Wednesday, March 27, 2024

 

Ink-Slinger Profiles by Alex Jay: Jay V. Jay, Part 3: Jeannette Kiekintveld


“Modish Mitzi,” the clever fashion strip ... is the work of three New York girls—two fashion writers and an artist. They are Laura Johnson, who is the artist; and Virginia Vincent and Jeannette Kiekintveld who divide the task of gathering information, working out ideas and writing the stories. “Jay V. Jay” is their triple signature. 
Jeannette Maud Kiekintveld was born on July 3, 1895, in Holland, Michigan. Her parents were  Henry William Kiekintveld and Maude Powers. Kiekintveld was baptized on December 8, 1895 at the Hope Church in Holland.

The 1900 United States Census recorded Kiekintveld, her parents and younger brother, Chester, at 11 West 14th Street in Holland. Her father was a bookstore merchant.

According to the 1910 census, Kiekintveld’s father was a widower. She, her father and younger sister, Gertrude, resided in Lansing, Michigan at 109 Jones Street. 

Kiekintveld attended the University of Michigan. In 1917 and 1918, Kiekintveld was mentioned in The Michigan Alumnus, April 1917, and contributed to The Gargoyle, October 1917; The Inlander, November 1917 and February 1918. 

Kiekintveld graduated in 1918. 

Jeanette Kiekintwelt” [sic], 
1918 Michiganensian yearbook

The 1920 census counted Kiekintveld in Detroit, Michigan at 164 Charlotte Avenue. She was an advertising writer at a department store. 

Kiekintveld’s translations were published in Poet Lore, Autumn 1920.

The Michigan Chimes, January 1921, published Kiekintveld’s article, “Advertising—A Field for Women”. 

The Michigan Alumnus, January 12, 1922, said
Jeannette Kiekintveld, ’18, has left the Advertising office of the J. L. Hudson Co., of Detroit, and is Advertising Manager for the D. J. Healy Shops of Detroit. 
The University of Michigan Catalogue of Graduates, Non-Graduates, Officers, and Members of the Faculties, 1837–1921 (1923) had an entry for Kiekintveld.
College of Literature, Science and the Arts 1918 Graduates
Jeannette Maud Kiekintveld, A.B. Advertising writer and newspaper writer. In Publicity Dept., McCall Co. 236 W. 37th St., New York, N.Y.
American Newspaper Comics (2012) said Modish Mitzi began on November 19, 1923 from the George Matthew Adams Service. Writers Kiekintveld and Virginia Vincent, and artist Laura Johnson were profiled in many newspapers including the Paris Morning News (Texas), March 2, 1924, and the Oakland Tribune (California), August 13, 1926. The trio were included in their syndicate’s advertisement published in Editor & Publisher, August 25, 1928. 

Muskogee Daily Phoenix (OK) 10/23/1923

Muskogee Daily Phoenix (OK) 10/26/1923

In the 1925 New York State Census, Kiekintveld lived in Manhattan at 141 East 44th Street. She worked in advertising. 

The Michigan Alumnus, January 9, 1926, said 
Jeannette Kiekintveld, ’18, is living at 141 West [sic] 44th Street, New York City. She is well known as one of the three creators of “Modish Mitzi,” a newspaper fashion strip.
Kiekintveldt was aboard the steamship Transylvania when it arrived in New York on August 16, 1926. The ship had departed Glasgow, Scotland. 

On July 21, 1927, “Kiekintveldt” and Leo Moser obtained, in Manhattan, marriage license number 20260. They married on July 30, 1927. Both of them resided at 15 West 9th Street where Virginia Vincent, a witness, had lived. 


Kiekintveld has not yet been found in the 1930 census. 

Kiekintveld was mentioned in the column “Lights of New York” as seen in the Evening Recorder (Amsterdam, New York), February 17, 1937.
... Jeannette Moser, who used to be a newspaper woman once herself ... But who is now advertising director of one of Fifth Avenue’s largest stores ...
The Evening Star (Washington DC), March 24, 1937, published the column “Answers to Questions” which said
Q. Please name some women who are prominent in the advertising business.—E.R.M.

A. Such a list would include Katherine Fisher, director of Good Housekeeping Institute; Mary Lewis of Best & Company; Bernice Fitzgibbon, Wanamaker’s; Margaret Fishback, R. H. Macy; Hildegarde Dolson, Franklin Simon; Jeanette Moser, Stern’s; Pegeen Fitzgerald, McCreery; Mary Moore, Namm’s; Wilma Libman, Gimbel’s, and Virginia Shook, Lord & Taylor.
Kiekintveld’s address in the 1940 census was 353 East 53rd Street in Manhattan. She was a manager who earned $5,000 in 1939.

On April 27, 1942, Kiekintveld’s husband signed his World War II draft card. He lived in Philadelphia, Pennsylvania at 5861 Willows Avenue. She  was in New York City at 156 East 55th Street.


