GOLDENROD BEER Katzenjammer Kids “COMICAPS”

Total Page:16

File Type:pdf, Size:1020Kb

GOLDENROD BEER Katzenjammer Kids “COMICAPS” 2 Winter 2004 Bottles and Extras GOLDENROD BEER Fig. 2 Katzenjammer Kids “COMICAPS” by Cecil Munsey Fig. 3 Copyright © 2003 Bottle caps are among America’s At the end of the day I showed the caps favorite collectibles. Ah yes, just go to to my wife. Of course, she asked how www.ebay.com on the Internet and much they had cost me. I was going to indicate you want to see bottle caps for lie about the price but decided quickly to Kids Comicaps are one of the rarest sets sale. Today, as an example, there are 852 tell her the truth. She winced, as I would [of bottle caps] in the world. They were lots (groupings), of bottle caps for sale. have had the circumstances been reversed, produced for Goldenrod’s Beer and Ale Since they are crown caps they are mostly but said nothing. She’s good that way. I products during the years 1935 and 1936. from soft drink and beer bottles. Go have learned to treat her indulgences at There are a total of 8 crowns in the set: figure… Neiman Marcus with the same courtesy. Hans, Fritz, Mamma, the Captain, As most bottle collectors do know, the I think that has taught each of us the self- Boggles, the Prince, the Inspector, and the first Crown Cap was invented by William control necessary to carry on a marriage Director” – (Figure 1). Painter of Baltimore, Maryland in 1892 between a collector and a shopper. But I and was a metal enclosure with a cork digress… The Comic Strip lining. As most bottle collectors do not The bottle caps are not just bottle caps. know, the initial caps were purchased and They are caps featuring most of the The creator of the Katzenjammer Kids used by the American Brewing Co. of famous comic strip characters from was Rudolph Dirks (Figure 2) who was Baltimore, Maryland. Several hundred “The Katzenjammer Kids” drawn by born in 1877 in Heinde, Germany. His cases of American Brewing Co. beer were Rudolph Dirks. From close examination family came to America in 1884 settling used as ballast in a ship bound for London of the bottle caps I quickly learned they in Chicago. His cartoons appeared in and when the ship returned the bottles were copyrighted in 1935 and were part Judge magazine as early as 1894, and were still full with their Crown Caps of a series used on bottles of Goldenrod Life magazine shortly thereafter. In 1897 intact. Again, go figure… Beer and Goldenrod (Over the next 10-20 years, after 1892, Ale of Brooklyn, nearly all beer and soda bottles had a New York. crown cap. The cork liner remained in To me the caps place until the mid- to late-1960s when it were so fascinating was replaced by a plastic or vinyl lining. I spent over a year Today the aluminum screw top and plastic tracking down the screw top have replaced many of the history of them and traditional crowns.) the brewery (see chronology at end of Katzenjammer Kids “COMICAPS” article) that selected them for its beer. While attending one of the annual It has been a great bottle and collectibles shows in Las Vegas, trip and one that I found six full-color bottle caps that I fell readers might find in love with. But I felt they were greatly interesting. For me, overpriced at $15 apiece. I laughed to just collecting isn’t myself and walked away. But having enough. I am learned the lesson many years ago about joyously compelled to not buying something I really wanted and research and write then regretting the decision for months about the things I and sometimes years later, I decided not collect. Dessert is to put myself through the inevitable sharing the results. misery. I went back to the dealer. We According to the dickered a bit and he let me acquire the Crown Cap Museum: bottle caps for the “bargain” price of all http:www.geocities.com/ six for $80. I hugged my conscience with crowncapmuseum/ the rationalization that I had “saved” $10 katzenja.htm “… in the deal. the Katzenjammer Bottles and Extras Winter 2004 3 he found his way to Hearst’s Journal American where John Dirks. he was asked by editor Rudolph Block to create a Rudolph Dirks is recognized as the most strip that would compete with the Yellow Kid at important of the founding