Nancy Is Happy: Complete Dailies 1942-1945 Free

Total Page:16

File Type:pdf, Size:1020Kb

Nancy Is Happy: Complete Dailies 1942-1945 Free FREE NANCY IS HAPPY: COMPLETE DAILIES 1942-1945 PDF Ernie Bushmiller,Daniel Clowes,Chris Ware | 432 pages | 16 Mar 2012 | Fantagraphics | 9781606993606 | English | Seattle, United States Sogioka's Paintings - 50 Objects Where does your story with camp begin? How were you first introduced to Camp Lake Hubert? Nearly my entire family has been, and continues to be involved in camp. I am certain that I have mistakenly left someone off of this list. Did any of your family members attend or work at camp? My dad, Robert Falk,attended Camp Lincoln in the s and s. He would take the train from Omaha to the old train station at the north end of Lake Hubert. I love that camp is a tradition for our entire family! Each of my siblings were campers at Lincoln and Hubert. My sister, Carolyn Falk Sund, worked as a counselor and Jr. Camp Director, my brother, Carl Falk, worked as a counselor at Camp Lincoln, and my sister, Nancy Falk Ayoub, works to spread the word about the benefits of camp and hosts camp movies each year in Omaha. What are some of the things you learned at camp? Favorite activities? I learned to make independent and thoughtful decisions, to find confidence in myself, and the value of relationships that cross cultures, traditions, and miles. During my last summer as a camper LTI drove myself to camp. I thought it was Nancy is Happy: Complete Dailies 1942-1945 that my car was parked in the staff lot the whole month. I never did try to drive away from camp though — but, then again, who would? When Claire was deciding which city to fly into, I was able to convince her that only airplanes carrying cattle flew into Lincoln. She flew into Omaha and I was able to spend a few extra hours with her! I need to apologize to Sarah, as this was a selfish act Nancy is Happy: Complete Dailies 1942-1945 my part. To be fair, I did get to spend time with Sarah throughout Nancy is Happy: Complete Dailies 1942-1945 rest of the year! Canoe trips were not optional during my days at camp. I would have preferred to stay at camp but the trips were always an opportunity for making great memories. The beauty and peacefulness of the Boundary Waters is second to none. I made several of my closest and most enduring friendships during those darn and rainy! Nancy is Happy: Complete Dailies 1942-1945 creates hearty kids that can find the fun and positives in ANY situation! We spent many early mornings and late nights Nancy is Happy: Complete Dailies 1942-1945 care of and learning about horses. During my senior year of high school, I was thrilled to find out that Dana Lynn was planning to attend the same university. We ended up choosing to be roommates our first year of college. Talk about a great and easy welcome to college life! What is your favorite camp quote, and when was it from? I continue to be thankful for his guidance and leadership, which has helped me and, I imagine, so many others through tough losses and life experiences. Two years ago, my father Bob Falk passed away. At his funeral were Bill, Claire, and Sarah. We tend to naturally find strength in the many experiences and people in our lives. However, in that particular moment, I realized the impact that camp experiences and friendships had provided me. Camp gave me a solid foundation in life, upon which I rely and draw strength from each and every day. What was your favorite camp meal or dining tradition? The Rally Day feast, including corn dogs! Can you elaborate on any lasting friendships you have from camp? Camp friendships can pick up again seamlessly. Our girls attended the YMCA day camp during the summer. I always looked up to Julie when I was a camper — what an honor it was to visit with and hear about her life and travels. Each summer, Claire, Sarah, and I make an attempt to visit each other while in northern Minnesota. These friendships are invaluable! And, watching our children nine in total run and play together is perfection! What did you love most about camp? What is the biggest take-away you have from your Nancy is Happy: Complete Dailies 1942-1945 at Camp Lake Hubert? The traditions Nancy is Happy: Complete Dailies 1942- 1945 camp and the connection that camp gave me to my Dad. He knew that camp would provide me with a safe place to grow and learn, which camp delivered on time and time again. Thank you, Dad! What are you up to now? Tell us about your life and interests. Life is amazing and chaotic. I try to