The New York Evening Post, January 10, 1945 said
Mrs. Moser Gets New Post
Mrs. Jeanette Moser, advertising manager of Bloomingdale’s for the last six years, has been appointed sales-promotion director of the store, effective Feb. 1. It was announced today by James S. Schoff, president. She will assume her new duties when Ira Hirschmann, a vice president, transfers his activities to the radio and television operations of Federated Department Stores, Inc.
The New York Sun, January 10, 1945 said 
Mrs. Jeannette Moser, advertising manager of Bloomingdale’s for the last six years, has been appointed to the newly created post of sales promotion director. She will assume her new duties on February 1, when Ira Hirschman, a vice-president, transfers his activities to FM radio and television for Federated Department Stores, Inc.
An article about advertising and department stores, in the Daily Sentinel (Rome, New York), September 5, 1947, said
... Bloomingdale’s sales promotion director, gray-eyed Mrs. Jeanette Moser, is known as “a diplomat, a good listener, a wonderful person to carry your troubles to.” Co-workers say the day she took her present job, she propped her officer door open and has not closed it since, except during crises. Mrs. Moeser [sic] is a former Detroit reporter who turned to department store advertising. …
The Evening Leader, (Corning, New York), October 10, 1947, published Alice Hughes’ column “A Woman’s New York” that said 
Bustles Barge In snd Out of Style Every 50 Years

I don’t like to say “I told you so,” but—I have before me a column I wrote for the N. Y. World Telegram, August 21, 1933, an interview with Mrs. Jeanette Moser, then and still advertising director of a big N. Y. department store. Mrs. Moser sends me this column which reads: “Maybe we are approaching mid-century madness,” suggests Mrs. Jeanette Moser, seeking to explain why the fashion world, though believing itself in an era of practical people, vertical buildings and simpler styles suddenly finds Itself in the midst of billowing skirts, padded bosoms and rounded hips.

“It’s not the Mae West influence; it’s the turn of the half-century,” continued Mrs. Moser. For several centuries, as French and English women approached the 50’s of their century, they draped themselves in hippy hoops and bustles. Our own pre-Civil War belles extended in every direction as far as whalebone could carry them. Other women who minced toward the middle of their century gripped by a wasp waistline and waddling in bell-shaped skirts were Queen Elizabeth, Empress Eugenie and Marquise de Pomadour. Centennially, bulges barge into fashion and barge out again.”

Those 14-year-old words might easily be describing today. It’s certainly true that the clothes in style today have little relation to the times in which we live. And the turn-of-the-mid-century theory is borne out by history. We’re nearing the 1950 mark. The century is tiered [sic] of thinking up new styles. Why not pull the old ones out again? There are certain hazards that come with long skirts, but they’re not serious. Not so trifling is the wasp waist. Loyal Wolfe, manager of a national corset firm, says that wasp-waist corseting is detrimental to the health of women and nullifies the progress of the corset industry. A smallish waist, yes. But a waspish waist, one that your husband has to help you lace—no! Who wants to be a waist pincher?
The Chicago Sun-Times, October 10, 1948, said
Jeanette Moser has been appointed promotion director of Mandel Brothers, Chicago, it is announced by Col. Leon Mandel, president.

From 1939 to 1948 Mrs. Moser was with Bloomingdale’s, New York City, first as advertising manager, later as sales promotion director.
Kiekintveld passed away on October 18, 1949, in Willcox, Arizona. Her death certificate, at Ancestry.com, said the cause was hypernephroma. At the time, her home was in Chicago at 1439 North State Parkway. Information about her was provided by her brother Chester. 

Obituaries were published on October 21, 1949. The New York Daily News said 
Mrs. Jeanette Moser
Advertising leader 
Wilcox [sic], Ariz., Oct. 20.—Mrs. Jeanette Moser, 53, for many years a leader in retail advertising circles, died here yesterday. From 1932 to 1939 she was advertising manager of Saks Fifth Ave., in New York City. She then became advertising manager of Bloomingdale’s and from 1946 to 1948 was promotion director of that store.
The New York Times said 
Mrs. Jeanette Moser
Mrs. J. Moser, Known in Advertising Field.
Mrs. Jeanette Kiekenfeldt [sic] Moser, who was well known in retail advertising circles, died Wednesday in Wilcox [sic], Ariz., at the home of her brother-in-law, Dr. Robert Hicks, according to word received here yesterday. 

Mrs. Moser was advertising manager of Saks Fifth Avenue from 1932 to 1939, when she took a similar post at Bloomingdale’s, where she was promotion director from 1946 to 1948. For the last year she was sales promotion director and a member of the executive board of Mandel Brothers in Chicago.

Mrs. Moser, who was graduated from the University of Michigan, had been a feature writer for The Detroit Free press. Afterward she came to New York to work on the editorial staff of McCall’s magazine and write a syndicated newspaper feature.