comic artists in Joseph Pulitzer’s The World. the world because of his pioneering use of a Dirks suggested his version of Germany’s Max panelized continuity and in-panel dialogue. He und Moritz, a very successful comic strip in died in New York on April 20, 1968 at Germany. The Katzenjammer Kids first 91 years of age. appeared in the Sunday comics’ section of newspapers on December 12, 1897. The The Brewery main characters were Mamma Katzenjammer, her twin sons, Hans The Goldenrod Brewery, (Figure 3) and Fritz, and eventually, Inc., that was the only beer the long-suffering target of their manufacturer to ever use the mischief, The Captain. The Katzenjammer Kids on bottle Strip is an “ethnic” one. All caps (1935), history reveals was of the characters speak with a 75-year old brewery at the time. a German accent. “Just” A German immigrant, Otto becomes “chust,” “we” Huber, Sr., who had worked for becomes “ve,” and the other breweries in Brooklyn, Captain is, “Der Captain.” established his own plant in the late In the early decades of the 1860s. He purchased the Hoerger strip’s existence, the Katzenjammer Brewery in 1866 and built the new Fig. 1 family engaged in adventures all over the plant into what became one of the world. Ultimately, they settled on a tropical largest and most productive breweries in island [easier to draw maybe?]. The continuing Brooklyn. After his death in 1889, his and repeated theme centered around the ability sons (Otto, Jr., Joseph, Charles, and Max) of Hans and Fritz to pull creative pranks, get into trouble as a managed the company and it remained a family enterprise until result, and end up being hunted down and spanked over 1920 (during Prohibition) when it was sold to Edward Hittleman, somebody’s knee in the last panel. who While the strip began in 1897 (see above),”Der Captain” re-named the brewery after himself. Hittleman produced near was not a member of the cast for the first five years. He first beer until repeal of Prohibition, and in 1934 he changed the appeared on August 31, 1902. Nor was he ever married to name of the company to Hittleman-Goldenrod Brewery. Mrs. Katzenjammer. Rather, the old sea dog was a boarder or, Goldenrod was a traditional brand name dating to the Huber if you will, a live-in companion. Brewery. The comic bottle caps were a part of the program to The other major cast member, “Der Inspector,” first appeared regain the beer market lost during Prohibition. on January 15, 1905. He was not an inspector in the ordinary After being re-named Edlebrau after a popular beer, it was sense of the word, but, rather, an officer of the school system. changed to Edlebrew in 1946. Not long after Hittleman’s death (Unfortunately I was not able to obtain a bottle cap featuring in 1951 at age 68, the brewery closed. “Der Inspector” and “Der Director.”) 1860 – 1951 BREWERY CHRONOLOGY A Lawsuit 242 Maserole Street & Bushwick Avenue, Brooklyn, After drawing a weekly Katzenjammer Kids comic strip for New York 15 years or so, Rudolph Dirks wanted to take a break. His boss at the Hearst newspaper syndicate didn’t agree. Dirks left 1860-1889 Otto Huber anyway and his duties drawing the strip were assigned to other 1889-1920 Otto Huber Brewery artists. 1920-1934 E. B. Hittleman Brewery, Inc. Dirks felt that he owned the right to his characters and a 1934-1937 Goldenrod Brewery, Inc. lawsuit followed. The popular strip dropped out of the Sunday 1937-1946 Edelbrau Brewery, Inc. funnies for more than a year. Ultimately, artist Harold H. Knerr 1946-1951 Edelbrew Brewery, Inc. continued the Katzenjammer Kids for the Hearst papers. The court awarded Dirks the right to continue drawing his characters, so long as they were not entitled “The Katzenjammer Kids.” Dirks went to the rival Pulitzer newspaper The World, and the end result was that two separate, but very similar strips Cecil Munsey appeared weekly. “The (original) Katzenjammer Kids,” drawn 13541 Willow Run Road by Knerr) and “The Captain and the Kids,” drawn by Dirks, Poway, CA 92064-1733 ran in competing Sunday papers for more than half a century. (858) 487-7036 Dirks drew his characters until 1958, after which having drawn [email protected] the strip for 61 years, he handed it over to his son.
