I'm looking for information on Lionel Morgan, in the mid-1950's head(?) of the design and lettering department of the Amalgamated Press.
He worked on the nursery comics Playhour and Jack&Jill, and the Sexton Blake Library, e.g. No. 397 Murder Down Below (January 1958), written by James Stagg. Cover drawn by David Wright and lettered by Lionel Morgan. Interior illustrations by Frank Daniel.
Dates of birth and death, more examples of his work, et cetera, et cetera; all information is welcome !!
John
Lionel Morgan
Re: Lionel Morgan
Lionel Morgan did not work on Playhour as such. At that time the Amalgamated Press maintained a separate art departmment which provided hand lettered titles and other services for various publications. If the editor required a special title, snow and icicles on the title page for Christmas as an example, it was Lionel who produced it. My first job in an editorial office was as office boy on Playhour in 1955. I was willingly recruited by the previous office boy who was moving on to that art department but could not do so until a replacement was found.
Re: Lionel Morgan
Does this example help, Christmas 1956?Pendragon wrote: If the editor required a special title, snow and icicles on the title page for Christmas as an example, it was Lionel who produced it.
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Re: Lionel Morgan
That's fascinating Pendragon! Did you have occasion to meet any of AP's regular artists and writers during that time? For that matter, did you continue to be involved with AP and Fleetway in subsequent years?
Here's another piece of Christmas artwork Lionel's studio may have had a hand in, taken in this case from a late 1955 issue of AP's magazine Everybody's
- Phil Rushton
Here's another piece of Christmas artwork Lionel's studio may have had a hand in, taken in this case from a late 1955 issue of AP's magazine Everybody's
- Phil Rushton
Re: Lionel Morgan
I worked as office boy on Playhour with George Allen and David Roberts.I particularly admireds the talents of David Roberts. Basil Reynolds joined a bit later and they had at least two subs while I was there. The one I remember most is Betty Clowes who remained on the nursery publications for a number of years. Leonard Mathews had his office across the hall as did Monty Hayden who was a company director over that group of juveniles. I did the usual office boy stuff for all of them. I wrote my first script (Wink and Blink) when I was sixteen. Many of the artists would come into the office and I particularly remeber Phil Menoza, Steve Chapman, and Peter Woolcock. I think it was Basil Reynolds who first introduced Ron Embleton to Fleetway at Playhour (Reynolds had come from Mickey Mouse where I think he has used Embleton). I did visit Embleton's home, then near Ilford) once or twice to pick up artwork and recall discussing some of his more serious paintings that were in his studio. Nice man as I recall. Also visited front cover artist Harry McCready...a very quiet unassuming man who barely opened the door of his home (Clapham or Batterseas as I recall) to hand over the artwork and them close it just as quickly. From there I moved on to Jack and Jill, pretty much doing the same thing. Then to Thriller Picture Library. While there Leonard Matthews produced the dummy for Top Spot and moved me over as editorial assistant. My picture is on the cover of either the first or second issue. I wrote a jazz records column each week and was also the model for the young men's fashion feature. When TopSpot closed down I became sub on Film Fun then moved to the annual department under Dave Gregory and then was asked to move over to Hulton's (later Odham's Longacre) as sub on Boy's World...it was about six issues in and they were having serious problems meeting press dates. When Boy's World folded I was sub on Wham and then moved to work under Allen Fennel as a sub on TV21. I wrote most of the weekly International Rescue articles up until Christmas 66 (I moved out of comics and moved to Canada...now in the US) and also wrote a weekly script (Lost in Space or some such) each week in Lady Penelope. I did spend six months back in England 72-73 and worked as a sub on Sandie when John Wagner was editor. Since he was hardly ever in the office I can't say I knew him well. Great times...especially now looking back after so many years. Glad to answer any questions if I am able.
Re: Lionel Morgan
That's amazing Pendragon - you appear to have worked on no fewer than four of my all-time favourite British comics! 
Though I never saw a copy of Top Spot during its all-too-short lifetime, when I finally did come across it many years later I was utterly blown away by the sophisticated way in which it used comic strips to adapt classic works from literature and to tell real-life historical tales. While back-issues are notoriously hard to find these days some highlights of the copies I have managed to acquire would have to include Graham Coton's stunning three-part biography of Field Marshal Montgomery (with it's clever incorporation of maps and documentary photographs) and a series of outstanding horror stories adapted from authors like Edgar Allan Poe, Robert Louis Stevenson and Oscar Wilde.
