Tom Tomorrow is the pen name of editorial cartoonist Dan Perkins, creator of the weekly political cartoon, This Modern World, which appears in approximately 80 newspapers across the U.S., and on websites such as Daily Kos, Truthout and Credo. His work has appeared in publications including The New York Times, The New Yorker, Spin, Mother Jones, Esquire, The Economist, The Nation, U.S. News and World Report, and The American Prospect, and has been featured on Countdown with Keith Olbermann. From 1999-2001, he worked on a series of animated web cartoons which can be viewed here. In 2009, he created the cover art for the Pearl Jam album Backspacer. In 2011 he ended a 16 year run at Salon to create and edit a new comics section at Daily Kos. He has published nine anthologies of his work: –Greetings From This Modern World (1992) –Tune in Tomorrow (1994) –The Wrath of Sparky (1996) –Penguin Soup for the Soul (1998) –When Penguins Attack (2000) (introduction by Dave Eggers) –The Great Big Book of Tomorrow (2003) –Hell in a Handbasket (2006) –The Future’s So Bright I Can’t Bear to Look (2008) Too Much Crazy (2010) He is also the author of a book for children, The Very Silly Mayor (2009). He received the first place Robert F. Kennedy Award for Excellence in Journalism in 1998 and in 2003. Other honors include: 1993: Media Alliance Meritorious Achievement Award 1995: Society of Professional Journalists James Madison Freedom of Information Award 2000: Association for Education in Journalism and Education, Professional Freedom and Responsibility Award 2001: James Aronson Award for Social Justice Journalism 2004: Altweekly Award, 2nd Place 2006: Altweekly Award, 3rd Place Tom Tomorrow is available for speaking engagements. For further information, contact tomtomorrow (at) gmail (dot) com. He is also currently in the market for a new publisher, if anyone’s interested.

Scott Douglas Cunningham was the author of dozens of popular books on Wicca and various other alternative religious subjects. Today the name Cunningham is synonymous with natural magic and the magical community. He is recognized today as one of the most influential and revolutionary authors in the field of natural magic. Scott Cunningham was born at the William Beaumont Hospital in Royal Oak, Michigan, USA, the second son of Chester Grant Cunningham and Rose Marie Wilhoit Cunningham. The Cunningham family moved to San Diego, California in the fall of 1959. The family moved there because of Rose Marie's health problems. The doctors in Royal Oak declared the mild climate in San Diego ideal for her. Outside of many trips to Hawaii, Cunningham lived in San Diego until his death. Cunningham had one older brother, Greg, and a younger sister, Christine. When he was in high school he became associated with a girl whom he knew to deal in the occult and covens. This classmate introduced him to Wicca and trained him in Wiccan spirituality. He studied creative writing at San Diego State University, where he enrolled in 1978. After two years in the program, however, he had more published works than several of his professors, and dropped out of the university to write full time. During this period he had as a roommate magical author Donald Michael Kraig and often socialized with witchcraft author Raymond Buckland, who was also living in San Diego at the time. In 1980 Cunningham began initiate training under Raven Grimassi and remained as a first-degree initiate until 1982 when he left the tradition in favor of a self-styled form of Wicca. In 1983, Scott Cunningham was diagnosed with lymphoma, which he successfully battled. In 1990, while on a speaking tour in Massachusetts, he suddenly fell ill and was diagnosed with AIDS-related cryptococcal meningitis. He suffered from several infections and died in March 1993. He was 36. Wikipedia, the free encyclopedia

American alternative cartoonist and illustrator, best known for his autobiographical, political, and social observations. Kuper's work in comics and illustration frequently combines techniques from both disciplines, and often takes the form of wordless comic strips. Kuper remarked on this, "I initially put comics on one side and my illustration in another compartment, but over the years I found that it was difficult to compartmentalize like that. The two have merged together so that they're really inseparable."