Surviving are a son, Alan, a student at the University of Kansas, and a brother, Chester Kiekenfeldt of Grand Rapids, Mich.
Kiekintveld was laid to rest at Sunset Cemetery

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Tuesday, March 26, 2024

 

Ink-Slinger Profiles by Alex Jay: Jay V. Jay, Part 2: Virginia Vincent


 
“Modish Mitzi,” the clever fashion strip ... is the work of three New York girls—two fashion writers and an artist. They are Laura Johnson, who is the artist; and Virginia Vincent and Jeannette Kiekintveld who divide the task of gathering information, working out ideas and writing the stories. “Jay V. Jay” is their triple signature. 

Virginia Vincent was born on July 22, 1897 in Newark, New Jersey, according to passenger lists at Ancestry.com.

In the 1900 United States Census, Vincent was the youngest of five children born to Gibson and Albina who was born in England. The family were residents of Boonton, New Jersey on Reserve Street.  

The 1905 New York state census said the Vincent family was in Manhattan, New York City, at 356 West 145th Street. Her father was a clothier.

The 1910 census counted Vincent and her family in Manhattan at 413 West 147th Street. Her father was a clothing merchant. 

According to the 1920 census, newspaper writer Vincent and her older sister, Emily, made their home at 15 West 4th Street in Manhattan. 

In 1922, Vincent visited Europe. Aboard the steamship Berengaria, she sailed from Cherbourg, France and arrived at the port of New York on September 20, 1922. 

American Newspaper Comics (2012) said Modish Mitzi began on November 19, 1923 from the George Matthew Adams Service. Writers Jeannette Kiekintveld and Vincent, and artist Laura Johnson were profiled in many newspapers including the Paris Morning News (Texas), March 2, 1924, and the Oakland Tribune (California), August 13, 1926. The trio were included in their syndicate’s advertisement published in Editor & Publisher, August 25, 1928. 

Muskogee Daily Phoenix (OK) 10/23/1923

Muskogee Daily Phoenix (OK) 10/25/1923

The 1925 New York state census counted Vincent twice; she lived at 15 West 9th Street, in Manhattan, and was a fashion editor on one sheet and an advertising copywriter on another. 

Vincent visited Europe again. From Le Havre, France, she sailed on the steamship Paris and arrived in New York on June 1, 1927.

On July 30, 1927, Vincent witnessed the marriage of Jeannette Kiekintveld to Leo de Courie Moser.

Printers’ Ink, July 1, 1929, said
Biow Agency Increases Staff

... Miss Virginia Vincent, formerly with the advertising department of Best Co., and recently with R. H. Macy & Co., has joined the copy department of this agency. ...
Vincent has not yet been found in the 1930 census.

Vincent was mentioned in Ladies’ Home Journal, May 1930. 
... A strange deviation from the usual is the comic fashion cartoon Modish Mitzi, edited by Virginia Vincent. It is one of the few humorous cartoon features in which a woman has achieved success. ...
Vincent contributed to Screenland magazine: “Famous Figures”, “Our Cosmetic Urge” and “Hair-Raising Hollywood”. 

The New York Evening Post, April 22, 1931, mentioned, I believe erroneously, Vincent as an artist. 
Dorothy Dix Guest of Honor at Tea

Editors, Publishers, News Writers Invited to Hotel Pennsylvania Fete Today

Mrs. Elizabeth Meriwether Gilmer, who is Dorothy Dix to newspaper readers all over the country, will be the guest of honor this afternoon at a tea given for her by the Ledger Syndicate in the Hotel Pennsylvania at 5 o’clock. ...

... On the receiving line will be several of Mrs. Gilmer’s fellow contributors to the syndicate, including Ruth Stuyvesant, fashion writer for the Evening Post and other newspapers. Dr. Jane Leslie Kist, garden expert; Lois Leeds, beauty expert; Nancy Carey, homemaking expert; Vivian Shirley, special news writer; Charlotte Brewster Jordan, authority on correct English; Helen Docie writer on etiquette, and Virginia Vincent, fashion artist. ...
Beginning in 1932, Vincent produced the column, Minute Make-Ups, for the Ledger Syndicate. In 1934, Vincent added the beauty column, You Can Be Beautiful


In the 1940 census, Vincent’s address was 15 West 9th Street in Manhattan. Her occupation was publicity in the advertising field. She had one year of college and, in 1939, earned $4,500.

In early 1945 Vincent was appointed beauty editor of the Ideal Women’s Group. Announcements appeared in The American Perfumer and Essential Oil Review, January 1945; Printer’s Ink, January 12, 1945; and Sales Management, February 1, 1945. 


Printer’s Ink, June 1, 1945, printed a photograph of Vincent with actress Virginia Mayo

Writer’s Digest, March 1946, said Vincent joined the staff of Deb magazine. 

