From the Dick Buchanan Files: The Old Joke Cemetery: Laugh in Peace 1944- 1965

There's nothing like an old joke. One that makes you groan and laugh at the same time. And really, there are some jokes whose time is up. They're smelling like bad eggs. But not here at this blog, where the Golden Age of Gag Cartooning is alive and well and eliciting those groans and (I hope) a smile. Here's Dick Buchanan with more from the ...

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OLD JOKE CEMETERY
Laugh In Peace 1944 - 1965


The Cartoon Clip File is located in somewhere in New York City’s Greenwich Village, just around the corner from the Old Joke Cemetery. That’s the place where old gags are put to rest. Few tourists ever stumble upon the Old Joke Cemetery. So, imagine our surprise when we arrived there this afternoon to find a flock of them peering over the gate at what they were told was a vacant lot. Assuming the guise of a harmless neighborhood character, I joined them long enough to learn they were part of a Walking Tour of Greenwich Village Curiosities. How curious, indeed. Apparently, in New York, a vacant lot is more of a curiosity than an Old Joke Cemetery. Go figure.


Pursuant to the fine print in the Old Joke Recovery Act of 1953, it is time share a few of the recent gag cartoons recently interred the Old Joke Cemetery. Some will remain there forever. Others just may pop up again some time. Humor is funny like that . .


1. CHARLES SKILES. American Magazine December, 1955.

2. GEORGE WOLFE. Collier’s March 11, 1950.

3. CHON DAY. The Saturday Evening Post September 13, 1952.

4. GENE CARR. American Magazine October, 1944.

5. BEN ROTH. American Legion Magazine March, 1953.

6. NORMAN HOIFJELD. American Magazine November, 1950.

7. LEO GAREL. The Saturday Evening Post July 10, 1954.

8. HERB GREEN. Argosy Magazine July, 1965.

9. STAN HUNT. Look Magazine March 17, 1960.

10. ROY L. FOX. The Saturday Evening Post January 2, 1960.

11. JOHN RUGE. Colliers July 4, 1953.

12. JOHN SORENSEN The Saturday Evening Post January 29, 1953.

13. W.F. BROWN. 1000 Jokes Magazine Dec, 1957 - Feb, 1958.

14. JACK TIPPIT. Look Magazine January 28, 1964.

15. DON TOBIN. Collier’s February 17, 1951.

16. JACK O’BRIEN. Collier’s October 29, 1954.

17. JEFF KEATE. American Magazine January 1945.

18. WALTER GOLDSTEIN. The Saturday Evening Post June 15, 1957.

19. BILL HARRISON. 1000 Jokes Magazine June – August, 1957.

20. HERB WILLIAMS. American Magazine March, 1949.

The Association of American Editorial Cartoonists: An Open Letter to the Pulitzer Prize Board

 From the Association of American Editorial Cartoonists site:

The Association of American Editorial Cartoonists would like to congratulate illustrator Fahmida Azim and the other contributors to the team that created the illustrated article, “I Escaped a Chinese Internment Camp,” which won the 2022 Pulitzer Prize in the recently renamed category of Illustrated Reporting and Commentary. We would like to also congratulate the finalists, The New Yorker cartoonist Zoe Si, and Washington Post editorial cartoonist Ann Telnaes. Cartooning, regardless of genre, is time intensive, often challenging, occasionally dangerous, but always rewarding work.

While we celebrate Azim, Si, and Telnaes, the AAEC once again encourages the Pulitzer Board to consider reinstating Editorial Cartooning as its own Pulitzer category, while also recognizing Illustrated Reporting as a separate form. Each is a different type of journalism, just as Commentary and Feature Writing are considered separate styles, and Breaking News and Feature Photography have separate Prizes.

Editorial cartoons are quick, in-the-moment commentary, whose artists have to educate themselves on complex issues and craft well-informed opinions in a single take that emphasizes clarity under daily deadlines. Illustrated reporting, or comics journalism, takes days, weeks, or months to craft a story, which can run for pages, and which may or may not be presenting an opinion.