I could be wrong but it looks to me as though you were immortalized on both the first two covers of this ground-breaking comic:
...As well as cutting an impressively natty figure inside on a number of illustrated fashion articles:
...Presumably members of staff were considerably cheaper than professional models! (Am I right in assuming that's your byline on the accompanying jazz column by the way?)
It seems to me that living in the big city and working on Top Spot as the 1950s turned into the 1960s it must have felt like a real dream job for a young man like yourself. Meanwhile, I guess it could be argued that David Roberts was fulfilling some of his own dreams in his role as the paper's resident interviewer:
...though given the endearingly self-deprecating way in which he refers to himself I suspect that he'd have willingly given up a large part of his considerable salary if he could have looked a bit more like you, and a bit less like a "Crumpled Dumpling"! I must say that the more I see of David's writing the more impressed I become by it.
It's a real shame that Top Spot failed to connect with sufficient numbers of the 'young adult' market it was aimed at - a failure that, presumably, accounts for the way in which later issues disappointingly reverted to a more traditional 'boys' adventure comic' model before it was ignominiously swallowed up by the venerable Film Fun. (Though even the new Film Fun and Top Spot managed to go through a minor 'Golden Age' of its own in the short period remaining before it, too, disappeared into the all-conquering Buster. In particular Arturo del Castillo's 'Three Musketeers' bears comparison with the very best comic strips produced in any country!)
While I wasn't old enough to read Top Spot as it was being published, however, Boys' World, Wham! and TV Century 21 were a different matter entirely and I had a standing order with my local newsagent for each one in turn. Thus Arion the Greek, Brett Million, Kelpie the boy Wizard, Eagle Eye and Frankie Stein - not to mention Gerry Anderson's multifarious space-age vehicles and their respective crews - duly became the very stuff from which my childhood dreams were woven!
There are countless questions I'd love to ask about your time at these publications, but I'll try to limit myself to just a few.
On Boys' World:
As I understand it Boys' World was originally the brainchild of an American called Jim Kenna, but he was subsequently replaced by Eagle editor Robert Bartholomew when Odhams' lost faith in him. Unfortunately, accounts of this changeover period vary considerably with Bartholomew himself asserting that he took over before the first issue was even launched, while writer Michael Moorcock insists that Jim remained as editor for quite some time. I'd be very interested in any recollections you may have concerning Kenna and the circumstances in which he was dismissed. Do you know what happened to him afterward?
Also, do you remember anything about a national advertising campaign that accompanied the launch of Boys' World? I can vividly remember a TV advert in which strips like 'Wrath of the Gods' and 'The Sea Ape' were represented with honest-to-goodness live-action sequences - possibly culled from old films - yet I've never spoken to anyone else who recalls seeing it.
On Wham!
Do you know if Ken Reid was generally allowed to write whatever he wanted on 'Frankie Stein'? It's said that in later years IPC had serious problems with his more grotesque concepts - though I can honestly say I never had the slightest qualm about them as a nine-year-old child!
On TV21/Lady Penelope:
Assuming this John Burns strip is the 'Lost in Space' series you referred to, do you have any idea why it was based on an American comic book published by Gold Key rather than the popular Irwin Allen TV show?
Bearing in mind that virtually all the other strips in both TV21 and Lady Penelope were based on TV series I remember being quite baffled by this anomaly - especially as I was a big fan of the TV show at the time (so much so, in fact, that the disappointment was enough to deter me from buying Lady Penelope on a regular basis).
I hope you don't mind me picking your brain like this Pendragon. I do realize that all of this was a very long time ago, and that your memory is unlikely to have retained a great deal of the minutiae of those days. Anything you can recall will be very welcome, but even if you can't help with any of the above you'll always have my undying gratitude for the countless hours of pleasure you helped to give me all those years ago...!
- All the Best, Phil Rushton
Though I never saw a copy of Top Spot during its all-too-short lifetime, when I finally did come across it many years later I was utterly blown away by the sophisticated way in which it used comic strips to adapt classic works from literature and to tell real-life historical tales. While back-issues are notoriously hard to find these days some highlights of the copies I have managed to acquire would have to include Graham Coton's stunning three-part biography of Field Marshal Montgomery (with it's clever incorporation of maps and documentary photographs) and a series of outstanding horror stories adapted from authors like Edgar Allan Poe, Robert Louis Stevenson and Oscar Wilde.
