop. Back in the day,
however, it took two women working full time to color Prince Valiant’s
weekly Sunday outing.

“My check comes out of North Carolina,” Mr. Eisman said. “It’s all over
the place. When I started you had to live in New York, North Jersey, or
Connecticut. It’s a different world. I don’t know if there’s another
guy still working in pen and ink.

“I’m in a position where my parents were — I’m in a country I don’t
know anything about,” he said.

He learned the hard way the truth of the internet adage, “don’t read
the comments.”

“I made the mistake of looking at the comments. People will troll you
no matter what you do. One guy didn’t like my drawing because I put the
anchor on Popeye’s arm on the wrong spot. Another guy complained the
drawing wasn’t the way Cegar or Bud Sagendorf — the guy I replaced —
drew it. My stuff has slowly become more illustrative, slightly less
cartoony. It’s very hard to draw badly if you know anatomy. I
eventually started changing the proportions to make it more normal.
Someone complained I’m drawing badly. They want that old-time look.”

What counts is that King Features likes what he does.

With Popeye’s 90th birthday coming up in January, the syndicate is
looking to promote the sailor. It’s been a long time since the classic
black-and-white Popeye cartoons that played in theaters starting in the
1930s, or the color cartoons that were on TV in the ‘60s. Now they’re
bringing him online.

“Kids don’t read newspapers,” Mr. Eisman.

For 40 years, he taught at the Kubert School in Dover, founded by his
friend, the cartoonist Joe Kubert, which teaches cartooning and
illustration. When he turned 90, his daughters asked him to stop. They
worried too much about the drive. “My last couple of months teaching at
the school, I had to bring in physical newspapers when I was teaching
about the Sunday cartoons. The students didn’t know what I was talking
about.”

Only a handful of newspapers in the United States still run Popeye.
“Most of the papers still carrying it are in the Midwest,” he said. All
the pipe-smoking doesn’t play well with younger editors. “It’s very big
in South America and in Spain, in Sweden and in Germany.”

He has toned down the violence. “I do one or two fights a year,” he
said.

Mr. Eisman has created new characters in his decades on the strip. The
cutest is Chester, Popeye’s dog. (Early on, when the strip was
considerably weirder, under its original creator, there was a magical
dog-like animal called Eugene the Jeep, whose name ended up on the
World War II army vehicle.) Chester is named after the hometown of
Popeye’s creator, Mr. Segar — Chester, Illinois. Chester celebrates
Popeye with an annual picnic and has put statues of various Popeye
characters along its Mississippi River frontage. Mr. Eisman recently
was asked to send sketches of Chester the dog to artisans in China, who
will create a statue there. Chester and Eugene are scheduled to be
placed in front of the Chester Firehouse on State Street sometime next
year.

But there are no plans to honor Mr. Geezil with a statue in Chester.
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[270]Specialty Publications
[271]Readers Choice 2020 [272]About Our Children, August 2020
[273]About Our Children, July 2020 [274]Our Children, June 2020
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[276]Page 3
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By [278]Larry Yudelson
* [279]Building the Beit Ha-Brick-dash
By [280]Larry Yudelson
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* [293]Adam Sandler hails doctors and nurses in new ‘Quarantine Song’
By [294]Marcy Oster
* [295]Cedar Lane, Teaneck this past Tuesday at 5:30 pm.
[296]A message from the publisher
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* [300]Retweeted without comment
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* [315]The call came from under the bus
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[317]Community
* [318]Carol Silver-Elliott
[319]JHF leader featured on new eldercare show
* [320]Moshael Straus, left, Senator Menendez, and Dr. Ben Chouake.
(Courtesy Norpac)
[321]Norpac welcomes Senator Menendez
* [322]Noah Gluck, left, who plays Sebastian, with Molly Hopkin, who
plays Cesario/Viola.
[323]Shakespeare plays live in Teaneck
* [324]Irmari Nacht’s book, “Books134CoronaDream” (Courtesy of the
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[325]Local Jewish artist wins contest for corona-time art
* [326]Vertical Field geoponic wall farm. (Photos provided)
[327]Wall-to-fork fresh produce in Monsey
* [328]Staci Klonsky, co-president of TEPV’s sisterhood, right, and
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[329]Masked in Woodcliff Lake
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directors; Michael Kollender, vice president/board of directors;
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[333]Golf, tennis, and games in Alpine on August 3
* [334]Emil Miland, left, Virginia Grasso, and Ron Valentino
(Courtesy JCCNNJ)
[335]New series takes you behind the opera
* [336]Temple Emeth elects new board via Zoom
* [337]Cheryl Green Rosario, left, and Vivian Hoexter (Photos
courtesy JFNNJ)
[338]Wed. 7/22, 8 p.m.: Discovering unconscious biases
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* [340]Gali Fish (Netanel Cohen)
[341]A group of Nefesh B’Nefesh olim land as aliyah interest
reaches record numbers
* [342]Ira Robbins, left, Gary Bettman, O.J. Anderson, and John
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[343]Virtual golf/tennis/card outing for Jewish Home
* [344](Photo courtesy GRJC)
[345]GRJC supports July 4 food drive
* [346]Rabbi Daniel Goldberg (Courtesy Ahavath Torah)
[347]Tues. 7/21, 1 p.m.: Tisha B’Av shiur
* [348]IDF soldiers receive matzah to celebrate Passover with support
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[349]FIDF delivers shmurah matzah to Israeli soldiers
* [350]Amara Wagner, left, and Geoffrey Cantor (Courtesy JCCNNJ)
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* [352]Gabrielle and Daniel Altman
[353]Ma’ayanot group organizes collection drive