be mindful of each experience and not get lost in the planning for the next activity, project, etc. I am proud that my work helps to support education and positive experiences in youth. How do the lessons learned and experiences gained from camp impact your daily life? In working for a school district, there are many unexpected and challenging situations to navigate through on a daily basis. These lessons are applied in my life on a daily basis. What a joy it is to be a camp mom! I have dreamt of these years ever since I was a camper and am thrilled to be able to offer the opportunity for my daughters, Kyla and Ava, to attend camp. I wish that I could secretly stay at camp to observe their experiences. I know that camp is for them now — but, how magical it would be to see camp through their eyes! We will meet in the land of dreams. And in the pale moonlight, good night. I would return to the shores of Hubert each summer — and would talk about camp throughout the rest of the year. He did send lots of letters and packages to me while I was on staff at camp — he definitely understood the importance of camp mail! We have been married nearly 12 years now, and he is always supportive of me sharing memories, camp songs, games, etc. Thank you, Kevin! I love camp — and, happily share my Nancy is Happy: Complete Dailies 1942-1945 with any and all who are interested in listening. Other parents question how I could send our 8-year old girls away to overnight camp in another state the girls were 7 their first summer at camp. One of the greatest gifts that we can give our children is the opportunity to step away from the hustle and bustle of their daily lives, to enjoy and appreciate nature, learn to roam and grow, and experience all of this independently — while in a safe and supportive environment. This environment is camp! Questions about Covid? Nancy Is Happy: Complete Dailies, – by Ernie Bushmiller He had worked on Fantasia, Dumbo and Bambi and was getting ready to hold his first solo show. Two years later, from a cramped barrack in the Arizona desert, where the rattlesnakes were as big as his arm, Gene put the finishing touches on what was to become his artistic legacy: a unique record of the mass incarceration of Japanese Americans during World War II. He had taken some of his artwork with him and was subsequently hired by a government project to document what he saw. Free to paint without constraints, Sogioka created watercolors between Gene Sogioka, The artist also left behind quick washes of comic relief and caricature. Imprisoned bodies are freely in motion — dancing, brawling, bathing and ready for intimacy in a barrack without privacy. Youthful dissent is seen in a watercolor of two boys who spit at an FBI agent, after he walks by. Some paintings show incidents that Sogioka was unlikely to have witnessed, such as stealth night attacks on suspected informers. Gene Sogioka, c Sadakichi and Setsu Sogioka sent him to rural Hiroshima when he was a Nancy is Happy: Complete Dailies 1942-1945 and he spent his childhood and early adolescence there, until age After returning to Los Angeles, he struggled to catch up at Covina Union High School while helping with farm chores at dawn. He studied at Pomona College for two years but left after racial exclusion from housing and social clubs convinced him that a four-year degree would not lead to Nancy is Happy: Complete Dailies 1942-1945 job. He decided to follow his love of art and Nancy is Happy: Complete Dailies 1942-1945 a scholarship to attend the Chouinard Art Institute in Los Angeles. After graduating, Sogioka taught for two years at Scripps College before getting hired by Disney. In lateSogioka was cleared by authorities to leave Poston for New York Nancy is Happy: Complete Dailies 1942-1945, ahead of his wife, Minnie, and their daughter, Cecile, 2. Without a bank account and so malnourished that he was rejected for service by the U. In35 years after the war ended, the wartime artwork was discovered in upstate New Nancy is Happy: Complete Dailies 1942-1945, rolled up in attic cartons on the campus of Cornell University. Gene was stunned to learn of their existence after so many decades. Researchers visited him at his home in Larchmont, N. He died the year after the book came out, at age The watercolors had been left to Cornell University by Leighton, but he specified that the copyright remain with the Sogioka family. And that made it more exciting and more personal. And so I went on an adventure of finding relatives that I knew about but had never met.
