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It was his work at that latter batch that led cartoonist Sam Henderson to dub him Dirty Danny, a nickname which has stuck. Along with the now-defunct NYPress, his work has appeared in The Wall Street Journal, Time, Entertainment Weekly, Sports Illustrated, Fortune, MAD and countless other respectable outlets, as well as Hustler, Genesis, and SCREW, where he was also a regular contributor from 1988 until the paper’s demise in 2006. Hellman was born in Germany, raised in Forest Hills, Queens, and has spent most of his life in New York. The two volumes (which came out in 20) were sold as fundraisers to help bolster Hellman’s legal defense fund, and featured the work of, among others, Spiegelman, R. In the meantime, however, Hellman used the hullabaloo to edit two volumes of the benefit anthology series, Legal Action Comics. The case received a good deal of press at the time, but nothing was ever resolved. The lawsuit dragged on for several years, until Rall’s attorney died in 2005. Of course asking an American freelance comics artist to pay $1.5 million is a bit like asking a ferret to paint your living room, but that’s neither here nor there. Rall was not amused by the prank, and sued Hellman for libel, seeking $1.5 million in damages. In response to the story Hellman, pretending to be Rall, sent out self-aggrandizing emails under the subject line “Ted Rall’s Balls” to thirty-five people in the comics industry, including one of Rall’s former editors. In 1999, Village Voice cartoonist Ted Rall wrote a Voice cover story attacking respected Maus cartoonist Art Spiegelman. Those letters to the NYPress were just a hint of the trouble to come. He seemed to know everybody and, I would later learn, was an inveterate prankster. He’s a smart and funny guy, an odd mix of the comfortable and intense, both self-possessed and low-key. I hadn’t seen Danny in over a decade, and being blind can’t see him now, but to my mind he will always be a slightly paunchy fellow, bespectacled and bald save for an emoticon of facial hair.
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Unfettered by the constraints of editorial illustration, when his imagination was given free reign, Hellman’s work could get pretty fucking twisted. Apart from the commercial illustration work, he was also a cartoonist, drawing occasional strips for SCREW magazine, contributing toThe Big Book Of… anthology series, putting out his own mini comic, Peaceful Atom and the Mystery Mice, and even doing an issue of Aquaman for DC. They all had unique styles, all were blessed with their own brilliance, but Hellman’s illustrations were unmistakable, marked by clean lines, perfect detail, and a seemingly natural facility for sharp caricature. Hellman was one of the paper’s foremost illustrators, at a time when the Press boasted a staggering array of notable artists from the world of indie comics, including Tony Millionaire, Kaz, Sam Henderson, Michael Kupperman, Russel Christian, and Ben Katchor. I first met Danny Hellman at the Press a few years earlier.
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When the editors finally recognized this, and furthermore learned who was penning the weekly angry missives, the last of the series ran under the headline “Good Career Move.” Read them all together, and it was obvious they were a prank. Read them individually, and they seemed utterly sincere. Each was written by a woman of different ethnic origin, who had been deeply offended by an innocuous story in the previous issue, using that as an excuse to launch a vicious assault on the paper as a whole. It took five or six weeks, after dutifully running the letters in the mail section, for the paper’s editors to notice each of the letters seemed to have been written off the same template. William Shatner’s, circa TJ Hooker (1982)Īt some point in the late nineties, a series of letters began arriving at the NYPress, the alternative weekly where I was working as a staff writer.
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Two Faces Danny Hellman Did Not Like Drawing: “Pretending to be living people is fun but perilous, pretending to be imaginary people is fun and far less risky.”