#Li’l Abner

[gubb7k]

Daisy Mae Yocum

[schaeder]

Frank Frazetta tecknade Knallhatten

Frank Frazetta är kanske mest känd för sina fantasy-målningar av muskulösa barbarer och lättklädda kvinnor. Men han tecknade även hillbillies och lättklädda kvinnor för den tecknade serien Knallhatten (Li’l Abner). Och det började med Frankie the Biker.

Frank Frazetta är kanske mest känd för sina fantasy-målningar av muskulösa barbarer och lättklädda kvinnor. Men han tecknade även hillbillies och lättklädda kvinnor för den tecknade serien Knallhatten (Li’l Abner). Och det började med Frankie the Biker. Ett urval källor Söndagssidan med Li’l Abner tecknad av Frank Frazetta, från 8 januari 1956, publicerad lördag den 7:e. ©United…

[usafphantom2]

There’s something about seeing your name on a jet for the first time…

Aircraft assignment was usually based on seniority in the squadron— you got in line when you arrived, and if a tail opened up before you left, you got assigned to it. Some squadrons held “auctions” for tails— the 47th Fighter Squadron, with each tail being assigned a personality and character from the Li’l Abner series was a good example of this. For some reason, most pilots bid high on the jets with characters made more popular by Frank Frazetta… Odd.

And it’s just as true today as it ever was— we may get our names on the jets, but they’re not “ours.” They belong to the Crew Chiefs who break their backs and bust their knuckles to keep these warhorses ready to go. They put our names on them so we treat them better, so the story goes.

80-177 was the first A-10 I got to see my name on, and had a great idea for her ladder door art. The whole concept of nose art has fascinated me since my time at the Academy. I had a few books of aircraft nose art, and each had a section for the A-10s of the Desert Storm era. Our AOC was a DS Vet in the Hog, and during room inspections, he’s stop by and flip through the pages— “I remember this one… this guy had this jet…” It was a very cool introduction to the bond between machine and pilot, and it always stuck with me.

I’d have to come up with a suitable name for my first Hog.

Researching the great names from WWII, I kept returning to the name Miss Behavin’— just seemed like a very proper name for an A-10. At the time, 80-177 was the last green A-10 in the fleet, and she wasn’t very happy— spending more time down than in the air and nearly approaching Hangar Queen status on more than one occasion. As fortune would have it, I got selected to go pick her up from the Depot in Utah and bring her back to Korea in her new grey paint scheme. After a few attempts to get the journey started, we made it to Hawaii where she promptly broke, necessitating a Maintenance Response Team, which included her new Crew Chief. He and I talked about ideas for a name and door art, and agreed on the design, which I hand painted when he managed to get the door to me for a week. Since I graduated from the Academy in 1996, we went with a classic pinup idea and put the 1996 Playmate of the Year, Stacy Sanches, on the door.

The jet flew amazingly after that— only time I saw her down for repairs was when a taxi light burned out. I’d like to say it was the name and art, but all credit belongs to her Crew Chief— he really babied that bird and kept her in top shape.

Miss Behavin’ was only the first— I was lucky to design many ladder doors over the years, and saw my name on some outstanding birds. 80-177 will be retired this Fall, and if luck works out, I’ll get the chance to take her home. It’s way too early, of course, but it’ll be one great, last ride.

A great footnote to her story: I got to design her “forever” door art in concert with her last assigned pilot. He too went with a Playmate motif, and we put all of the previous ladder door art across the design as a tribute to her past.

Her last name: Miss Behavin’ To The Very End.

@Thundercrate6 via X

[warm-pleatherette]

Bf told me I was built like Li’l Abner as I stripped down for bed, and while I think he was flattering me I am euphoric nonetheless

[pavindu-mga2022mi5016]

Frank Frazetta

Frank frazetta of of the pioneers of modern fantasy art, began his career in the dwindling days of the pulp magazine.