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* [355]Josh Gottheimer, left, Nita Lowey, and Bill Pascrell
[356]This year’s homeland security grants announced
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* [358]Vertical Field geoponic wall farm. (Photos provided)
[359]Wall-to-fork fresh produce in Monsey
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front. (Bobbie Goldstein)
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* [366]Kamron Steed and another visiting nurse visit a nearly empty
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[367]Connections work
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* [369]Andrew Cuomo talks to reporters outside Rabbi Chaim
Rottenberg’s house in Monsey on December 29, 2019. (Kena
Betancur/AFP via Getty Images)
[370]Monsey stabbing victim dies; Cuomo names hate bill in his
memory
By [371]Marcy Oster
* [372]Esther Spiegel prepares her matzah brei
[373]Nanuet Hebrew Center’s best brei
* [374]Cantor Barry Kanarek
[375]Rockland federation offers Zoom help
* [376]A scene from a Schechter family: siblings gather around a
computer to watch their head of school, Steve Freedman.
[377]Local schools go online
By [378]Joanne Palmer
* [379]Barry Kanarek
[380]A cantor does tech support
By [381]Joanne Palmer
* [382]A sign of the times — this Teaneck restaurant looks forward
with hope. (Jamie Janoff)
[383]Silver linings
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* [385]‘Let’s be guided by science’
By [386]Joanne Palmer
* [387]Matt Krass
[388]What does it feel like?
By [389]Joanne Palmer
* [390]Rabbi Moshe Schwab, left, with Spring Valley Police detective
Reginald Anderson and Rockland County legislator Aron Wieder (Photo
provided)
[391]Celebrating black history in Rockland
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[393]Yet more thoughts on Covid-19: It’s difficult to think of much
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* [395]Precautionary measures
By [396]Larry Yudelson
* [397]Rabbi Micah Liben
[398]Tetzaveh: Perpetuating the light of the Torah
By [399]Rabbi Micah Liben
* [400]Celluloid heroes
By [401]Larry Yudelson
* [402]Rockland Women’s Circle invites ‘Becoming Eve’ author Abby
Stein
* [403]Photo from a Westchester production of “Jewsical.”
[404]‘Jewsical’

[405]Full CoverageAbout Our Children
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* [407]Adeena Sussman (Dan Perez)
[408]For the High Holidays, for Every Day, ‘Sababa’
By [409]Heidi Mae Bratt
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[414]A Holocaust Memorial Garden Grows in New City
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* [419]At last year’s Ride to Fight Hunger. From left, Nesya
Bayewitz’s grandfather, Jacob Schlanger; mother, Tirza Bayewitz;
father, Ariel Bayewitz, and uncle, Ashrei Bayewitz. Kids, from
left: Nesya’s brother, Sammy, Nesya, and brother, Moshe.
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By [423]Larry Yudelson
* [424]Mathnasium makes math fun.
[425]New Local Owners of Teaneck Mathnasium Add to Enrichment
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By [426]Heidi Mae Bratt
* [427]Dr. Eytan Chen and his family.
[428]Local Dentist: From Israel to Africa to Teaneck, with a Few
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* [430]The Garb family, from left, nephew Zalman Weisman, Shneur,
Mendy, Kayla, Ziggy and Rachi.
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[434]Sunglasses Are Protection for More Than the Sunny Days
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[437]Doing Wonders for Girls Challenged with Cancer
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By [446]Heidi Mae Bratt
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* [450]Sophie Knapp, left, and Nili Kepets
[451]Teaneck Girls Take the Stage in Off-Broadway Show
By [452]Heidi Mae Bratt

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