Recommended publications
  • Yellow Nancy, a Graphic Narrative Susan Borchek Smith Eastern Illinois University
    Eastern Illinois University The Keep 2016 Awards for Excellence in Student Research 2016 Awards for Excellence in Student Research and Creative Activity - Documents and Creative Activity Spring 2016 Yellow Nancy, a graphic narrative Susan Borchek Smith Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/lib_awards_2016_docs Part of the Creative Writing Commons, and the Illustration Commons Recommended Citation Borchek Smith, Susan, "Yellow Nancy, a graphic narrative" (2016). 2016 Awards for Excellence in Student Research and Creative Activity - Documents. 3. http://thekeep.eiu.edu/lib_awards_2016_docs/3 This Article is brought to you for free and open access by the 2016 Awards for Excellence in Student Research and Creative Activity at The Keep. It has been accepted for inclusion in 2016 Awards for Excellence in Student Research and Creative Activity - Documents by an authorized administrator of The Keep. For more information, please contact [email protected]. Visual Styles: Yellow Nancy Borchek Smith, S. March 2016 Page 1 Bill Griffith (written) Nancy Eats Food Page 2, 4, 5 & 10 Nancy Images Ernie Bushmiller Page 6 Ernie Bushmiller self-portrait Comics Journal Magazine Page 8 Wally Wood Mad Magazine #35 Page 11 Robert Rini 7 Deadly Sinners Annotated Biography: Yellow Nancy Borchek Smith, S. March 2016 Bushmiller, E., & Kitchen, J. (1989). Nancy eats food. Princeton, WI: Kitchen Sink Press. Artist Bill Griffith, creator of the comic “Zippy,” is just one of the many fans of Ernie Bushmiller. In the introduction to “Nancy Eats Food” (Kitchen Sink Press, 1989), Griffith writes, “Never has a comic strip been more simply or subtly created, or more underrated than Nancy.” Griffith has been reading “Nancy” since he was a kid in 1949, and as a respected underground comic artist, appreciates Bushmiller’s ability to create his “Nancy” comic strips with a “Zen-like mastery of form.” Griffith can speak knowing the success of comic artists.
    [Show full text]
  • An Aesthetic History of Comics Instructor: Dan Nadel
    NACAE National Association of Comics Art Educators An Aesthetic History of Comics Instructor: Dan Nadel This is a class about comics as a medium for expression. It focuses on the aesthetics of comics on and beyond the page. Comics are usually taught in terms of its dominant genres (superhero) and characters (Superman, etc.). This class will cover that history minimally, in favor of a strong focus on comics as a mode of expression (discussing drawing/mark making, storytelling mechanics) and as a graphic/commercial culture that defined many pop cultural icons/idioms and in turn influenced fine artists. This course will attempt to place comics firmly within the context of visual culture in general while continually arguing for the relevance and power of the printed image. Semester-long readings: Tom De Haven: Derby Dugan’s Depression Funnies, Dugan Goes Underground Kim Deitch: Boulevard of Broken Dreams McSweeney’s 13 Steven Milhauser: Little Kingdoms Patrick McDonnell, et al, Krazy Kat: The Comic Art of George Herriman Dan Raeburn: The Imp 4 This document is free for non-commercial educational use. See http://www.teachingcomics.org/copy.php for complete copyright information. NACAE National Association of Comics Art Educators UNIT 1: INTRODUCTION Week 1: Overview Historical and thematic overview of the course. Initial discussion: Reasons, interests, favorites, requests. Reading: Art Spiegelman, “Comix: An Idiosyncratic Historical and Aesthetic Overview,” 1988, in Comix, Essays, Graphics and Scraps. Chris Ware, Introduction to McSweeney’s 13. Handout with comics and odds and ends from DN Viewing: The University of Brighton’s Comics resource: http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComics.html UNIT 2: HISTORIES I Week 2: Artful beginnings Modern comics begin in the mid 19th century with the Swiss fine artist Rudolf Topffer, who created nonfiction and satiric graphic novels, and continues with Wilhelm Busch and numerous German artists who expanded the comics vocabulary.