He is self taught but would take drawing classes at the Brooklyn Academy of Art at just eight years old.

He would publish the work he created in the publishing company tally-ho Comics at the age of  sixteen.

He would draw popular comic strip for  Li’l Abner,  while also working on other comic book titles in 1952.

After the end of the Golden age of Illustration in the 1920s, many number of artists  would continue working for the next few decades. Such as J. Allen St. John, as illustrator of Edgar Rice Burroughs’s Tarzan and John Carter series, which influenced the next generation of artists which includes Frank Frazetta and many other well known artist. And the focus for many of these artist were fantasy illustrations- in print (paperback book covers, magazines), film posters, animation, role-playing games, and, eventually, video games.

Frazetta's illustration of Ringo Starr for Mad magazine in 1964 brought attention to Frazetta’s work, and movie studios hired him to paint film posters. However, his 1966 cover of the book Conan the Adventurer propelled Frazetta to stardom. In 1969, Frazetta painted the memorable cover of the debut issue of Vampirella. His striking paintings of Conan, Tarzan, and John Carter of Mars altered the way readers viewed the characters and influenced other artists and film directors, including George Lucas, who visited Frazetta’s studio in 1978.

n 1983, animator and film director Ralph Bakshi, famous for his work on the animated features Fritz the Cat (1972), Wizards (1977), and The Lord of the Rings (1978), invited Frank Frazetta to collaborate with him on the film Fire and Ice (1983). At the time, Frazetta was hugely popular for his paintings of Conan the Barbarian, John Carter, and other fantasy figures, as well as the iconic Death Dealer, which he painted in 1973. An added bonus for Bakshi was that Frazetta had previously worked in the film industry, creating promotional material for the movies What’s New Pussycat? (1965), Mad Monster Party? (1967), and Clint Eastwood’s The Gauntlet (1977).

akshi intended the film to be an animated version of a Frazetta painting. To help replicate the artist’s signature style, Fire and Ice was designed using the rotoscope process  created by Max and Dave Fleischer. This involved filming an actor’s movement, such as a dance or a sword fight, and tracing the figure from the motion picture film onto animation sheets, using input from Frazetta. The result was a more accurate animated rendering of the actor’s movement than could be achieved by drawing from model sheets. In the early years of their careers, illustrators James Gurney and Thomas Kinkade worked as background artists on the film.

Frazetta continued working through the next two decades, often revisting some of his classic works such as Death Dealer. His legacy continues through the Frazetta Art Museum, which is located on Frazetta's estate in East Stroudsburg, Pennsylvania, and overseen by Frank Frazetta, Jr., and in the licensing of his images and massive social media presence maintained by daughter Holly and granddaughter, Sara, through their company Frazetta Girls.

[aliveandfullofjoy]

li’l abner was so real for “if i had my druthers, i’d druther have my druthers than do any work at all”

[thiagocardim]

Shmoo: a fofa e subversiva criatura de Al Capp. Editora Veneta vai publicar no Brasil, pela primeira vez, todas as tiras do personagem que saíram como parte de Li’l Abner entre os anos de 1948 e 1976. Saiba mais no site! https://www.gibizilla.com.br/2025/06/shmoo-al-capp-ferdinando/

[dankusner]

‘Hillbilly’ Defined 125 Years Ago

In 1900, a political writer described the “hill-billie” as someone who “talks as he pleases, drinks whiskey when he gets it and fires off his revolver as the fancy takes him.”

Since then, the label has been used in both mockery and pride

In our nation’s early years, those who lived in isolated areas of the Appalachian Mountains were called mountaineers.

However, as the industrial revolution brought more people into towns and cities, the mountain dwellers began to seem more divorced from coveted middle-class culture, and a new name took hold: “hillbillies.”

The first printed definition of hillbillies appeared 125 years ago, on April 23, 1900, in the New York Journal.