Additional information about Vincent has not been found. She should not be confused with actress Virginia Vincent

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Monday, March 25, 2024

 

Ink-Slinger Profiles by Alex Jay: Jay V. Jay, Part 1: Laura Johnson


“Modish Mitzi,” the clever fashion strip ... is the work of three New York girls—two fashion writers and an artist. They are Laura Johnson, who is the artist; and Virginia Vincent and Jeannette Kiekintveld who divide the task of gathering information, working out ideas and writing the stories. “Jay V. Jay” is their triple signature. 
Laura Johnson was born March 1894 in New York according to the 1900 United States Census. Her parents were Sinclair, a civil engineer, and Sarah. Johnson was the second of four sisters. The family resided in Franklin, New Jersey on Prospect Street. 

The 1905 New Jersey state census and 1910 census counted Johnson, her parents and four siblings in Montclair, New Jersey at 127 Gates Avenue.

According to the 1915 New Jersey state census, the Johnson family were Montclair residents at 28 Montclair Avenue. Johnson’s occupation was artist. Information about her art training has not been found. 

In the 1920 census, Johnson was the head of the household which included her four sisters. Johnson was a self-employed fashion artist. The sisters lived in East Orange, New Jersey at 35 Shepard Avenue. 

1926

American Newspaper Comics (2012) said Modish Mitzi began on November 19, 1923 from the George Matthew Adams Service. Writers Jeannette Kiekintveld and Virginia Vincent, and artist Johnson were profiled in many newspapers including the Paris Morning News (Texas), March 2, 1924, and the Oakland Tribune (California), August 13, 1926. The trio were included in their syndicate’s advertisement published in Editor & Publisher, August 25, 1928. 

Muskogee Daily Phoenix (OK) 10/23/1923

Muskogee Daily Phoenix (OK) 10/24/1923

Official Gazette of the United States Patent Office, December 16, 1924, published a trademark application for Modish Mitzi. 

Editor & Publisher, 12/19/1925

Dry Goods Merchants Trade Journal, 4/1927

Advertising Arts and Crafts (1928)

Editor and Publisher, 1/10/1931

The 1930 census said Johnson, as Laura J. Murphy, was a widow and freelance artist who lived in East Orange, New Jersey at 67 South Munn Avenue. Her husband was J. Donald Murphy. 

In the 1940 census, Johnson, as Laura Mitchell, moved to New York City after 1935. Her address was 25 Prospect Place. Johnson was a freelance commercial artist whose highest level of education was the fourth year of high school. The census said she was 30 years old at her first marriage. Information about her second marriage has not been found. Living with Johnson was her sister, Helen, a fashion artist. 

Johnson has not yet been found in the 1950 census.

Editor & Publisher, October 15, 1960 mentioned Johnson. 
‘Katy’s Kitchen’ Goes Foreign, Too

Claire Barcher Ackerman, Salisbury, Conn., has signed a three-year contract with another three-year option with the United Overseas Press Syndicate for foreign distribution of her strip, “Katy’s Kitchen,” under byline of “Country Gourmet.”

The art work on the strip is by Laura J. Mitchell, creator of “Modish Mitzi,” a style strip which formerly was syndicated by the George Matthew Adams Service and later by the Ledger Syndicate, Philadelphia, for 15 years. Mrs. Ackerman writes the plot and the selected, tested recipes for unusual American and foreign dishes.
Additional information about Johnson has not been found. 

The Social Security Death Index said Johnson, as Laura Mitchell, was born on March 12, 1894 and obtained a Social Security number in New Jersey. Find a Grave said she passed away on February 11, 1978, and was laid to rest with her first husband at Mount Hebron Cemetery. 

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Sunday, March 24, 2024

 

Wish You Were Here, from F.M. Howarth

 

Another card from the 1906 Hearst hidden picture series of freebies, this one featuring Howarth's characters, Lulu and Leander. Can't help but think that the big reveal would have been slightly more surprising if that banana peel had been part of the hidden portion of the card.

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Very seldom, it would seem, did they suss out gags that would work the "Surprise" element very well.
 
I'm grateful for the wisdom and inspiration your blog provides. Share your feedback and suggestions for Aviator on our blog platform.
 
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Saturday, March 23, 2024

 

One Shot Wonders: Tragedy and Romance of a Venetian Serenade by Herriman, 1901

 

In the McClure comic section of December 15 1901, George Herriman offers us a bit of slapstick comedy imported all the way from Venice. He also serves to improve my vocabulary, sending me scurrying to the dictionary to find out that a 'caitiff' is a contemptible of cowardly person. Thanks George, I daresay I will find some use for such a juicy term.

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Friday, March 22, 2024

 

Ink-Slinger Profiles by Alex Jay: Bill Freyse


Bill Freyse was born William Henry Freyse on June 12, 1898, in Detroit, Michigan, according to his World War I and II draft cards. His parents, both German immigrants, were William Henry Freyse (changed from August F. W. Freizse which was on an 1881 Michigan marriage record) and Maria Hillebrecht. 

The 1900 United States Census counted Freyse as the youngest of five siblings. The family resided in Detroit at 8 McArthur Street. His father was a paint salesman.