    [Show full text]
  • Editor & Publisher International Year Books
    Content Survey & Selective Index For Editor & Publisher International Year Books *1929-1949 Compiled by Gary M. Johnson Reference Librarian Newspaper & Current Periodical Room Serial & Government Publications Division Library of Congress 2013 This survey of the contents of the 1929-1949 Editor & Publisher International Year Books consists of two parts: a page-by-page selective transcription of the material in the Year Books and a selective index to the contents (topics, names, and titles) of the Year Books. The purpose of this document is to inform researchers about the contents of the E&P Year Books in order to help them determine if the Year Books will be useful in their work. Secondly, creating this document has helped me, a reference librarian in the Newspaper & Current Periodical Room at the Library of Congress, to learn about the Year Books so that I can provide better service to researchers. The transcript was created by examining the Year Books and recording the items on each page in page number order. Advertisements for individual newspapers and specific companies involved in the mechanical aspects of newspaper operations were not recorded in the transcript of contents or added to the index. The index (beginning on page 33) attempts to provide access to E&P Year Books by topics, names, and titles of columns, comic strips, etc., which appeared on the pages of the Year Books or were mentioned in syndicate and feature service ads. The headings are followed by references to the years and page numbers on which the heading appears. The individual Year Books have detailed indexes to their contents.
    [Show full text]
  • Abandoned Cars
    ABANDONED CARS by Tim Lane APRIL $18.99 Paperback • Territory: E COMICS & GRAPHIC NOVELS / Literary • CQ: 30 168 pages, black-and-white, 7” x 9 ½” ISBN: 978-1-60699-341-5 Previous hardcover edition: 978-1-56097-918-0 • 2009 Ignatz Award Nominee for Outstanding Collection • Video preview of 2008 hardcover edition available at: fantagraphics.com/abandonedcars • AGE RANGE: 15 + • Author website: jackienoname.com THE ACCLAIMED 2008 debuT NOW IN SOFTCOVER! Abandoned Cars is Tim Lane’s first collection of graphic short stories, noir- ish narratives that are united by their exploration of the great American mytho- logical drama by way of the desperate and haunted characters that populate its pages. Lane’s characters exist on the margins of society—alienated, floating in the void between hope and despair, confused but introspective. The writing is straightforward, the stories mainstream but told in a pulpy idiom with an existential edge, often in the first person, reminiscent of David Goodis’s or Jim Thompson’s prose, or of films like Pick-Up on South Street or Out of the Past. Visually, Lane’s drawing is in a realistic mode, reminiscent of Charles Burns, that heightens the tension in stories that veer between naturalism on the one hand and the comical, nightmarish, and hallucinatory on the other. Here, American culture is a thrift store and the characters are thrift store junkies living among the clutter. It’s an America depicted as a subdued and haunted Coney Island, made up of lost characters—boozing, brawling, haplessly shooting themselves in the face, and hopping freight trains in search of Elvis.
    [Show full text]
  • Paul Karasik Publications
    Paul Karasik P.O. Box 3051 West Tisbury, Ma. 02575 USA (508) 560-7731 • [email protected] www.paulkarasikcomics.com Publications The White Snake (TOON Books: 2019) Guest Editor The New Yorker Encyclopedia of Cartoons (Black Dog & Leventhal: 2018) Contributor and essayist on categories of cartoon genres How To Read Nancy: The Elements of Comics in Three Easy Panels (Fantagraphics: 2017) Co-Author Winner of 2018 Eisner Award for Best Comics Related Book Lissa: Still Time, (University of Toronto Press: 2016) Editorial coordinator of graphic novel collaboration between Brown University and Rhode Island School of Design Turn Loose Our Death Rays and Kill Them All: The Complete Works of Fletcher Hanks (Fantagraphics: 2016) Editor, Writer/Artist Meet Abe, 12 Panel Pitch: Feature Films presented as 12 Panel Cartoons". (Slate On-line: 2014) Writer I Shall Destroy All Civilized Planktons, script and layouts for comics story for “SpongeBob Comics Annual” (Boingo Comics: 2014) You Shall Die By Your Own Evil Creation!: More Comics of Fletcher Hanks (Fantagraphics: 2009) Editor, Writer/Artist Winner of 2018 Eisner Award for Best Archival Collection I Shall Destroy All The Civilized Planets: The Comics of Fletcher Hanks (Fantagraphics: 2007) Editor, Writer/Artist Masters of American Comics (Yale University Press: 2005) Co-Editor of “coffee-table” catalogue for the first major U.S. comics retrospective exhibit co-organized by the Hammer and Moca Museums City of Glass (Avon Books: 1994; Picador Press reissue: 2004) Graphic novel adaptation of novel