Julian Hawthorne, a political writer, used the word eight times in one short article.

He offered the following description: “A hill-billie is a free and untrammeled white citizen of Alabama, who lives in the hills, has no means to speak of, dresses as he can, talks as he pleases, drinks whiskey when he gets it and fires off his revolver as the fancy takes him.”

The word undoubtedly became part of spoken language before it appeared in print.

“It is closely associated with people living in Appalachia and other rural areas with hills and hollers,” says John Troutman, a curator at the Smithsonian’s National Museum of American History.

“Its adoption exploded in the early 20th century in parallel with the country’s rapid growth of migrant populations into Northern and Midwestern cities—fueled in large part by white and Black people migrating often from desperate conditions in the rural South, all in hopes of jobs, wellness for their families and a fresh start.”

The “hillbilly” name set the new white migrants apart from the other residents who shared their skin color.

At the end of the 19th century, those who would later be identified as hillbillies were often associated with two illegal practices, contributing to exaggerated stereotypes about their communities: the making of moonshine to quench a thirst for alcohol and the engagement in violent feuds between families.

In fact, farmers had long set aside part of their corn crop to be transformed into alcohol.

And some families did feud, the Hatfields and McCoys being one famous, sensationalized example.

The accelerating indulgence in these crimes reflected the desperation of the late 1890s, when white men struggled for control of liquor production, all while they suppressed Black communities with Jim Crow laws.

The hillbilly label was most often applied to white farmers who moved into urban areas.

Black farmers “had to navigate their own universe of disparaging stereotypes that was then trafficked within one of the most popular entertainments of the time, blackface minstrelsy,” Troutman says.

Comic strips often added to the ridicule of those known as hillbillies.

“Li’l Abner” and “Take Barney Google, F’rinstance,” which was later renamed “Barney Google and Snuffy Smith,” portrayed mountain folk as ignorant and sloppy.

Esquire magazine also featured a regular cartoon, “The Mountain Boys,” casting mountain dwellers as people living outside of modern culture.

In 1925, H.L. Mencken, a columnist and editor at the Baltimore Sun who covered the infamous Scopes trial, led the way in critiquing rural Southerners by describing those around Dayton, Tennessee, as “gaping primates from the upland valleys.”

He said they “sweated freely and were not debauched by the refinements of the toilet.”

Movies also played a role in portraying so-called hillbillies, with some depicted as unintelligent and unsophisticated and others pleasant and charming.

Hundreds of Southern mountain films appeared between 1904 and 1920, according to Jerry Williamson, a leading scholar of Southern representation on the big screen.

These films highlighted mountain people in the Ozarks as well as Appalachia.

During the late 1940s and 1950s, a series of films about “Ma and Pa Kettle” told the story of a rural family, not well-educated but relatively innocent, who move out of poverty in the country and into a new large home after winning a contest.

Television shows of the 1960s found quaintness among those who lived in or once inhabited the Southern mountains.

“The Andy Griffith Show” told stories of the inhabitants of Mayberry, a small fictitious town in North Carolina.

Some plots involved the unruly but harmless Darling family, depicted as hillbillies who seemed alien to even the small-town residents of Mayberry.

The most famous “hillbillies” on television were the Clampetts of “The Beverly Hillbillies,” a family who migrated from their rustic home to California’s Beverly Hills after oil was found on their property.

This newfound wealth introduced many opportunities to Jed Clampett, his mother-in-law Granny, cousin Jethro and daughter Elly May.

The Clampetts refused to give up their mountain ways, even while living in a mansion.

The show was one of the nation’s most popular during its run from 1962 to 1971, and some looked behind the humor to see that the Clampetts’ simple ways managed to provide a social critique of their wealthy neighbors’ fondness for “things.”

Other shows of the time, such as “Petticoat Junction” and “Green Acres,” also highlighted hillbilly life.