I could be wrong but it looks to me as though you were immortalized on both the first two covers of this ground-breaking comic:
...As well as cutting an impressively natty figure inside on a number of illustrated fashion articles:
...Presumably members of staff were considerably cheaper than professional models!
(Am I right in assuming that's your byline on the accompanying jazz column by the way?)It seems to me that living in the big city and working on Top Spot as the 1950s turned into the 1960s it must have felt like a real dream job for a young man like yourself. Meanwhile, I guess it could be argued that David Roberts was fulfilling some of his own dreams in his role as the paper's resident interviewer:
...though given the endearingly self-deprecating way in which he refers to himself I suspect that he'd have willingly given up a large part of his considerable salary if he could have looked a bit more like you, and a bit less like a "Crumpled Dumpling"! I must say that the more I see of David's writing the more impressed I become by it.
It's a real shame that Top Spot failed to connect with sufficient numbers of the 'young adult' market it was aimed at - a failure that, presumably, accounts for the way in which later issues disappointingly reverted to a more traditional 'boys' adventure comic' model before it was ignominiously swallowed up by the venerable Film Fun. (Though even the new Film Fun and Top Spot managed to go through a minor 'Golden Age' of its own in the short period remaining before it, too, disappeared into the all-conquering Buster. In particular Arturo del Castillo's 'Three Musketeers' bears comparison with the very best comic strips produced in any country!)
While I wasn't old enough to read Top Spot as it was being published, however, Boys' World, Wham! and TV Century 21 were a different matter entirely and I had a standing order with my local newsagent for each one in turn. Thus Arion the Greek, Brett Million, Kelpie the boy Wizard, Eagle Eye and Frankie Stein - not to mention Gerry Anderson's multifarious space-age vehicles and their respective crews - duly became the very stuff from which my childhood dreams were woven!
There are countless questions I'd love to ask about your time at these publications, but I'll try to limit myself to just a few.
On Boys' World:
As I understand it Boys' World was originally the brainchild of an American called Jim Kenna, but he was subsequently replaced by Eagle editor Robert Bartholomew when Odhams' lost faith in him. Unfortunately, accounts of this changeover period vary considerably with Bartholomew himself asserting that he took over before the first issue was even launched, while writer Michael Moorcock insists that Jim remained as editor for quite some time. I'd be very interested in any recollections you may have concerning Kenna and the circumstances in which he was dismissed. Do you know what happened to him afterward?
Also, do you remember anything about a national advertising campaign that accompanied the launch of Boys' World? I can vividly remember a TV advert in which strips like 'Wrath of the Gods' and 'The Sea Ape' were represented with honest-to-goodness live-action sequences - possibly culled from old films - yet I've never spoken to anyone else who recalls seeing it.
On Wham!
Do you know if Ken Reid was generally allowed to write whatever he wanted on 'Frankie Stein'? It's said that in later years IPC had serious problems with his more grotesque concepts - though I can honestly say I never had the slightest qualm about them as a nine-year-old child!
On TV21/Lady Penelope:
Assuming this John Burns strip is the 'Lost in Space' series you referred to, do you have any idea why it was based on an American comic book published by Gold Key rather than the popular Irwin Allen TV show?
Bearing in mind that virtually all the other strips in both TV21 and Lady Penelope were based on TV series I remember being quite baffled by this anomaly - especially as I was a big fan of the TV show at the time (so much so, in fact, that the disappointment was enough to deter me from buying Lady Penelope on a regular basis).
I hope you don't mind me picking your brain like this Pendragon. I do realize that all of this was a very long time ago, and that your memory is unlikely to have retained a great deal of the minutiae of those days. Anything you can recall will be very welcome, but even if you can't help with any of the above you'll always have my undying gratitude for the countless hours of pleasure you helped to give me all those years ago...!