    [Show full text]
  • Issue Print Test | Nonsite.Org
    ISSUE #15: B-SIDE MODERNISM 15 nonsite.org is an online, open access, peer-reviewed quarterly journal of scholarship in the arts and humanities affiliated with Emory College of Arts and Sciences. 2015 all rights reserved. ISSN 2164-1668 EDITORIAL BOARD Bridget Alsdorf Ruth Leys James Welling Jennifer Ashton Walter Benn Michaels Todd Cronan Charles Palermo Lisa Chinn, editorial assistant Rachael DeLue Robert Pippin Michael Fried Adolph Reed, Jr. Oren Izenberg Victoria H.F. Scott Brian Kane Kenneth Warren FOR AUTHORS ARTICLES: SUBMISSION PROCEDURE Please direct all Letters to the Editors, Comments on Articles and Posts, Questions about Submissions to [email protected]. Potential contributors should send submissions electronically via nonsite.submishmash.com/Submit. Applicants for the B-Side Modernism/Danowski Library Fellowship should consult the full proposal guidelines before submitting their applications directly to the nonsite.org submission manager. Please include a title page with the author’s name, title and current affiliation, plus an up-to-date e-mail address to which edited text and correspondence will be sent. Please also provide an abstract of 100-150 words and up to five keywords or tags for searching online (preferably not words already used in the title). Please do not submit a manuscript that is under consideration elsewhere. 1 ARTICLES: MANUSCRIPT FORMAT Accepted essays should be submitted as Microsoft Word documents (either .doc or .rtf), although .pdf documents are acceptable for initial submissions.. Double-space manuscripts throughout; include page numbers and one-inch margins. All notes should be formatted as endnotes. Style and format should be consistent with The Chicago Manual of Style, 15th ed.
    [Show full text]
  • A Comprehensive CV Can Be Found Here
    Mark Newgarden 18 Havemeyer St. Brooklyn, NY 11211 718-387-2286 [email protected] www.marknewgarden.com www.howtoreadnancy.com www.bowwowbooks.com Education Bachelor of Fine Arts, 1982 The School of Visual Arts, New York, NY Experience 2000–Present Cartoonist, author, educator, producer, owner/operator at Laffpix, Inc. 1995–99 Freelance creative consultant for print, multimedia, broadcast, and product development 1998 –99 Cartoon Network, Funny Garbage Productions, New York, NY B. Happy, animated World Premiere Toons series; Creator, producer, director, writer, designer 1997–98 Packard-Bell, New York, NY Home Delivery promotional series (Super-Reggie Award winner) b. little & co.; Creative producer, designer, writer, contributor 1996–97 Viacom/Paramount Pictures/ Nickelodeon Features, New York, NY The Stinky Cheese Man Movie; Story director 1995–96 Microsoft, Redmond, WA Microsoft Office ‘97 software program (animated helpers); Creative development, character design 1993–95 Equity Marketing, Inc., New York, NY Associate creative director (designers and manufacturers of toys and promotional programs) 1990–95 The Poster Boys, New York, NY Writer, designer and creative consultant to comedy team for stage, screen and print 1988–93 New York Press, New York, NY Creator of alt-weekly comic feature, syndicated internationally 1987–90 Pee-wee Herman Productions, Los Angeles, CA Licensed products, toys and novelties; Concept, design and illustration 1984–93 The Topps Company, Inc., Brooklyn, NY Associate creative director, New Product Development
    [Show full text]
  • How to Read Nancy