The homegrown characters on these series often knew more about day-to-day existence than puzzled outsiders, but they were, nevertheless, ignorant about modern inventions.

In the 1970s, “The Waltons” provided a more neighborly and learning-oriented view of life in the Southern mountains.

The 1972 thriller film Deliverance showed rural residents in a much harsher light, turning them into criminal, deviant villains.

Thanksgiving crossover

The CBS television casts of "Green Acres," "Beverly Hillbillies" and "Petticoat Junction" gather for a 1968 Thanksgiving crossover episode CBS via Getty Images

The negative pop-culture portrayals angered some.

Ozarks historian Brooks Blevins bemoaned the stereotype of “a barefoot, rifle-toting, moonshine-swigging, bearded man staring out from beneath a floppy felt hat or a toothless granny in homespun sitting at a spinning wheel and peering suspiciously at strangers from the front porch of a dilapidated mountain cabin.”

But for others, the lives of “hillbillies” were in line with an adventuresome nature that could be seen as a reflection of an American “pioneer spirit.”

Many in these communities were viewed as people who maintained close extended families as well as traditional gender roles.

And because they were farmers or recent descendants of farmers, they appreciated what nature had to offer and are often seen as people who relied on common-sense wisdom and individualism to build their lives.

As some rural families moved into urban areas, Troutman says, “they doubled down in their embrace of values they associated with their rural past.”

Regional music would give “hillbillies” a place to form positive images.

The National Museum of American History has many items in its collection that spotlight Americans who have contributed to “hillbilly” music through its evolution to country western and finally to country.

The museum has country comedian Minnie Pearl’s hat and dress as well as pants and suspenders worn by Grandpa Jones, a banjo-playing star of the Grand Ole Opry.

Stringbean and Minnie Pearl

Over time, their unique music became one field in which mountain folk attracted attention by exercising their buying power.

In the 1920s, as jazz, swing and pop records gained popularity, music producers and broadcasters learned that Southerners, whether they remained in the mountains or struggled to get by in manufacturing cities like Detroit or Chicago, offered a receptive audience to a music of their own.

Black Southerners as well as their white neighbors cherished music that said “home” to them.

Following the practice of racial segregation at the time, music catalogs often offered the “old time” genre of white performers and the “race records” of Black performers on separate but facing pages.

This was the music they embraced, from “the dare-you-not-to-dance tunes of white Atlanta fiddle champions, uproarious Black hokum blues musicians, to humorous songs and stories relayed by string and jug bands,” says Troutman.

At the same time, this music attracted a growing audience in urban areas.

In the 1920s, a string band was formed in Galax, Virginia. The session’s producer, Ralph Peer, eventually called them the Hill Billies.

Gradually, the genre took that name. “Hillbilly musical acts, whether on record, onstage or soon on the radio, often embraced rube humor and just as often were performed by musicians with extraordinary, sophisticated skill on their fiddles, guitars, banjos, Hawaiian steel guitars and double basses,” says Troutman.

“If there was a joke—and there were many of them—they proved that they were in on it and had the last laugh.”

Hillbilly music became a strong contributor to American popular culture after World War II, and singer and songwriter Hank Williams became known as the “Hillbilly Shakespeare.”

Though he died in 1953 at the age of only 29, Williams significantly expanded the reputation of what was then called hillbilly music.

“This music formed the bedrock of what later became marketed as country music and launched the nationwide popularity of radio programs like Nashville’s WSM Grand Ole Opry, or Chicago’s WLS National Barn Dance,” Troutman says.

Today, the word hillbilly has been adopted by many musicians, authors and organizations.

Vice President JD Vance titled the 2016 memoir of his youth Hillbilly Elegy: A Memoir of a Family and Culture in Crisis.

With Hillbilly Trails, Hillbilly Days, a hillbilly beverage brand and much more, the word is in widespread use.

��Its usage can be deployed with scorn as quickly as it can be embraced as a badge of honor,” Troutman explains.

