Happy Decoration Day readers! This week, as promised, are the first two chapters of the L’IL ABNER story, “Corporal Crock” which started March 30, 1973. I have scanned the first two strips from the St. Louis Post-Dispatch full page comic section, so I couldn’t close the lid all the way down on top of it, and the scan is a bit light because of that. Next week, we’ll find out more about General Bullmoose’s “ideel”, Corporal Crock.
I have received a few more comments on the “Joanie Phoanie” strips that ran over the past several weeks. Here’s one from Mike Fontanelli, cartoonist and Al Capp Collector:
Thanks again for printing the Joanie Phoanie strips. I never knew what all the fuss was about, and now that I’ve finally seen them – I still don’t know what all the fuss was about!
It seems to me the most offensive aspect was the fact that some of the dialog – and at least one whole daily strip – was censored! As a free speech advocate, that’s a lot more troubling than anything actually in the strips.It’s my professional opinion that Capp’s vivid portrayal of student protesters and “hippies” were really no more of a caricature than the hillbillies that regularly populated Dogpatch, anyway. (I also think it’s ironic that Capp called them “wildly indignant” – and they’ve been reacting with wild indignation ever since!)
Speaking of censored strips, Mike, here are some enlightening words from eminent cartoon authority, Cole Johnson:
The missing dialogue in the 2-1-67 strip, as it appeared in the Washington Post : Joannie’s assistant says: “Why not keep the kid, Joannie baby? You’re supposed to love little people!” Joannie’s word balloon, much larger in the St. Louis Post-Dispatch, is shrunk down around “Oh, well, I’ll send him to school!!” in the WP. The missing 2-3-67 episode has fly-encircled Joannie with Honest Abe in her mansion, declaring what a wonderful, warm-hearted mother she’ll be to…what’s your name again, kid? Then she tells Abe how you can tell the servants to do anything you want, and a delighted Abe joyously jumps in the air at the prospect.In addition, the 2-9-67 strip ran in the Washington Post with the same “remaining” words as in the chiseled-up first balloon, only this time, they have been rearranged into a smaller and tighter balloon you’d never imagine to have been tampered with. The 2-11-67 strip also had no balloon at all from Joannie Phoanie. Since the WP ran their strips in the conventional B/W, there is nothing to imagine there would be a comment by her, but the Post-Dispatch had a color background which clearly shows the “ghost” of a balloon. I’ll try to get some copies of these for you! The Washington Post could certainly match the Post-Dispatch for left-wing aspects, and raise it. I wonder if this delightful sequence ran differently in a conservative paper, like the fondly remembered Philadelphia Bulletin?
(Mark here) It seems the Washington Post and the St. Louis Post-Dispatch were sister papers in their attitude towards editing (censoring) L’IL ABNER. They even re-lettered and re-arranged the balloons to suit their individual editors’s tastes. Cole may send the missing strip, 2-3-67, along soon. When he does, I will post it here. Maybe Cole has some of the missing MARVELOUS MIKE strips as well; MIKE also ran in the Washington Post.Also this week, MARVELOUS MIKE winds up the “Baby Baker” storyline (from 7/2/56 to 7/7/56 with July 4th missing) and starts the Crumps off on a cruise with the money they’ve won. The Jim Tyer Felix Dell pages this week are from “A Sample Assignment” continuing Felix’s search for Kitty’s fabric sample at the department store. All the comics I reprint here generally fall into the “humouous (or ‘hoomerous’) continuity” type of strip. They are not necessarily telling a joke every day, but amuse because they LOOK funny. They tell a story that may actually be serious underneath the clown make-up. MARVELOUS MIKE is certainly an example of that “sad clown” syndrome, sometimes Mike is very emotionally moved at his adopted parents’s problems. He is very serious and efficient at almost everything he does, the humor mostly comes from Cliff Crump’s Dagwood-like clumsiness. Cathy and I painted a flower garden in Sierra Madre, CA. last week with our painting group and ran into our friend William Wray on the main street, Sierra Madre Blvd. Bill is an imaginative plein air oil painter and lives in Sierra Madre, his comment to us: “What are you guys doing in my town?” Go to his website www.williamwray.com and look at his book “Dirty Beauty”, it’s full of Bill’s contemporary “ashcan school” oil paintings of the Los Angeles urban landscape. Thanks for all the great comments on the “Joanie” stories, see you next time with more Bullmoose, Mike and Felix.