In the 1910 census, the Freyse family lived at 192 Theodore Street in Detroit. Freyse graduated from Central High School. 

Freyse’s father passed away on February 16, 1913. 

The 1918 Detroit city directory listed Freyse as an artist at 192 Theodore. 

On September 12, 1918, Freyse signed his World War I draft card. His address was unchanged. His employer was the Leslie-Judge Company which published Leslie’s Weekly and Judge magazines. Freyse was described as tall, slender, with blue eyes and light brown hair.

Freyse’s art training included Federal School courses. He was featured in advertisements and in Federal School publications.

Cartoons Magazine, August 1919


The Federal School News, 1925

The Federal Illustrator, Summer 1926

The 1920 census recorded Freyse and his mother in Detroit at 293 Webb Avenue. He was a newspaper cartoonist. 

Freyse’s mother passed away on April 17, 1929. 

According to the 1930 census, Freyse was a Detroit resident at 1141 Webb Avenue. He was the district representative of a theater chain. 

On July 23, 1930, Freyse and Evelyn H. Schwab were married at Highland Park, Michigan. Their daughter, Lynn, was born on March 24, 1937.

The Catalog of Copyright Entries, Part 4, Works of Art, 1933, New Series, Volume 28, Number 3 had this entry: 
Freyse (William Henry)* 5267
Movie mad Mazie. © 1 c. Aug. 5, 1933; G 12105. 
American Newspaper Comics (2012) said Gene Ahern created the NEA series, Our Boarding House, which debuted on October 3, 1921 and ended on December 22, 1984. Ahern’s last strip was dated March 14, 1936. Wood Cowan did the series beginning on March 15, 1936 into 1936. Bela Zaboly took over in 1936 to 1938. Bill Freyse produced the Sunday in 1939 to April 13, 1969. The following artists were Jim Branagan then Les Carroll. The writers included Gene Ahern, Wood Cowan, Bill Braucher, Tom McCormick, Les Carroll, and Phil Pastoret.

The 1940 census said Freyse and his family lived in Shaker Heights, Ohio at 18717 Winslow Road. In 1935, he resided in Santa Monica, California. Freyse was a cartoonist who had two years of college and earned $5,000 in 1939.

On February 16, 1942, Freyse signed his World War II draft card in Tucson, Arizona where his mailing address was 1000 North Campbell Avenue. He had moved for his wife’s health. His residence address was 17130 Scottsdale, Boulevard, Shaker Heights, Ohio. Freyse’s description was six feet, 172 pounds with blue eyes and blonde hair.


Freyse’s 1950 home was in Tucson at 2803 Via Rolands. He was newspaper syndicate cartoonist. In 1951, his son, Stephen was born. 

Freyse was a member of the National Cartoonists Society.


The Catalog of Copyright Entries, Third Series, Volume 8, Part 1, Number 1, Books and Pamphlets, January-June 1954 had this entry: 
Freyse, Bill.
Unofficial hysterical facts about old Tucson. Distributed by Tucson News Agency. © William Henry Freyse; 4Jan54; A120622.
Freyse passed away on March 3, 1969, in Tucson. He was laid to rest at East Lawn Palms Cemetery and Mortuary. The Associated Press obituary said
William Freyse who drew the “Boarding House” cartoon panel for 30 years died Monday at a Tucson hospital following a month-long illness. He was 70.

Freyse moved to Tucson in the early 1940s because of his wife’s health. He moved from Cleveland Ohio where he had started drawing the cartoon panel. A native of Detroit Freyse joined the Newspaper Enterprise Association in 1939. 

He began the “Copper Penny” comic strip which later proved unsuccessful. Freyse took over the “Our Boarding” panel when former artist Bela Zaboly took over the “Popeye” strip in Sept. 1939. Freyse’s last daily “Our Boarding House” panel will appear Mar. 15. The Sunday panel will end April 20.

His daughter, Mrs. Lynn Borden of Los Angeles Calif., held the title of Miss Arizona in 1958 and later became an actress and fashion model. She played the wife in the television series “Hazel.” Freyse is survived by his widow, Evelyn, a daughter, Mrs. Lynn Borden, and a son, Stephen.
Freyse’s daughter passed away on March 3, 2015. His son lives in Tucson, Arizona.

Editor & Publisher, March 15, 1969, said 
Branagan continues ‘Our Boarding House’
“Our Boarding House” will be continued by artist James P. Branagan, who worked closely with the late William Freyse, who died just two weeks before he was to announce his retirement and turn the cartoon over to Branagan.

The dialogue of Major Hoople and other familiar characters of the Boarding House will continue to be written by Tom McCormack. The feature is distributed by Newspaper Enterprise Association.