By having two separate categories — one for Editorial Cartooning and one for Illustrated Reporting — the Pulitzers can celebrate what makes each genre unique, and recognize the growing field of graphic journalism without slighting the long history of political cartooning. The AAEC asks the Pulitzer Board to consider this proposal for the future.

Signed,
The Officers and Board of Directors of the AAEC

The National Film Board of Canada: "The Tooth" an Animated Short by Guy Delisle

Cartoonist Kayfabe: The Classic Junkie Issue of Green Lantern by NEAL ADAMS and DENNY O'NEIL!

 

Cartoonist Kayfabe looks at the classic Green Lantern/Green Arrow #85 (1971), one of the series' "socially relevant" issues that dealt with drug abuse. It was written and drawn by the one and only team of Neals/Neils: Denny O'Neil and Neal Adams. 

George Pérez 1954 - 2022

 

George Pérez, a giant among comic book artists, has died at the age of 67. The cause was complications from pancreatic cancer.

 

Via CBR:

"Pérez is probably best known for launching the New Teen Titans in 1980 with writer Marv Wolfman, where the two created Cyborg, Raven and Starfire and had Dick Grayson become Nightwing. Wolfman and Pérez later reshaped the DC Universe with Crisis on Infinite Earths, which, in turn, led to Pérez rebooting Wonder Woman in 1987 with a beloved five-year run that redefined Diana for a new generation. At Marvel, where Pérez got his start in comics, he is likely best remembered for two separate runs on the Avengers; with Steve Englehart in the 1970s and then with Kurt Busiek in the 1990s, where the two relaunched the series in 1998 to great acclaim."

Pérez died on May 6, 2022, passing away peacefully at home with his wife Carol and their family by his side. An open memorial service is scheduled to be held at MegaCon Orlando on May 22.

 

 

From the New York Times:

"'Wonder Woman had to rise or fall based on me,' Mr. Pérez said in a telephone interview in December. 'It was a great success that gave me an incredible sense of fulfillment.'

"His editor on the series, Karen Berger, said in an email, 'What set George apart on Wonder Woman was that he really approached the character from a woman’s perspective — I found her relatable and authentic.' Patty Jenkins, the director of the 'Wonder Woman' films, cited this version of the character as an influence."

Via NPR:

"'George Pérez had an art style that was both dynamic and incredibly expressive,' said DC Publisher and Chief Creative Officer Jim Lee. 'His art was the perfect storytelling canvas for some of the most important events in DC history. While he will be sorely missed, his work will live on with a countless number of fans, as well as all the talent he's influenced over the years.'"

The remembrances keep pouring in from fans and pros alike. I remember that as a poor college student that the only comic book that I allowed myself to spend money on was Wolfman and Pérez's Teen Titans. I still have those issues, and it's time I take another look at them these decades later. Pérez left a tremendous bounty of his comic book art and his ease with crowd scenes is amazing. All comic book artists will labor in his shadow.

 

 

 

School of Visual Arts October 1948 Newsletter

 

The Cartoonists and Illustrators School, now known as the School of Visual Arts, had a newsletter back in the day and this is the sixth issue of Caranill from October 1948. ("Caranill" being a "condensation of the words cartooning and illustrating;" a word that was devised by then-SVA student Arnold Izenberg - who won $5 for the name (see page two).)

Cartoonist Scott Taber's daughter sent this four page newsletter to me out of the blue and it knocked my socks off. A wonderful piece of history from the first class of SVA. And I'm told that the SVA library has more, which is always good to know. 

There are a number of "before they were famous" names that are mentioned here. "Scott is mentioned in a column written by fellow classmate, Jerry Marcus. It looks like it was a pretty wonderful school that trained and turned out many good working artists," write Judith Taber. Also in this issue of Carnill: an illustration by Sid Couchey; mentions of some professional cartooning/illustration sales by then-students Dick Cavalli as well as the aforementioned Scott Taber; Paul Gringle is the subject of the "Student Spotlight" column; Al Herman (who may or may not be Al Vermeer) writes about visiting cartoonist Ted Key, creator of Hazel. There are mentions of Silas Rhodes, Burne Hogarth and Tom Gill as well, of course. At least read the exciting "Six C&I 'Gringos' Return from Mexican Painting Tour."