Recommended publications
  • Hergé and Tintin
    Hergé and Tintin PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Fri, 20 Jan 2012 15:32:26 UTC Contents Articles Hergé 1 Hergé 1 The Adventures of Tintin 11 The Adventures of Tintin 11 Tintin in the Land of the Soviets 30 Tintin in the Congo 37 Tintin in America 44 Cigars of the Pharaoh 47 The Blue Lotus 53 The Broken Ear 58 The Black Island 63 King Ottokar's Sceptre 68 The Crab with the Golden Claws 73 The Shooting Star 76 The Secret of the Unicorn 80 Red Rackham's Treasure 85 The Seven Crystal Balls 90 Prisoners of the Sun 94 Land of Black Gold 97 Destination Moon 102 Explorers on the Moon 105 The Calculus Affair 110 The Red Sea Sharks 114 Tintin in Tibet 118 The Castafiore Emerald 124 Flight 714 126 Tintin and the Picaros 129 Tintin and Alph-Art 132 Publications of Tintin 137 Le Petit Vingtième 137 Le Soir 140 Tintin magazine 141 Casterman 146 Methuen Publishing 147 Tintin characters 150 List of characters 150 Captain Haddock 170 Professor Calculus 173 Thomson and Thompson 177 Rastapopoulos 180 Bianca Castafiore 182 Chang Chong-Chen 184 Nestor 187 Locations in Tintin 188 Settings in The Adventures of Tintin 188 Borduria 192 Bordurian 194 Marlinspike Hall 196 San Theodoros 198 Syldavia 202 Syldavian 207 Tintin in other media 212 Tintin books, films, and media 212 Tintin on postage stamps 216 Tintin coins 217 Books featuring Tintin 218 Tintin's Travel Diaries 218 Tintin television series 219 Hergé's Adventures of Tintin 219 The Adventures of Tintin 222 Tintin films
    [Show full text]
  • The Yellow Kid and the Birth of the American Comics
    Syracuse University SURFACE The Courier Libraries Spring 1993 "Say! Dis Is Grate Stuff": The Yellow Kid and the Birth of the American Comics Richard D. Olson University of New Orleans Follow this and additional works at: https://surface.syr.edu/libassoc Part of the Arts and Humanities Commons Recommended Citation Olson, Richard D., ""Say! Dis Is Grate Stuff": The Yellow Kid and the Birth of the American Comics" (1993). The Courier. 305. https://surface.syr.edu/libassoc/305 This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY LIB RA RY ASS 0 C I ATE S CO.URIER VOLUME XXVIII, NUMBER 1, SPRING 1993 SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOL UME XXVIII NUMBER ONE SPRING 1993 An Interview with Barney Rosset, Former Chairman and President ofGrove Press By Mary Beth Hinton, Editor 3 Syracuse University Library Associates Courier "Say! Dis is Grate Stuff": The Yellow Kid and the Birth ofthe American Comics By Richard D. Olson, Research Professor ofPsychology, 19 University ofNew Orleans National Service: A Forty-Three-Year Crusade By DonaldJ. Eberly, Executive Director, 35 National Service Secretariat, Washington, D.C. Hey, Why Don't We Start an External High School Diploma Program? By Patricia King, External Diploma Program Assessor, 55 Onondaga-Cortland-Madison BOCES; and Mary Beth Hinton, Editor Syracuse University Library Associates Courier Portrait ofa City: Syracuse, the Old Home Town ByJohn A. Williams, Novelist andJournalist 65 Introduced by Robert Phillips, Professor ofEnglish and Director ofthe Creative Writing Program, University ofHouston News ofthe Syracuse University Library and the Library Associates 89 This issue is dedicated with gratitude and affection to Gwen G.