“Its power lies in its fervent embrace or repulsion by all those who use it, on either side of the coin.”

[laughingblue12]

So Ugly...It's Beautiful?

Lena the Hyena appeared in Al Capp’s comic strip Li’l Abner in 1946. Basil Wolverton (1909 to 1978) became famous as a cartoonist by winning a contest. He submitted the picture of Lena to Al Capp’s newspaper strip to answer the question of what Lena, who had been appearing for weeks in Li’l Abner underneath a black square with an editor’s warning printed on it that she was just too ugly to be…

[therepublicreport]

Jules Feiffer, Acerbic Cartoonist, Writer and Much Else, Dies at 95

As a child in the 1930s, Jules loved radio dramas and newspaper comic strips. In his 2010 memoir, “Backing Into Forward,” he cited as influences the cartoonists E.C. Segar (“Thimble Theater,” the strip that introduced Popeye), Al Capp (“Li’l Abner”) and Milton Caniff (“Terry and the Pirates”), among others. He embraced the early comic books, which were comic-strip anthologies, and, after…

[schaeder]

Söndagsseriens förminskning

Söndagsserien har genomgått en rejäl förminskning under åren, och sedan många år finns de inte ens kvar i min egen dagstidning (DN). Även dagstidningen i sig har samtidigt blivit mindre. Ett urval källor Prince Valiant från 60-, 70-, 80- och 90-talet, när söndagsserien blev allt mindre i amerikansk dagspress. ©KFS Helsidorna I början av 1900-talet blev tecknade serier på söndagssidor i…

[adrianomaini]

Ancora sul 1 Salone Internazionale dei Comics di Bordighera

Ancora sul 1° Salone Internazionale dei Comics di Bordighera https://ift.tt/OmWAzJE Fonte: Guida al Fumetto Italiano Fonte: Guida al Fumetto Italiano Fonte: Guida al Fumetto Italiano Fonte: Guida al Fumetto Italiano I tempi quindi sembrarono a Romano Calisi maturi per organizzare a Bordighera, ridente cittadina della “riviera” ligure, il 21 e 22 febbraio del 1965 un grandioso “simposio” di carattere universitario sul tema dei “comics” (la definizione americana delle pagine a fumetti). Tant’è che l’iniziativa prese il nome di: 1° Salone Internazionale dei Comics. Il successo fu strepitoso. Accorsero al “meeting” giovani intellettuali, in maggioranza di estrazione universitaria, ma anche giornalisti e studiosi della comunicazione, che proposero al pubblico presente, ma soprattutto a quello che leggeva i resoconti che la stampa di tutto il mondo aveva dedicato all’evento, un’analisi storica del mondo dei comics completamente revisionata rispetto ai giudizi negativi del passato. Attraverso una serie di relazioni e di dibattiti fu portato per la prima volta alla ribalta internazionale il ruolo avuto dai comics nella società moderna e soprattutto come questo moderno mezzo di comunicazione poteva rappresentare un test validissimo, insieme ad altri, per conoscere meglio le tendenze e gli umori delle vaste masse di lettori che ne rappresentavano la sconfinata platea non solo giovanile. Raccolse consensi la mia mostra storica dedicata ai comics; seppi solo dopo che era stata la prima in Europa a trattare in modo organico la storia dei comics ed una delle prime al mondo. Rinaldo Traini, Tanto per ricordare il Salone, afNews, 30 luglio 2007 Francia e Italia arrivano a costruire una sinergia operativa e d’intenti nell’organizzazione e nella realizzazione del “Primo Salone Internazionale dei Comics” tenutosi a Bordighera nel 1965; CELEG e Istituto di Pedagogia dell’Università di Roma uniscono le proprie forze per creare uno spazio di discussione con l’obiettivo di documentare attraverso varie chiavi di lettura cos’è stato, cos’è, e cosa sarà il fumetto. Una tabella esplicativa delle relazioni e degli interventi può dare un’idea del clima serio ed erudito dell’evento e dell’ampio ventaglio di proposte teoriche. Alain Resnais riesce a portare al Salone Al Capp, l’autore della striscia Li’l Abner che John Steinbeck ha definito il più grande scrittore contemporaneo; e proprio il resoconto del fumettista per il settimanale Life Magazine descrive con esattezza quel cortocircuito tra fumetti e studiosi che nell’ansia di un riconoscimento artistico e intellettuale arrivano spesso a soffocare l’essenziale dimensione del divertimento dello spettacolo a fumetti. Sotto il titolo «La mia vita come un mito immortale: come Li’l Abner divenne la delizia degli intellettuali» compare un disegno di Capp che bene esprime l’atmosfera testosteronica del salone. L’autore, attonito e disambientato, ciondola con le braccia penzoloni in mezzo a una selva di intellettuali. I dotti ed eruditi professori sono vestiti senza classe alcuna, e in ogni caso gesticolano in maniera incontrollata. […] Il racconto di Al Capp è sferzante e fulminante. Fin dall’attacco prende le distanze dal mondo intellettuale europeo: “Non ho mai visto un film della Nouvelle Vague francese, perché sono convinto che siano delle sceneggiature di film con Doris Day, girate e montate al contrario: iniziano con Rock Hudson che salta fuori dal letto di Doris Day e passa tutto il tempo a parlare per rifiutare l’inganno con cui lei ce lo vorrà trascinare”. […] A detta di Capp, gli intellettuali riunitisi a convegno a Bordighera sono tutti maschi e incomprensibili. Brandiscono un linguaggio elitario e specialistico che sembra volto a nascondere il senso di quello che dicono. Le domande che gli vengono fatte, puntualmente trascritte nell’articolo per «Life», sono lunghissime e non richiedono risposta: esprimono opinioni e analisi, sempre fuori bersaglio, cui il fumettista riesce a rispondere solo a monosillabi.