Further Reading
The World Encyclopedia of Comics (1976), Bill Freyse
The Encyclopedia of American Comics, Our Boarding House 
The Comics: An Illustrated History of Comic Strip Art 1895–2010 (2011)
Together, March 1957, Lynn Freyse
TV Guide, January 29, 1966, Lynn Borden

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Wednesday, March 20, 2024

 

Toppers: Joe Palooka's Boxing Course

 

In 1936 Joe Palooka's Sunday formatting took the topper away from the tabloid version, so that only the full broadsheet format still included it. Even then if a paper ran Joe Palooka on their front page, as was quite often the case with the popular feature, a large masthead would knock the topper out. So while most Palooka fans got to read the previous topper, Fisher's History of Boxing, fewer had the chance to learn how to box from the main strip's star in Joe Palooka's Boxing Course

Which wasn't a terrible loss, because it seemed like Fisher just transcribed a basic text on learning to box, and added a few illustrations of Joe going through the motions. Not too exciting. The course began on June 27 1936 and ran until May 1 1938, almost two full years of learning to float like a butterfly, sting like a bee. 

Okay, so the topper's not too exciting, but the sample above is a very interesting one. In case you're not aware, the whole craze for hillbillies in comics, which began in earnest with Li'l Abner, actually had a precursor in Joe Palooka. Big Leviticus and his mammy and pappy starred in a sequence of Joe Palooka in late 1933, and after Li'l Abner became a huge hit Ham Fisher started a feud in which he claimed that Al Capp ripped off his creations. Here above we see an early (the earliest?) public shot fired in that long-running feud; check out the box in panel one of the main strip. 

Rather than recount the circumstances of the feud here, I suggest you go read R.C. Harvey's exhaustive discussion of it over at The Comics Journal. It's a long article, but I assure you the bizarre story of Al Capp vs. Ham Fisher is a juicy and fascinating read. 

For what it's worth -- very little -- my take on the feud is that it doesn't matter at all who came up with Big Leviticus. If he was such a great character, the equal of Abner, the syndicate would have made Fisher bring him back as a regular, or even given him his own strip. They didn't, and Fisher evidently saw no great future for him, either, until Capp showed the way. The simple fact is that Al Capp, for all his faults, was undeniably a cartooning genius. I have no doubt that he could have taken ANY idea and made a phenomenon out of it. Whether it was hillbillies, prankster kids, barnyard animals, or even grains of sand reciting Proust, Al Capp was destined to make great comic strips out of it. It's a shame that Fisher couldn't see that and wish the man well, rather than trying pathetically to cut him down.


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Don't know where Fisher got the idea that his were the first hillbillies in comics, couldn't he recall, or for that matter, the whole wide world of strip readers, the adventures Billy DeBeck took his characters through, even years before Snuffy Smif, in the 1920s? There were probably others before that; Mountain folk seemed to become popular fiction and movie types going back to the 1890s, when the Hatfield-McCoy feud became popularly known.
 
The book "Hillbilly: A Cultural History of an American Icon" by Anthony Harkins traces the development of the hillbilly stereotype in popular culture, including comic strips. It's a fascinating book; Harkins argues that while there are poor whites in Appalachia, the "hillbilly" image (A lazy, alcoholic man with a long beard and broad-brimmed hat who spends all his time feuding with his neighbors) is largely the creation of the mass media, going back to the Sut Lovingood and Simon Sugg stories of the 19-th century. I loved it.
 
Interesting coincidence: Another Fisher, Bud, created the wildly popular Mutt and Jeff and went from famous millionaire playboy to, from what I've read, an alcoholic recluse.

Find myself reflecting on the idea of cartoonist as celebrity. We've had a few in this age of reduced print influence; was there an era where at least moderate fame attached to artists who weren't at Peanuts or Garfield level?
 
At least in America, as far back as the mid nineteenth century, pre-comic strip cartoonists Thomas Nast and Home Davenport would be considered celebrities.
 
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Monday, March 18, 2024

 

Obscurity of the Day: Adventures of Aaron

 




Adventures of Aaron, in my opinion one of the most innovative, well-drawn and just downright funny newspaper features of the 1990s was, sadly, ignored by most in the newspaper world. 

In 1991, at the tender age of twenty-one Aaron Warner exhibited art and writing chops well beyond his tender years. He was already freelancing to the Kalamazoo Gazette when he created Adventures of Aaron, a zany absurdist take on autobiographical comics. He shopped the feature around to papers in his home state of Michigan, placing it at the Kalamazoo Gazette and a few additional papers. The new comic was well-received and after getting a few years worth of weekly installments under his belt, the series was picked up by Michigan-based comics publisher Chiasmus. Warner's high energy attitude toward his career got him into several more papers, culminating when he snagged the Detroit News as a client. He even found time to write and produce a stage musical version of the strip, create an interactive website, and produce a CD-ROM and other merchandise

With these successes it was time for Warner to approach syndicates, and it wasn't long before the strip was picked up by Tribune Media Services. Tribune had a pretty well-deserved rep for being a bit of a stick-in-the-mud syndicate, but they were trying to upgrade their image a bit in the 90s, and Adventures of Aaron must have seemed perfect for that. Oh, and of course it sure didn't hurt that Warner came to them with an impressive list of clients already on board. 