- All the Best, Phil Rushton
Re: Lionel Morgan
Where to start? TopSpot...there were major problems with this publication from the start. Since I was close to the age it was aimed at, I remember Leonard Matthews asking a lot of questions about exactly what the target audience was into. I was working on Thriller Picture Library as office boy at the time and a great deal of the work for the TopSpot dummy was done by Frank Capern who with Jim Storrie represented the editorial staff. Matthews would be in the office all the time describing to Frank just what he wanted. I was handy for opinions. He later gave me my first real chan ce b y moving me on to TopSpot as an editorial assistant. The only cover picture of me is on the Vespa. It is Alf Wallace who appears both times on the covers. TopSpot was a runaway train when it came to expenses...it was top heavy with people and it was difficult to even remember who was in charge except for Leonard Matthews who did most of the decision making. Art Editor was Trevor Newton and I am pretty sure it was Trevor who first introduced Tom Frame as a letterer to Fleetway. Tom was a pretty unkempt arty type whose desire was to make a breakthrough as a serious painter. When sales began to slide various people who were brought in for their specific skills gradually left. James Stagg was editor for a while and made a serious effort to lift flagging sales...efforts that were impacted by printers' strikes and such. Eventually all that was left were myself and American staff writer Ed Burke. I was essentualy the editor for the last few months. If those issues departed heavily from the original premise it was because so much material had been bought I was charged with the responsibility to get as much of it "used up" as possible before it folded. It was a terrific learning experience for me, selecting what to include and doing everything from layout to dealing with the printer over the phone. I got to know Ed Burke really well and I remember we always had a chess game going across our desks which were pushed face to face in the room.
When TopSpot folded I went over to Film Fun as sub under Jack LeGrande. Jack was great to work with and it was always fun to get him talking about his war experiences (he was a glider pilot who landed and was trapped in Arnhem during Operation Market Garden). It was while I was there that Buster was created and Jack did tell me that my name had come up as a possible editor. That never came about and Jack himself was Buster's first editor. Film Fun was taken over by David Motton and after he left to go freelance Syd Bicknell took after after Radio Fun was closed down. I had got to know David Gregory who was in charge of a number of annuals and I requested a move to work with him. From there I was asked to go over to Boy's World. Boy's World was into about its sixth or seventh issue when I arrived. I have no memory of Bob Bartholomew being involved with it at that time. The editor I worked under was Jim Kenner (I always thought Kenner rather than Kenna but could be wrong). Bob Bartholomew did not take over, certainly in any obvious way, until Jim left.
When TopSpot folded I went over to Film Fun as sub under Jack LeGrande. Jack was great to work with and it was always fun to get him talking about his war experiences (he was a glider pilot who landed and was trapped in Arnhem during Operation Market Garden). It was while I was there that Buster was created and Jack did tell me that my name had come up as a possible editor. That never came about and Jack himself was Buster's first editor. Film Fun was taken over by David Motton and after he left to go freelance Syd Bicknell took after after Radio Fun was closed down. I had got to know David Gregory who was in charge of a number of annuals and I requested a move to work with him. From there I was asked to go over to Boy's World. Boy's World was into about its sixth or seventh issue when I arrived. I have no memory of Bob Bartholomew being involved with it at that time. The editor I worked under was Jim Kenner (I always thought Kenner rather than Kenna but could be wrong). Bob Bartholomew did not take over, certainly in any obvious way, until Jim left.
Re: Lionel Morgan
David Roberts. I had worked on Playhour where David Roberts was the brains behind so much. I really liked David. My background was strictly working class and David represented to me someone from a different world. And yet, he always had time to talk and and treat me, the lowest person on the ladder, with respect and as having a view that was worthwhile. For instance, I suggested that Jack Palance would be a good subject for an interview since he was in town and I think Palance was the first interview in his series.
When Lady Penelope came out, I had nothing to do with its production so have no knowledge of just why they went the way they did with Space Family Robinson. Likely, someone else already had the British rights to Lost in Space. Most of the main strips on TV21 were written by staff members... Allan himself, Todd Sullivan, Bob Prior, Dennis Hooper for which they were paid on top of salary. It was Fennell who asked me to write the Space Family Robinson script. At the time, I was newly married with a child and a mortgage on a house out of town. The five guineas I got for the page were a welcome addition to the budget. I rode the train from Cannon Street to Ashford in Kent each evening and on a good day, when I knew where I was going with the story, I got it down in longhand by the time I reached Tonbridge. I did not write it for very long because I quit in December 1966 and left for Canada in January 1967.
