#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…

[atomic-chronoscaph]

Li’l Abner Tattoo Transfers - art by Al Capp (1950)

[stillinthewoods13]

I’ve seen some people on here asking “who’s daisy mae, Taylor??”, unfortunately I couldn’t find the original post to reblog. HOWEVER.

My theory is that Taylor was referring to this daisy mae ⬇️

This is Daisy Mae Scragg. She’s from the AI Capp comic “Li’l Abner”.

It was later adapted into a musical, two movies and several animated features. For nearly the entirety of the series, Daisy Mae chases after Li’l Abner, who makes it clear he has no interest in her.

Every year in the comic, their town has a Sadie Hawkins Day race and the boys have to marry whichever girl who is the one to catch them. Every year, Daisy Mae tries to catch Li’l Abner but something always gets in her way.

Abner finally agreed to marry Daisy Mae later in the comics, but not because he loved her. It was because his favourite book character (Fearless Fosdick) got married and Li’l Abner promised to always follow in his footsteps and live his life through his example.

So in theory, when Taylor says “so long, Daisy Mae” I think she’s saying that she is finished chasing after a man who doesn’t actually want her. She picked the petals, he loves her not. She’s on her own, but she will be okay.

If this theory is true, it truly shows the depth in Taylor’s lyrics

[newloverofbeauty]

Al Kapp’s  Li’l Abner

[chaptertwo-thepacnw]

li’l abner 1936 panel |2023|

[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

[minisinmedia]

(Daisy Mae with Julie “Catwoman” Newmar in a breathtakingly sexy leotard)

Leslie Parrish as Daisy Mae wearing a ripped blue short skirt on Li’l Abner (1959)

[misforgotten2]

They don’t call Li’l Abner little ironically but because there’s something else that’s teeny weeny about him.

Woman's Home Companion   October  1949

[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”

[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…

[msbarrows]

Thinking of some of the random things my grandma taught me (mostly by example). I don’t follow all of them, of course, some just aren’t applicable, but:

store your matches in an airtight tin, so if they spontaneously combust they’ll also put themselves out (which stood me in good stead back when I kept wooden matches on hand for lighting candles)

moisturize every night before bed

how to make toast with a toasting fork in a wood stove

to pronounce creek as crick, and wash with an extra vowel or two - waosh or waoush

keep boxes and findings and notions from clothing you’re discarding and rubber bands and string and pins and safety pins and and and... they might be useful some day! (Yes she lived through the Great Depression - hoarding was just something you naturally did, for a lot of people of her generation.)

hang on to the Sunday Funnies, the kids (and eventually grandkids) will enjoy re-reading them (see also: why I was familiar with things like the earlier years of Li’l Abner despite being born only about a decade before the end of its run) - she had a couple big brown paper grocery bags full of nothing but the funny pages

be self-sufficient - grandpa was a park ranger half the year and a fur trapper the other half, she spent most of her life looking after herself while he was elsewhere

to be old gracefully and gratefully - gracefully because you accept that aging is a thing that happens to everyone and don’t fight it, and gratefully because you don’t know which day will be your last (she outlived two of her three children, her husband, plus so many siblings, cousins, friends, etc.)

take long walks regularly - their farm was a mile out of town, she used to walk in several times a week to visit friends and attend church, right up until grandpa had a stroke and the two of needed to be moved to a retirement home

one she never knew she taught me: you can still be in great shape physically, yet be completely lost in time mentally. And it’s sad for everyone who does remember.

[septembersghost]

Lol, I was trying to figure out who Speak Now tour Taylor reminded me of. I think it was Daffy Duck “girlfriend” on Muscle Tussle. Someone brought up Daisy Mae from Li’l Abner. I didn’t realize that was a musical also. (youtu.)be/v6T7B8hcqyE Lol, interesting episodes.

of all the things i could possibly have expected to read today, "speak now taylor reminds me of daffy duck's girlfriend from 1953" would never, ever have been among them 😂

but look at her she's so cute

the daisy mae lyric in yoyok being this potential reference fascinates me and i want someone to ask her about it so badly (in the hypothetical world where she did press/print interviews for midnights)

[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