    [Show full text]
  • An Exploration of Comics and Architecture in Post-War Germany and the United States
    An Exploration of Comics and Architecture in Post-War Germany and the United States A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Ryan G. O’Neill IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Rembert Hueser, Adviser October 2016 © Ryan Gene O’Neill 2016 Table of Contents List of Figures……………………………………………………………………………………...……….i Prologue……………………………………………………………………………………….....…1 Introduction………………………………………………………………………………………...8 Chapter 1: The Comic Laboratory…………………………………………………...…………………………………….31 Chapter 2: Comics and Visible Time…………………………………………………………………………...…………………..52 Chapter 3: Comic Cities and Comic Empires………………………………...……………………………...……..…………………….80 Chapter 4: In the Shadow of No Archive…………………………………………………………………………..…….…………114 Epilogue: The Painting that Ate Paris………………………………………………………………………………...…………….139 Works Cited…..……………………………………………………………………………..……152 i Figures Prologue Figure 1: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 2: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 3: Image of Vitra Feuerwehrhaus Uncredited. https://www.vitra.com/de-de/campus/architecture/architecture-fire-station Figure 4: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Introduction Figure 1: Goscinny, René (w), Alberto Uderzo (i). Die Trabantenstadt. trans. Gudrun Penndorf. Stuttgart: Ehapa Verlag GmbH, 1974. Pp.28-29. Print. Figure 2: Forum at Pompeii, Vitruvius Vitrubius. The Ten Books on Architecture. trans. Morris Hicky Morgan, Ph.D., LL.D. Illustrations under the direction of Herbert Langford Warren, A.M. pp. 132. Print. Figure 3: Töpffer, Rodolphe.
    [Show full text]
  • October 2019
    October 2019 HARVARD MEDICAL TIPS The gut-brain connection is no joke; it can link anxiety to stomach problems and vice versa. Have you ever had a "gut-wrenching" experience? Do certain situations make you "feel nauseous"? Have you ever felt "butterflies" in your stomach? We use these expressions for a reason. The gastrointestinal tract is UPCOMING EVENTS sensitive to emotion. Anger, anxiety, sadness, elation — all of these feelings (and others) can trigger symptoms in the gut. CELEBRATE THANKSGIVING WITH PIE AND FAMILY/FRIENDS GARNEAU KIDS COMING FOR HALLOWEEN ALL RESIDENT MEETING HARVEST VENDOR FAIR BUS $5 FREE ADMISSION The brain has a direct effect on the stomach and intestines. For example, the very thought of eating can release the stomach's juices before food gets there. This connection goes both ways. SHOP EASY FASHIONS A troubled intestine can send signals to the brain, just as a troubled brain can send signals to the gut. Therefore, a person's stomach or intestinal distress can be the cause or the product of ELECTIONS CANADA anxiety, stress, or depression. That's because the brain and the gastrointestinal (GI) system are intimately connected. ESL STUDENTS This is especially true in cases where a person experiences gastrointestinal upset with no obvious physical cause. For such ARMCHAIR TRAVEL functional GI disorders, it is difficult to try to heal a distressed gut without considering the role of stress and emotion. PRESENTATIONS ON HEALTH RELATED Given how closely the gut and brain interact, it might seem obvious that the pair often influence each other. Some people TOPICS (see calendar for feel nauseated before giving a presentation; others feel dates/posters for details) intestinal pain during times of stress.