Thank you so much, Judith.

From the Dick Buchanan Files: Assorted Vintage Gag Cartoons 1945 - 1965

In the mid 20th century, all major national magazines had single panel cartoons.  They were commonplace and easy to find. They are all gone today -- most of those big national mags and all the gag cartoons they published -- except for a few places now (The New Yorker, the Wall Street Journal's "Pepper ... and Salt" feature, The Saturday Evening Post, Bauer Publishing's Women's World magazine, The Funny Times newspaper -- and some UK markets). Dick Buchanan remedies this and takes us back to the Golden Age of Gag Cartoons once more. Thanks, and take it away, Dick:


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ASSORTED VINTAGE GAG CARTOONS
(1945 – 1965)

Here is another assortment of vintage gag cartoons clipped from the great mid 20th century magazines. Some may remember a couple of these cartoons but most have been long forgotten. Here is a chance for young and old alike to take a look at the work of some cartoonists who were important contributors to the world of gag cartoons. Take a look . . .


1. CLYDE LAMB. Boys’ Life November, 1950.

 

2. CHON DAY. American Magazine January, 1945.

 

3. GEORGE WOLFE. This Week Magazine June 8, 1948.

 

4. ROWLAND WILSON. The Saturday Evening Post October 24, 1953

 

5. MARTHA BLANCHARD. For Laughing Out Loud. October – December, 1961.

 

6. A. JOHN KAUNUS. American Magazine April, 1945.

 

7. VIRGIL PARTCH. True Magazine October, 1948.

 

8. KATE OSANN. Collier’s June 10, 1950.

 

9. GARDNER REA. American Magazine May, 1945.

 

10. PERRY BARLOW. The Saturday Evening Post March 16, 1946.

 

11. WALT WETTERBERG. The Saturday Evening Post March 13, 1954.

 12. ED FISHER. The Saturday Review October 10, 1953.

 

13. DON TOBIN. American Magazine July, 1951.

 

14. HERB GREEN. Argosy Magazine September, 1955.

 

15. AL KAUFMAN. The Saturday Evening Post. June 1, 1957.

 

16. BRIAN SAVAGE. True Magazine February, 1964.

 

17. CHARLES RODRIGUES. 1000 Jokes Magazine Fall, 1953.

 

18. JOHN DEMSPEY. The Saturday Evening Post April 12, 1952.

 

19. DICK CAVALLI. The Saturday Evening Post September 26, 1953.

 

20. BRANDT PARKER. This Week Magazine February 2, 1958.

 

Video: Siskel and Ebert Review Star Wars 1977

In honor of Star Wars day ("May the 4th Be With You"), here's a review of the 1977 Christmas rerelease of Star Wars by Siskel and Ebert.

The Garden As of Early May 2022

 

They aren't here yet, but when the hummingbirds arrive, the restaurant will be open! 

A few photos of the garden, which is still mostly asleep. 

Clive Collins 1942 - 2022

"Where were you the last time someone asked where you were when Kennedy was shot?"

British cartoonist Clive Collins, best known for his cartoons in Punch, Playboy, The Daily Mirror and The Sun (where his race horse tipster series "Lucky Jim" ran for ten years), passed away on April 22, 2022 April 21, 2022. He was 80 years old. 

A veteran international freelancer, he had a 38 year association with Punch Magazine beginning in 1964. The next decade, he was a frequent Playboy contributor.

In addition to newspaper, magazine and book illustration, Clive drew a 12 page "autobiography" cartoon booklet insert for his brother Phil Collins' first solo single 'In The Air Tonight' (Virgin, 1981).

