Sometimes I like to spotlight a song with a timely tie-in, such as a record associated with a new movie that’s in theaters or an anniversary of some kind. Other times I just randomly select a comics character or a comics tune for no good reason. This is one of those times.
Way back on February 15th, 2006, we began a feature on this very blog called “Wacky Wonder Woman Wednesday.” Each week (on Wednesday, natch) we presented a different image of Wonder Woman. Some were super, some were sexy, and some were silly, but all of them were Wonderful. It was one of the most popular features on the ol’ I.T.C.H. You can navigate to past Wednesdays by clicking on the link in the right-hand column.
I thought it would be fun to showcase a few of these Wonder Woman pictures on a Comics Tunes TUESDAY along with a song. See if you agree.
If you cross your eyes you can see Linda Carter in 3D! (Click to enlarge.)
Continuing our Women’s History Month coverage, today we have a several pages from a variety of year 1913 issues of Cartoons Magazine, of male cartoonists’ commentary on women’s fashions. And in particular, on prudish by even 1913 standards, attempts by male politicians to regulate what women could wear, for the reason that “scandalous” dress by women could lead to the corruption of men’s morals. (Sounds pretty similar to Taliban reasoning, though not dealt with nearly as harshly.)
Click on the above & below pages, to make the cartoons & text large enough to read.
Closing out this year’s African American History Month postings, we have more extracts from the late 1940s/early 1950s advertising bookletDreams Come True! (click here to see Part 1). It was published by the Black and White Company (which made beauty products company for African Americans), and illustrated by African American artist George Lee.
The pamphlet consists mostly of cartoon-illustrated ads, plus a number of one-page cartoon bios of African American historical & contemporary figures. Above we have a bio of Heavyweight Boxing Champion Jack Johnson, and below, musician Fats Waller. Further below are found bios on Robert Abbott and Richard Wright.
Click on the above & below pages, to make them large enough to read.
Most of the Black & White Company’s beauty products, were aimed at making African Americans appear more like whites. The ads shown in last week’s extracts involved bleaching/lightening skin color; the first two ads above are for products to slick down one’s hair, making it appear more like white people’s hair. Beneath is for an acme treatment.
Next in our African American History Month postings, we have the late 1940s/early 1950s advertising bookletDreams Come True!, illustrated by African American artist George Lee. Primarily targeted towards African American women, the booklet promotes various beauty products from the Black & White Company of Memphis, Tennessee, and New York City, NY. These products, such as skin bleaching cream, were largely to make African Americans appear less black, and more white, and in that sense is reminiscent of an appallingly racist 1892 promotional soap booklet we showed last year.
Click on the above & below pages to view them in greater detail.
In addition to the ad pages, there are also a number of one-page cartoon bios of African American historical & contemporary figures. Included in today’s page extracts, are musician William C. Handy, scientist George Washington Carver, and early Civil Rights Leader Frederick Douglass.
Embarrassingly, another aspect of the book is how to turn your dreams into numbers for gambling.
I attempted to find out more about the history of the Black & White Company online (such as, were its owners black and/or white?), but had no luck. Another extract of pages will be posted next week.
With the approach of April Fool’s Month (one day is not nearly enough!), it seems appropriate to conclude this year’s Women’s History Month coverage, with a bit of silliness — Photo Funnies from the April 27th, 1895 issue of the New York City publication, The Standard.
Click on the above & below pictures, to view the cartoons in detail, and better read the words within them.
The Standard was one of a handful of 1890s/early 1900s periodicals, that fairly regularly featured photo funnies (or, “fumetti”). Sequential photographic comic strips were hardly something new — going back to the late 1850s in the format of series of stereographic cards — but it wasn’t really until the 1890s that printing technology allowed for mass, cheap reproduction of photographs in magazines and newspapers. I suspect there was a certain degree of overlap between printed photo funnies and stereograph sequences (there are certainly instances I’ve spotted of cartoonists stealing from stereograph sequences — and vice-versa). And even more likely, an overlap in camera crews, actors, and studio sets involved. But I’ve not yet explored that possibility.
At any rate, the type of comedic material The Standard (and at least one other parallel publication) regularly featured — as you can see in the example shown here — tended to be more out-there risque than American & British (at least) stereoviews tended to go.
The “sequence” of events in these photographs (and to be more accurate, some of these have combined images of photographed players, placed atop/in front of cartoon or drawn backgrounds; with the last scene, below, being purely cartoon), is somewhat artificial. They all refer to the same/similar incident, but I’ve rearranged them to read in a more fun, sequential manner — this is not the order they appeared in the magazine.
Finally, I’d like to point out the similarity of the above 1895 photographic comedy, with the below panel from an 1851 comic book I posted here earlier this month… (Clicking on the below picture, will take you to that comic book.)
This year for Valentine’s Day, we present the British fold-out comic strip booklet, Cupid & Crinoline. Published on October 20th, 1858, creator Thomas Onwhyn parodies the impediment to romance that the popular women’s fashion known as a “hoop skirt”, or, “Crinoline”, imposed.
Click here to find previous Valentine’s Day postings.
To complete the story (never mind that it really has no ending), the final panel below comes from the website of rare book dealer David Brass. (My copy does have the final panel — however, I would have had to break the spine of the booklet, to get it to lie flat on my scanner — luckily, David Brass has that panel posted on his website.)
ADDENDUM December 22, 2013: Ian Alcock has pointed out to me, that the reason the above “has no ending”, is because my copy is missing the ending! I am apparently missing the final two panels (as are every other internet visual presentation of this book that I’ve seen, including the David Brass copy I reference above — which is why I had thought my copy was complete…) From Ian, “…some (copies), like yours, do lack the last two (panels). The reason is that the panorama was often pasted to the backboard on the 10th panel, with 1-9 opening to the left and 11/12 opening to the right, so the seem between 10/11 was a weak point where splits occurred. The ending of the story is that in fear of being buried alive, Adolphus fears he must leave Kitty (11), but then Kitty discards her expander and resumes her own lovely figure and Adolphus -and Fido- are happy again.”
This being the time to shop for gifts, let’s take a peek at what the comic strip fan of a century ago, might have hoped to find waiting for them beneath the tree. And what better gift to begin with, than Silk Hat Harry’s Divorce Suit, by Thomas A. Dorgan (who went by the nickname “Tad”)?
The wonderful thing about Silk Hat Harry (published 1912, by M.A. Donohue & Co., Chicago), is that giving it could double as a hint to family members, of changes soon to come following the Holidays! Such a perfect collection to convey that Christmas Spirit!
Click on the above & below pictures, to view the cartoons in detail, and read their captions.
Above, the front cover of Silk Hat Harry’s Divorce Suit; beneath, the title page; below that, some sample daily strips, reprinted in the book.
Below, the illustration appearing on the front & back interior covers.
Beneath, early work by Danish artist Gerda Wegener (warning to those at work: clicking on her name will bring you to a site which includes samples of some of Wegener’s more sexually oriented work). Cartoons Magazine referred to Wegener as Europe’s answer to American female cartoonist, Nell Brinkley — whom ironically, to this point, Cartoons Magazine had yet to publish anything by.
Click on the above & below pictures, to view them in detail, and to read the accompanying text.