    [Show full text]
  • Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
    Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide
    [Show full text]
  • Comic Strips in the Teaching of English As a Foreign Language
    DOCUMENT RESUME ED 056 591 FL 002 694 AUTHOR Elkins, Robert J.; Bruggemann,christian TITLE Comic Strips in the Teaching of English as aForeign Language. PUB DATE Feb 71 NOTE 20p.; Paper presented to a conference onthe teaching of English, Kassel, West Germany,February 5-6, 1971 EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS *American English; *Cartoons; *ClassroomMaterials; Cultural Context; *Cultural Education;*English (Second Language); Humor; InstructionalMaterials; Language Enrichment; r'.eadingMaterial Selection; Satire; Second Language Learning ABSTRACT American comic strips and cartoons canbe useful in English-as-a-second-language classes. Theyintroduce variety and provide an inside look into Americanlife and thought. Many current popular comic strips have cultural,social, and political significaace. and discuss the American wayof life, society, and the individual. The English-as-a-second-languageteacher must consider certain evaluative questions beforeusing a particular comic strip. Technical problems about vocabularyand use of colloquialisms must also be kept in mind. (VM) U.S. DEPARTMENT OF HEALTH, EDUCATION& WELFARE OFFICE OF EDUCATION r-4 THIS DOCUMENT HAS BEEN REPRODUCEDEXACTLY AS RECEIVED FROM THE POINTS OF VW OR OPMIONS Cr PERSON OR ORGANIZATION ORIGINAIINGIT. OFFICIAL OFFICE Of EDUCATION LrN STATED DO NOT NECESSARILY REPRESENT .0 mninoNOR POUCY. c:) COMIC STRIPS IN THE TEACHING C:3 LAJ OF ENGLISH AS A FOREIGN LANGUAGE Robert J. Elkins and Christian Erliggemann Language teachers as well asother teachers are constantly searching for new methods andtechniques to improve their teaching them in effectiveness. Often the materials which could assist their task are flaunted in theirfaces without teachers being aware comic strips of them.
    [Show full text]
  • 2013 Syndicate Directory
    2013 Syndicate Directory NEW FEATURES CUSTOM SERVICES EDITORIAL COMICS POLITICAL CARTOONS What’s New in 2013 by Norman Feuti Meet Gil. He’s a bit of an underdog. He’s a little on the chubby side. He doesn’t have the newest toys or live in a fancy house. His parents are split up – his single mother supports them with her factory job income and his father isn’t around as often as a father ought to be. Gil is a realistic and funny look at life through the eyes of a young boy growing up under circumstances that are familiar to millions of American families. And cartoonist Norm Feuti expertly crafts Gil’s world in a way that gives us all a good chuckle. D&S From the masterminds behind Mobilewalla, the search, discovery and analytics engine for mobile apps, comes a syndicated weekly column offering readers both ratings and descriptions of highly ranked, similarly themed apps. Each week, news subscribers receive a column titled “Fastest Moving Apps of the Week,” which is the weekly hot list of the apps experiencing the most dramatic increases in popularity. Two additional “Weekly Category” features, pegged to relevant news, events, holidays and calendars, are also available. 3TW Drs. Oz and Roizen give readers quick access to practical advice on how to prevent and combat conditions that affect overall wellness and quality of life. Their robust editorial pack- age, which includes Daily Tips, a Weekly Feature and a Q & A column, covers a wide variety of topics, such as diet, exercise, weight loss, sleep and much more.