 

Via Lambiek:

In 1982 Collins won the first prize at the Wereldkartoenale in Knokke-Heist, Belgium. His winning cartoon - which depicts a business man flying back to a bird's nest full of squeaking brief cases - sported the official cartoon festival exhibition poster. The Cartoonists' Club of Great Britain voted Collins "Cartoonist of the Year" three times, namely 1984, 1985 and 1987. He also received the Japanese Yomiuri Shimbun award eight times, five in a row from 1980 to 1984 and again in 1986, 1990 and 1994. In 2011 Collins was honored with an MBE medal by Queen Elizabeth II. His brother, Phil Collins, was present during the ceremony. 

Clive Collins is vice-president of the Cartoonists' Club of Great Britain and Secretary of the British Cartoonists' Association, as well as a member of the Cartoonists' Guild, the London Press Club, The Federation of European Cartoonists' Organisations and the Advisory Board of The International Journal of Comic Art. In 2012 Clive Collins was one of many cartoonists who showed support of Iranian cartoonist Mahmoud Shokraye, who was sentenced to a lashing after making an offensive cartoon of local politician Ahmad Lotfi Ashtiani.

Neal Adams 1942 - 2022

 

Renowned comic book artist Neal Adams passed away in New York on Thursday due to complications from sepsis. He was 80 years old.

Adams' dynamic photo realistic style brought a newer, more serious version of Batman in the 1970s. He paved the way for later incarnations, like The Dark Knight, and more adult, darker comic book stories.

Neal was the co-founder of the graphic design studio Continuity Associates. He was a creators' rights advocate who helped secure a pension and recognition for Superman creators Jerry Siegel and Joe Shuster.

The official Twitter account of DC Comics tweeted that “the modern comic landscape would not be what it is today without the incomparable work” of Adams. “Neal portrayed heroes as both super and human in equal measure. His work on Batman, Green Lantern, and many more was revolutionary. DC joins the world in mourning his loss." 

 

There is a lot being written about Neal online. The tributes from other comic book artists, talking about his influence on them, are particularly touching. 

 

Joe Jusko:

A lot is going to be written over the next few days about the impact of Neal’s work on comics and illustration, his impact on creators’ rights and his personal impact on the careers of many artists who pepper our industry. To say that all of it will be well deserved is the greatest of understatements.
I knew Neal only casually, enough to chat for a while whenever we saw each, so I cant say that he had any personal impact on my career.
His work, however, certainly did.
I was a junior at NYC’s High School of Art & Design when Neal’s TARZAN covers were released. Needless to say, their impact was immediate and everyone I knew had copies, whether they intended to read the books or not. I was amongst them.
My appreciation for the art went beyond mere admiration, though. I primarily knew Neal as a comic book artist and knowing how prestigious an assignment those covers were, I wondered how one got to a position where they were even considered for it. I loved those books and the subject matter and dreamed of one day, should I be lucky enough to actually break into this industry, to be considered worthy of that selfsame assignment. They definitely lit a fire in me and were actually the impetus for me to start painting.
Neal’s Tarzan covers became the standard and the benchmark and except for a couple of different editions here and there over the years, remained so for over 40 years.
I find myself today in the honored position of painting all new covers for those same books. Despite all the work I’ve done over the years, my end goal was always this job, and Neal’s covers were the spark that ignited that desire and I cannot express that strongly enough.
Attached is a showcase of those covers and they are every bit as awe inspiring and intimidating as they were when I first saw them all those years ago.

Enjoy, and thank you, Neal

 

 

His work in the ephemeral world of comic books, made a bold mark. 

Ron Kampeas, the Jewish Telegraphic Agency's Washington Bureau Chief, tweeted about the above:

I was 10. Standing at Georgie's, five and dime. This validated my visceral love for comics. It took my breath away. And awakened me to a reality. That is what art does. The memories Neal Adams created still breathe. They will forever be a blessing.

These are but two of the many, many stories that people who knew Neal or just loved his work, that are out there. A legend has passed away.