    NACAE National Association of Comics Art Educators How to Read Nancy "How to read Nancy?" you may sneer, "You might as well explain how to read a stop sign?" You're half right, but there's a lot more to Ernie Bushmiller's work than meets the eye. And, like a traffic sign, meeting the eye is largely what Nancy is all about. Before your inner traffic cop can step in and shout "STOP" the optic nerve has thoroughly transmitted the essence of Nancy to your cerebrum and chances are you've either chuckled, groaned, moved along to Dick Tracy or doubled over in arch hysterics. No other cartoonist worked with such consistent economy. To say that Nancy is a simple gag strip about a simple-minded slot-nosed kid Is to miss the point completely. Nancv only appears to be simple at a casual glance. Like architect Mies Van Der Rohe, the simplicity is a carefully designed function of a complex amalgam of formal rules laid out by the designer. To look at Bushmiller as an architect is entirely appropriate, for Nancy is, in a sense, a blue print for a comic strip. Walls, floors, rocks, trees, Ice-cream cones, motion lines, midgets and principals are carefully positioned with no need for further embellishment. And they are laid out with one purpose in mind - to get the jag across. Minimallst? Formalist? Structurallst? Cartoonist! "Gag it down" was Bushmiller's off-spoken credo and the gag was the raison d'etre of Nancy. Characterization, atmosphere, emotional depth, social comment, plot, internal consistency, and common sense are all merrily surrendered in Bushmiller's universe to the true function of a comic strip as he unrelentingly saw it: to provoke the "gag reflex" of his readership on a daily basis.
    [Show full text]
  • Download The
    Good Grief! Children and Comics MICHELLE ANN ABATE AND JOE SUTLIFF SANDERS Published by the Billy Ireland Cartoon Library & Museum in partnership with The Ohio State University Libraries ● Columbus, OH A collection of companion essays to accompany the exhibit at the Billy Ireland Cartoon Library & Museum, June 4 through October 23, 2016. It is published by the Billy Ireland Cartoon Library & Museum in partnership with the Ohio State University Libraries Publishing Program. Cover image: Nancy, by Ernie Bushmiller Copyright 2016, all rights held by the authors This book was produced using PressBooks.com, and PDF rendering was done by PrinceXML. Contents 1. How Comics Became Kids’ Stuff Joe Sutliff Sanders 9 2. “Let’s Go Exploring!” Illustrating Childhood Development in Calvin and Hobbes James Curtis 29 3. Traumatic Origins Orphanhood and the Superhero Jennifer Duggan 47 4. Striking Camp Empowerment and Re-Presentation in Lumberjanes Kyle Eveleth 69 5. The Great American Graphic Novel Jeff Smith’s Bone and Its Influences Annette annamakerW 91 6. There Are Some Things ouY Can’t Fix with a Magic Wand Politics in Children’s Comics Camila Z. Tessler 107 vii 7. The Character in the Mask An Analysis of Mask in Art Spiegelman’s Maus Taraneh Matloob Haghanikar 121 Acknowledgments 145 viii 1. How Comics Became Kids’ Stuff Joe Sutliff Sanders You might not remember it, but there was a time when we took for granted that comics were for children. Indeed, if you were born after 1978, when Richard Donner’s Superman became the first blockbuster feature-length superhero film in history, you might very reasonably think that superheroes and the other major figures of comic books have always been part of mainstream U.S.
    [Show full text]
  • Typologies by Karen Green Tuesday February 7, 2012 09:00:00 Pm Back
    Typologies By Karen Green Tuesday February 7, 2012 09:00:00 pm Back in November, I had the incredible privilege of being invited, along with Scott McCloud, to talk to Minnesota Public Radio "Midmorning" host Kerri Miller about "The evolution of comic books." Miller had been listening to an interview with Art Spiegelman, and was intrigued by his observation that we were currently in a "Gutenberg moment," in which technology would change the way we read and create and disseminate comics. She thought it would be interesting to talk to Scott and me about the changes digital media are wreaking and/or have wrought on the medium of comics and its creators and readers. Is the experience of reading comics enhanced by these digital options? It was a lively—and live—conversation (which was a little nerve-wracking, if I'm honest), and listeners were encouraged to call in and ask us questions. At one point, a St Paul English teacher- in-training called to ask me for examples of using comics as teaching tools and I think I panicked a little. There may have been stammering. But I told him to email me and I would expand on some ways that occurred to me. I actually gave out my email over the air, which didn't turn out to be as tragic a decision as it might have been. A few hours later I got my email from Jacob, and I started typing furiously. The more I wrote, the more I thought of, until finally a typology—a classification system—began to emerge.