Wham came out just before Boy's World closed down so I did not move over to work on it until then. Most of its preparation was kind of kept quiet...I think because of the breakaway of Leo Baxendale from DC Thmpson...in and of itself a major change in London based comics. It was very hush hush when Alf Wallace took Albert Cosser (assistant editor on Boy's World) up to Dundee to seal the deal on Baxendale. I must confess that I largely went through the motions on Wham. From an editorial perspective it was not particularly challenging since everything was basically complete once the strip was drawn and lettered. I did write a few scripts for the Wham Annual but did not stay long enough to even see them drawn up before moving to TV21. I think the basic NUJ pay rate then was about 26 pounds per week. I moved to TV21 for either an extra pound or two pounds...hard to recall.
By way of information, I had known Fennell and Bob Prior at Fleetway. Prior joined Sun and Comet as office boy after I came to Playhour. The Playhour office was at the end of a corridor on the sixth floor of Fleetway House. The Sun and Comet offices were in some kind of prefab buildings on the roof accessed by the fire escape at the end of that corridor. I can't recall the company name but Bob Prior worked for another comics outfit that produced comics for the European market. As a freelance I created a character for a nursery age paper he edited called Cookie Koala Bear (yep, I know Koalas are not bears but it was comic papers, after all). They were translated into six languages, I understand. I would write the scripts and then when the artwork was done I got photo copies to write the captions.
When Lady Penelope came out, I had nothing to do with its production so have no knowledge of just why they went the way they did with Space Family Robinson. Likely, someone else already had the British rights to Lost in Space. Most of the main strips on TV21 were written by staff members... Allan himself, Todd Sullivan, Bob Prior, Dennis Hooper for which they were paid on top of salary. It was Fennell who asked me to write the Space Family Robinson script. At the time, I was newly married with a child and a mortgage on a house out of town. The five guineas I got for the page were a welcome addition to the budget. I rode the train from Cannon Street to Ashford in Kent each evening and on a good day, when I knew where I was going with the story, I got it down in longhand by the time I reached Tonbridge. I did not write it for very long because I quit in December 1966 and left for Canada in January 1967.
Wham came out just before Boy's World closed down so I did not move over to work on it until then. Most of its preparation was kind of kept quiet...I think because of the breakaway of Leo Baxendale from DC Thmpson...in and of itself a major change in London based comics. It was very hush hush when Alf Wallace took Albert Cosser (assistant editor on Boy's World) up to Dundee to seal the deal on Baxendale. I must confess that I largely went through the motions on Wham. From an editorial perspective it was not particularly challenging since everything was basically complete once the strip was drawn and lettered. I did write a few scripts for the Wham Annual but did not stay long enough to even see them drawn up before moving to TV21. I think the basic NUJ pay rate then was about 26 pounds per week. I moved to TV21 for either an extra pound or two pounds...hard to recall.
By way of information, I had known Fennell and Bob Prior at Fleetway. Prior joined Sun and Comet as office boy after I came to Playhour. The Playhour office was at the end of a corridor on the sixth floor of Fleetway House. The Sun and Comet offices were in some kind of prefab buildings on the roof accessed by the fire escape at the end of that corridor. I can't recall the company name but Bob Prior worked for another comics outfit that produced comics for the European market. As a freelance I created a character for a nursery age paper he edited called Cookie Koala Bear (yep, I know Koalas are not bears but it was comic papers, after all). They were translated into six languages, I understand. I would write the scripts and then when the artwork was done I got photo copies to write the captions.
Re: Lionel Morgan
That's fantastic Pendragon - your first-hand memories of those wonderful times are pure gold! Given the amount of talent that was nurtured that way I can't help feeling that the old method of starting as an office boy has a lot to recommend it over today's endless 'Media Studies' degree courses, et al. Incidentally, did you continue to be involved in the publishing business after relocating across the Atlantic?
Here's another shot of you on the scooter as it appeared inside the first issue:
(Oddly enough I have a photograph of myself 'riding' a Vespa in the same year - even though I was only three years old at the time! ) Is that the 'Top Spot Girl' Eileen waving from the pillion seat by the way?
Do you remember much about the artist Philip Mendoza, who contributed the darkly comical 'Old Mendoza's Horror-Scope' to Top Spot while continuing to draw charming stories about cute, anthropomorphic mice and guinea pigs for AP's nursery titles? From what I gather he seems to have been quite a character himself!
...Maybe it's my imagination but 'Old Mendoza' appears to have anticipated Gary Larson's mega-successful 'Far Side' franchise by several decades (with maybe a touch of Edward Gorey thrown in for good measure).