    [Show full text]
  • On the History and Hermeneutics of Comics
    Christian Wessely On the History and Hermeneutics of Comics ABSTRACT What is a comic? The simple answer states that a comic is a drawn story that is pic- ture- rather than text-oriented and told serially. In other words, a comic is a type of illustration. Realism is not its goal; rather a narrative is developed through reduction according to specific stylistic means. I start this article with a definition of the term “comic”, and move on to highlight the complexity of the comic and to argue that insight into this complexity is neces- sary for its correct interpretation. Only then can we recognise that the comic is not only entertaining but also, in its own way, a vehicle for content that might be system confirming and propagandistic but can also be system critical. Doing so allows us to see the potential of the comic that is embedded in its particular affinity with nonlinear interactive audiovisual media. KEYWORDS History of comics, hermeneutic of comics, illustrative language, dissident potential, propagandistic potential BIOGRAPHY Master Craftsman Diploma and Engineer for Agriculture (HBLFA Raumberg-Gumpen- stein, 1984/1991); Mag. theol. (1991, distinction); Dr. theol. (Fundamental Theology; thesis on Mythological Structures in Entertainment Industry, Frankfurt: Lang 1995, distinction). Habilitation in Fundamental Theology (2004; thesis: Gekommen, um zu dienen, Regensburg: Pustet 2005). Director of the Institute for Fundamental Theology at the Karl-Franzens-University Graz, Austria, since 2014. My principal area of expertise, Catholic fundamental theology, is not exactly known for its affinity with comics. Until the 1970s, comics were generally -ig nored by scholars; subsequently they were either vilified as an inferior genre or, worse, interpreted eisegetically.
    [Show full text]
  • Lesclat Dels Comics Desplegabl
    L´Esclat dels còmics Then, suddenly, it occurred to someone that they did no have 8th November 2018 – enough with just humorous characters, that there was another, 20th January 2019 more adult world of adventure out there. A world of adventurers ARTS SANTA MÒNICA like Buck Rogers and Tarzan, or the gangsters of Dick Tracy, who Centre de la creativitat would give way to Secret Agent X-9 from a budding Alex Raymond and a tortured Dashiell Hammett. And then Madrake, Terry and the Pirates, Jungle Jim and Flash Gordon – both in one go. And the Arthurian saga of the great Prince Valiant: the best Curator: Enric Trilles series that would ever be done on a character. The comic was growing up. Sub-curator and graphic Comics were an industrial art, as much industry as art. Or more designer: Valeria Suárez industry than an art. And the survival of their artists, better and better paid but never enough, was as important as their pride or Exhibition and assembly their creative instinct. This premise denes Richard Felton design: Àlex Muñoz Outcault, but also Ricard Opisso, Manuel Gago, Josep Sanchis or Francisco Ibáñez. limelight, opened the door to the modern comic in Spain. Assembly: GAMI S.C.P. The art lay in combining pen and brush marks. Later the dry brush, To build on this success, the Barcelona publishing house Molino dotted patterns and colour gradients were introduced. With two took the heroes Parenti did not publish and put them in Mickey, a objectives. One was to go further and overcome the expressive magazine launched in 1935 where Disney's characters, exclusively, Production: barriers of earlier cartoonists.
    [Show full text]
  • "The Cheapening of the Comics" by Bill Watterson
    The Cheapening of the Comics Bill Watterson A speech delivered at the Festival of Cartoon Art, Ohio State University October 27, 1989 I received a letter from a 10-year-old this morning. He wrote, "Dear Mr. Watterson, I have been reading Calvin and Hobbes for a long time, and I'd like to know a few things. First, do you like the drawing of Calvin and Hobbes I did at the bottom of the page? Are you married, and do you have any kids? Have you ever been convicted of a felony?" What interested me about this last question was that he didn't ask if I'd been apprehended or arrested, but if I'd been convicted. Maybe a lot of cartoonists get off on technicalities, I don't know. It also interests me that he naturally assumed I wasn't trifling with misdemeanors, but had gone straight to aggravated assaults and car thefts. Seeing the high regard in which cartoonists are held today, it may surprise you to know that I've always wanted to draw a comic strip. My dad had a couple of Peanuts books that were among the first things I remember reading. One book was called "Snoopy," and it had a blank title page. The next page had a picture of Snoopy. I apparently figured the publisher had supplied the blank title page as a courtesy so the reader could use it to trace the drawing of Snoopy underneath. I added my own frontispiece to my dad's book. and afterward my dad must not have wanted the book back because I still have it.