The syndicated Adventures of Aaron debuted on October 20 1995, and to their credit some of the more forward-thinking papers did sign on, though I understand that only about twenty papers total took the plunge. And what ensued was a low-pitched battle between the young set, who doted on it, and the grannies, who were mortally offended. Adventures of Aaron even won the "Most Hated" vote in a poll by the Corpus Christi Caller-Times, beating out even Zippy, which normally walks away with that honour. 

In the boxing ring teens beat grannies almost every time, but those roles are definitely reversed in the newspaper world. Once those grannies start writing pettish letters to the editor the hammer is poised to strike. Adventures of Aaron managed to stay afloat, due I think in good part to tireless marketing and gladhanding by Warner, until August 3 1997. 

Quality may generally lose the wars, but it does occasional win a battle. Adventures of Aaron got a temporary reprieve from the graveyard of cancelled newspaper strips. The Detroit Free Press asked Warner to continue it just for them. Warner accepted and continued producing the strip for another two years, finally deciding to call it quits to pursue other projects with the installment of August 15 1999. 

If you're interested in reading more Adventures of Aaron, there have been a number of comic book reprints; all out of print but not terribly hard to source. The only problem with them is that it is hard to figure out what is reprinted in which comics. It would be great (hint, hint) if Warner would take all his almost decade-long run out of mothballs and publish a complete edition.

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Sunday, March 17, 2024

 

Wish You Were Here, from Cobb Shinn

 

Most of Cobb Shinn's postcards don't specify a maker, but this one is from Taylor-Pratt's "Automobile  Series", #896. The card was postally used in 1913.

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Saturday, March 16, 2024

 

One Shot Wonders: Nine Red Jokes by Clarence Rigby, 1898

 

Clarence Rigby, who made the rounds of many syndicates around the turn of the century, pulls out all the stops with some impressive cartooning on this half-page one-shot, but then doesn't really follow through in the gag department. This seems like a Family Feud game show category -- name nine things that are red, and you'll get a big smooch from Richard Dawson. 

This one-shot ran in the New York World on January 30 1898.

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Friday, March 15, 2024

 

Ink-Slinger Profiles by Alex Jay: Chester Sullivan


(An earlier profile was posted in 2020.) 

Chester Milo Sullivan was born on March 12, 1898, in Minneapolis, Minnesota, according to his birth certificate at Ancestry.com. His parents were Frank and Margrethe. Sullivan’s middle name was on his World War II draft card. 

In the 1900 United States Census, Sullivan was the youngest of four siblings. His family resided in Minneapolis at 759 Washington Street NE. Sullivan’s father was a post office clerk. The family’s address was the same in the 1910 census. 

Sullivan attended East High School. He was the art editor of the school’s monthly magazine, The Spectator

1915 Cardinal yearbook

During World War I Sullivan enlisted in the Marine Corps on July 3, 1918. He was a gunnery sergeant stationed with the Central Reserve Division. His veteran’s file said he was discharged on December 20, 1918. 

According to the 1920 census, Sullivan’s mother, a widow, was the head of the household. The family of four lived at the same address. Sullivan was unemployed.

Sullivan continued his education at the University of Minnesota. He was a member of the fraternity, Delta Tau Delta, and the Aero Club

1922

Minneapolis city directories from 1922 to 1928 listed Sullivan as a commercial artist who lived at 759 NE Washington. 

American Newspaper Comics (2012) said Sullivan was the first artist on the series, Men Who Made the World, which ran from September 21, 1925 to April 16, 1927. The following artists were not credited. Writer Granville E. Dickey was replaced by Dr. Elliott Shoring who may or may not exist. John F. Dille Company was the syndicate.

The Federal Illustrator, Summer 1926, said
Chester Sullivan Illustrates Educational Feature
Chester Sullivan is another young man who following his association with the Federal Schools as an instructor placed a very successful feature, “Men Who Made the World,” with the National Syndicate. This strip is now running in a large number of papers, whose readers keenly appreciate the picture narrative of the “Men Who Made the World.”

John F. Dille, President of the National Newspaper Service says of the feature:

Human emotions, motives, personality and great deeds lend the spectacular to this great feature. It is brilliantly written by an historical authority—Granville Dickey, and superbly drawn by a great illustrator—Chester Sullivan.

In 1929 Sullivan’s address was 2555 Bryant Avenue South. 

On February 11, 1929, he married Marian Lund in Minneapolis.

The 1930 directory said they resided at 2808 Chowen Avenue South. The same address was recorded in the 1930 census. Sullivan was a self-employed advertising artist who had a five-month-old daughter.

According to the 1940 census, the Sullivans lived at 2100 Dupont Avenue South in Minneapolis. Sullivan operated an art studio. He had three years of college.