[mongowheelie]

‘Absolutely disgusting!’ rages woman over eviction notice for 900 families leaving them with ‘nowhere to go’ in New Year

Source: The US Sun

‘Absolutely disgusting!’ rages woman over eviction notice for 900 families leaving them with ‘nowhere to go’ in New Year

Source: The US Sun

[dixiedrudge]

Bus Segregation Ended - Today In Southern History

13 November 1956  On this date in 1956… The U.S. Supreme Court struck down laws requiring racial segregation on public buses. Other Years: 1977 – The comic strip “Li’l Abner” by Al Capp appeared in newspapers for the last time. 1982 – The Vietnam Veterans Memorial was dedicated in Washington, DC.  1995 – Greg Maddox of the Atlanta Braves became the first major league pitcher to win four…

[raynbowclown]

The Admiral Was a Lady

In The Admiral Was a Lady, a post-World War II comedy, Wanda Hendrix (Prince of Foxes) stars as Jean Madison, a former WAVE (Women Accepted for Volunteer Emergency Service) ensign taken under the wings of a rowdy group of former airmen, who affectionately dub her the “Admiral.” Handily directed by veteran filmmaker Albert S. Rogell (Li’l Abner), the film is bolstered by the crackling chemistry…

[bamboomusiclist]

5/30 おはようございます。 Della Reese / The Story Of The Blues SAH-J6021 等更新しました。

Della Reese / The Story Of The Blues SAH-J6021Denise Darcel / Banned In Boston LP1002Curtis Counce / You Get More Bounce With Curtis Counce Vol2 C3539Norman Panama Melvin Frank Michael Kidd / Li’l Abner Ol5150Miles Davis / Miles Ahead 682013tlRon Geesin / Right Through RON323Sly & the Family Stone / Back on the Right Track bsk3303Sly & the Family Stone / Small Talk bl32930Chakachas / Jungle Fever…