    [Show full text]
  • KOPIN-MASTERSREPORT-2015.Pdf (295.9Kb)
    Copyright by Joshua Abraham Kopin 2015 The Report Committee for Joshua Abraham Kopin Certifies that this is the approved version of the following report: Watch Out For Children: Charles Schulz’s Peanuts in the 1950s APPROVED BY SUPERVISING COMMITTEE: Supervisor: Janet Davis Julia Mickenberg Watch Out For Children: Charles Schulz’s Peanuts in the 1950s by Joshua Abraham Kopin, B.A. Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December, 2015 Abstract Watch Out For Children: Charles Schulz’s Peanuts in the 1950s Joshua Abraham Kopin, M.A. The University of Texas at Austin, 2105 Supervisor: Janet Davis When Peanuts debuted in American newspapers at the end of 1950, it entered a world of optimistic postwar consumerism that was moving out of the cities and into the suburbs. A comic about the baby boom that depicted the children of that boom without any parental supervision, it appeared to be set in an idyll, a small world of little folks, concerned only with small things. Even at this moment before melancholy and disappointment became its primary characteristics, however, the strip was fundamentally concerned with how its characters found their way in the world, which, at least in part, involved acting as if they were adults. For parents, such autonomy might have resonated with the emerging, and concerning, category of the teenager, had that vision not been covered over with a façade of cuteness. That mask, moreover, was one of the many factors that caused adults to imagine themselves as characters in the strip.
    [Show full text]
  • ARTIST COMICS BEHIND the SCENES with 741.5 MONET, DALI, PICASSO, MUNCH Jeff and the COMIC STRIP STARS of CARTOON COUNTY Lemire MAR 2018— NO
    MEANWHILE COMIC ARTISTS and 741.5 ARTIST COMICS BEHIND THE SCENES WITH 741.5 MONET, DALI, PICASSO, MUNCH Jeff AND THE COMIC STRIP STARS OF CARTOON COUNTY Lemire MAR 2018— NO. FIFTEEN PLUS...HOW TO READ NANCY Robert Kirkman Dan Slott Mindy Johnson’ Peter Parker Gary Panter ! Phil Silvers Silvers Drew Fried- man Friedman Bob Dylan Chris Ware Woody Allen Friedman The Comics & Graphic Novel Bulletin of Between the chambers of a king’s painter and the garrets of the suffering artist lay the suburban idyll of Cartoon County. Written by the son of John Cullen Murphy, this lovely book from Farrar, Strauss & Giroux is subtitled “My Father and His Friends in the Golden Age of Make-Believe”. “Father” was Hal Foster’s successor on the classic adventure strip Prince Valiant, and his friends and neighbors included such celebrated cartoonists as Dik (Hagar the Horrible) Browne, Mort (Beetle Bailey) Walker and Chuck Saxon of the New Yorker. They were among the dozens of cartoonists, illustrators and writers who lived in Fairfield County, Connecticut: Close enough to the syndicates and publishers of New York, yet affording a modicum of space and quiet to raise the kids. With neighbors like Jack Davis and Milton Caniff, Murphy grew up surrounded by the cartoon biz and has plenty of stories to tell. The biggest story is his father’s experience as part of Macar- thur’s staff during the Pacific campaign. Bullets flying, bombs falling, rivers raging, John Cullen Murphy carried a “pad, pencils, and a sketching pen at all times.” Sketches like that right> are among the many awesome draw- ings that fill the book.
    [Show full text]