    [Show full text]
  • One Fine Sunday in the Funny Pages” Exhibit
    John Read is the creator and curator of the “One Fine Sunday in the Funny Pages” exhibit. A freelance cartoonist, John also teaches cartooning to children and is the publisher and editor of Stay Tooned! Magazine, considered the trade journal of the craft. The Comic Mode The comic strip provides a colorful and humorous respite from the serious and often tragic news that precedes it. There are many reasons for reading the “funny pages”; from the basic need to be entertained, to the desire to escape for a moment into what seems a playful combination of a joke and a sequence of images that illustrate the nonsense and play that generates it. Yet, what really constitutes the “comic” in a comic strip? Are they simply funny, as in Blondie, Garfield or Hagar the Horrible? Or do we sense underlying tones of irony, satire, political and social commentary as evidenced in Doonesbury, Non Sequitur, and Between Friends? How are we to understand the double entendre, the sting of wit or the twist of the absurd that infuses so many contemporary comic strips? It would seem that as in dreams, there are many levels to the comic mode. On the first take, the superficial or manifest appeal generates a smile or laughter. But as with many dreams and good jokes, there is the second take, a latent need to establish or defy meaning as embedded within the structure of the images themselves. The paradox or playfulness of the comic strip partially lies in discovering the truth in the nonsensical aspects of day-to-day living.
    [Show full text]
  • Typical Girls: the Rhetoric of Womanhood in Comic Strips Susan E
    Typical girls The Rhetoric of Womanhood in Comic Strips Susan E. Kirtley TYPICAL GIRLS STUDIES IN COMICS AND CARTOONS Jared Gardner and Charles Hatfield, Series Editors TYPICAL GIRLS The Rhetoric of Womanhood in Comic Strips SUSAN E. KIRTLEY THE OHIO STATE UNIVERSITY PRESS COLUMBUS COPYRIGHT © 2021 BY THE OHIO STATE UNIVERSITY. THIS EDITION LICENSED UNDER A CREATIVE COMMONS ATTRIBUTION- NONCOMMERCIAL-NODERIVS LICENSE. THE VARIOUS CHARACTERS, LOGOS, AND OTHER TRADEMARKS APPEARING IN THIS BOOK ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS AND ARE PRESENTED HERE STRICTLY FOR SCHOLARLY ANALYSIS. NO INFRINGEMENT IS INTENDED OR SHOULD BE IMPLIED. Library of Congress Cataloging-in-Publication Data Names: Kirtley, Susan E., 1972– author. Title: Typical girls : the rhetoric of womanhood in comic strips / Susan E. Kirtley. Other titles: Studies in comics and cartoons. Description: Columbus : The Ohio State University Press, [2021] | Series: Studies in comics and cartoons | Includes bibliographical references and index. | Summary: “Drawing from the work of Lynn Johnston (For Better or For Worse), Cathy Guisewite (Cathy), Nicole Hollander (Sylvia), Lynda Barry (Ernie Pook’s Comeek), Barbara Brandon-Croft (Where I’m Coming From), Alison Bechdel (Dykes to Watch Out For), and Jan Eliot (Stone Soup), Typical Girls examines the development of womanhood and women’s rights in popular comic strips”—Provided by publisher. Identifiers: LCCN 2020052823 | ISBN 9780814214572 (cloth) | ISBN 0814214576 (cloth) | ISBN 9780814281222 (ebook) | ISBN 0814281222 (ebook) Subjects: LCSH: Comic strip characters—Women. | Women in literature. | Women’s rights in literature. | Comic books, strips, etc.—History and criticism. Classification: LCC PN6714 .K47 2021 | DDC 741.5/3522—dc23 LC record available at https://lccn.loc.gov/2020052823 COVER DESIGN BY ANGELA MOODY TEXT DESIGN BY JULIET WILLIAMS TYPE SET IN PALATINO For my favorite superhero team—Evelyn, Leone, and Tamasone Castigat ridendo mores.
    [Show full text]