On February 16, 1942 Sullivan signed his World War II draft card. His home and studio was at 3517 West 28th Street in Minneapolis. He was described as five feet eight inches, 150 pounds with gray eyes and brown hair. He enlisted in the Army on on June 24, 1942. His rank was first lieutenant. 


The Army Air Force magazine, Brief, August 15, 1944, mentioned Sullivan’s contribution to the Tarawa Cricket Club. 
Acutely conscious of certain trends, 1st Lt. Robert North of Alhambra, Calif., decided that something drastic should be done to offset the inroads made in the Pacific by that amiable, sprawling outfit labeled the Short Snorters. 

He conferred with M.Sgt Norman Hoch, a citizen in good standing of Oklahoma City, and they decided that there was a crying need for some sort of exclusive organization in the South Seas, where all sorts of improbable things happen. The Short Snorters, they opined, was getting pretty loose. It used to be limited to those persons who had flown over a body of water, but now it could happen to anybody, like Athlete’s Foot, or rundown heels.

So they founded the Tarawa Cricket Club, and might have run something up a pole to commemorate the occasion, but poles are scarce in that country. Instead, they enlisted the aid of Maj Peter S. Paine of New York City, and Maj Chester M. Sullivan, of Minneapolis, Minn., to help them get under way. 

In case you've wondered, the name comes from the fact that there are a lot of idle cricket fields laid out on the islands. The English used to play the game there before the war, but have given it up for more strenuous activities. 

Maj Sullivan designed a stamp, and unless you’ve had some business in the Pacific war you won’t ever get any closer to it than you are right now. That’s how the thing was made exclusive. Stamps are being distributed to other points—there will be a Kwajalein Chapter, Saipan, Guam, perhaps a Truk Chapter, a Philippines, and no doubt a Tokyo Chapter under the parent Tarawa nucleus. 

The stamps will be held on each island by some responsible officer, probably the S-2, and if you care to join, look him up and he’ll stamp a replica of the informal coat of arms on your stationery, birth certificate, a pair of souvenir panties, or anything else that will take the ink. It costs you a dollar, which is used to buy more stamps for other chapters. 

It was felt that the club would promote a certain comraderie [sic] among the men, for it is a thing that is really exclusive. No outsiders can join—you absolutely have to be on the island before you can join. 

You can have a bill stamped and dash around collecting signatures if you like, but the originators look down their noses frostily on the practice. 

The club is open to everyone from Dogfaces up, and there’s some highpowered company in it. Even generals—especially generals—are potential members, and some belong now. Maj Gen Willis H. Hale belongs, and plugs the club for a commendable venture, according to Lt North. 

Membership won’t make you any money or when you get back home (wars always HAVE cure very many of the ills man is heir to, but ended) you’ll have something as exclusively South Seas as atoll-fishing.
Sullivan’s veteran’s file said he was a lieutenant colonel at his discharge on September 9, 1944. 

The 1950 census counted Sullivan, his wife and daughter in Minneapolis at 120 West 32nd Street. He was a freelance artist who serviced advertising agencies. 

Sullivan retired from the Air Force on August 31, 1958. 

Sullivan illustrated the 1964 book, A Secret for Christmas

Sullivan passed away on February 10, 1973, in Minneapolis. He was laid to rest at the Fort Snelling National Cemetery

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Wednesday, March 13, 2024

 

Obscurity of the Day: It Seems Like Yesterday

 




Many local strips look a little rough around the edges, but Howard Overback and Ernie Hager produced a very fine looking feature in It Seems Like Yesterday, which they sold to the Oregon Journal. It looked so professional that when I stumbled across a few clipped samples of the feature in an old scrapbook I thought for sure it had to have been syndicated. 

Luckily the clips I found betrayed their origin as the Oregon Journal, and it turned out that GenealogyBank, a newspaper archive website I rarely use, had many years of the paper at my disposal. GenealogyBank, by the way, has a user interface much inferior to its sister site, newspapers.com, and its servers are deadly slow. Watching a newspaper page load can make me quite nostalgic for downloading on a 1200 baud modem connection. Unless there's specific material you need that is only on GenealogyBank, and they do have exclusives on  a number of major papers like the Oregon Journal, I would suggest giving them a pass. 

Anyhow, after many hours of watching dust accumulate on my laptop screen as I researched the short run of It Seems Like Yesterday, I can tell you that the feature began running in the Sunday magazine section on July 28 1940. The creators soon talked the Journal into taking their brainchild on a 6-day per week basis, and the feature became a daily on September 30. Everything went tickety-boo for a year and a half, and then Pearl Harbor inconveniently got bombed. Seeing the writing on the wall for these two 20-something creators, they ended with a farewell panel on March 27 1942. Overback was called up in summer 1942, and Hager probably about the same time. While Overback doesn't seem to have gone back into the stripping business when he got home, Hager did, as another of his obscure strips, Stubby Stout, has been covered here on the blog.

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