- Phil Rushton
Here's another shot of you on the scooter as it appeared inside the first issue:
(Oddly enough I have a photograph of myself 'riding' a Vespa in the same year - even though I was only three years old at the time!
) Is that the 'Top Spot Girl' Eileen waving from the pillion seat by the way?Do you remember much about the artist Philip Mendoza, who contributed the darkly comical 'Old Mendoza's Horror-Scope' to Top Spot while continuing to draw charming stories about cute, anthropomorphic mice and guinea pigs for AP's nursery titles? From what I gather he seems to have been quite a character himself!
...Maybe it's my imagination but 'Old Mendoza' appears to have anticipated Gary Larson's mega-successful 'Far Side' franchise by several decades (with maybe a touch of Edward Gorey thrown in for good measure).
- Phil Rushton
Re: Lionel Morgan
The amazing thing is that I haven't changed a bit since those days lol. I wish. The girl on the back was Eileen Earl who was at one time Leonard Matthews secretary and a number of years older than me at the time. Phil Mendoza was often in Fleetway House during my Playhour days, especially on a Friday when it seemed many of the artists would come in, discuss and drop work, and then go out for drinks with George Allen and David Roberts. Memory tells me Phil Mendoza was a stocky, balding man who enjoyed his drink. I was told more than once that he was a direct descendant of the great bare knuckle fighter of the same name. Usually at that time the closest I got to things was overhearing the banter that took place...but since the very essence of starting at the bottom was watching, observing and learning I did not consider it wasted time. I'd get to proof read stuff before it went to the printer or when proofs came back and I thought it great when David Roberts, who did virtually all of the rhyming captions, got stumped for the right word and I could make a suggestion. The most amazing thing to me at that time was the fact that these people actually got paid a salary and then spent most of their time writing scripts and captions for which they were paid extra. I know it doesn't relate to today but I recall I was payed the princely sum of three pounds eleven shillings and seven pence per week back then so you can imagine the two guineas or so I got for my first script really put me in the money. My only disappointment was that they did not let me write the captions to my own script so that I could earn another couple of guineas. Most payments in those days were made in guineas. This system of salary and freelance earnings continued up until the time that the Daily Mirror bought out AP. The DM brought in NUJ pay rates but at the cost of freelance earnings, though I suspect that many simply acquired agents and made their earnings anonymously anyway.
Re: Lionel Morgan
Forgot your last question. Canada did not offer anything comparable to UK comics when I got there in 1967. About ten days after arriving there I was hired by the then largest business publishing company in Canada, McLean Hunter Publishing. They had only two consumer magazines of which McLean's was probably the best known. They obviously didn't rate my UK comics experience as I was hired in a trainee writer's pool...but I was able to demonstrate something because I got three raises that year and in January 1968 I moved to the company's small Montreal office as Montreal Editor for a fortnightly home furnishings industry tabloid. I was there two years before returning to the main office in Toronto as associate editor of a hardware business magazine. From there, I moved to the US and worked as a staff writer on a daily newspaper in, of all places, Salt Lake City. I did return to the UK in the fall of 1972 after my father died and was there for six months. Three of those months I worked as a sub on Sandie when John Wagner was editor. John wasn't in the office very often but it was fun to team up with a couple of art people with whom I'd worked at Odham's. That was my last job in publishing...I guess I sold out to the business world, you might say. I live now near Boise, in Idaho...a small, very pleasant area amid some of the best western scenery anywhere in the US. The only contact with people from those days is an occasional email to Derek Pierson who was a very good balloon letterer from Odham's and Fleetway days, and a constant communication with Roger Perry, an excellent layout artist, who worked under Marcus Morris on Eagle and also at Odham's and then again at TV21. He continued in the business in the UK working with Allan Fennell and Angus Allen (LookIn, I think) and at Purnell.
Re: Lionel Morgan
Hi Pendragonman,
On the scans below you might encounter a familiar name...
Best,
John
On the scans below you might encounter a familiar name...
Best,
John
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Re: Lionel Morgan
How amazing...perhaps more so that such a thing has been preserved and is available. The paysheet was done weekly and clearly shows David Roberts' contributions. Betty Clowes is also mentioned and I think it likely that the handwriting is her's. Each title did its own paysheet and I recall doing one each week in the last months of TopSpot. This represents one of my earliest efforts and seeing the sheet just brings back so many good feelings about that time of my life. Thank you.