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1863-project · 1 year

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Happy Mallard Day!

Most people in my country will be celebrating tomorrow, July 4th. I’m a bit unusual for an American in that I’m always more excited for July 3rd, because a remarkable feat of engineering history happened that day in 1938 (in multiple senses of the word). Today I’m going to tell the story of a locomotive named for a duck.

(Image: 4468 Mallard, a streamlined 4-6-2 Pacific locomotive, sitting pretty in York, England, United Kingdom. She is painted bright blue with red wheel spokes.)

The story begins well before July 3rd, 1938, of course - mechanical engineer Sir Nigel Gresley was well established in his position as the CME of the London and North Eastern Railway by that date. In 1923, his most famous creation, a 4-6-2 Pacific A1 numbered 4472, took to the rails for the first time. Originally numbered 1472, within a year of running between London to Edinburgh she received her more familiar 4472 after the LNER finally settled on a company-wide numbering scheme - and the name she’d be best known under, Flying Scotsman. She became the company’s flagship locomotive and solidified Gresley’s ability to design Pacifics in the mind of the public.

Her most important contribution to what I’m about to get into the meat of here, though, occurred on November 30th, 1934. On that date, pulling a light testing train behind her, Flying Scotsman hit 100 mph, becoming the first locomotive to hit that speed whilst being officially measured. Other locomotives may have reached 100 mph before, most notably GWR 3700 City of Truro and NYC 999, but this was the first time the speed was officially recorded, and so Scotsman got her name into the record books.

Dating back to the 19th century, railroads in Great Britain competed against each other in what was known as the Race to the North, in which they actively attempted to outdo each other and get passengers from the south, usually London, up to various destinations in Scotland. Nobody ever actually said they were racing, of course, but in retrospect it was pretty obvious what was going on as the railroads introduced faster and faster services. By the 1930s, the railroads had been consolidated into four companies - the Big Four (the Great Western, the Southern, the London, Midland and Scottish, and the heroes of this story, the London and North Eastern). The LMS controlled the West Coast Main Line, and the LNER controlled the East Coast Main Line. (This is important.) In 1927, the LNER started running the named train Flying Scotsman non-stop from London to Edinburgh, utilizing corridor tenders to perform crew changes at speed without stopping. Not to be outdone, the LMS beat them to the punch, running non-stop services between London and Glasgow and London and Edinburgh on their own, and it was officially on. Although speeds were still within a reasonable range at this point, both railroads knew they needed to go faster, and Sir Nigel Gresley looked to Germany.

In Germany, a new streamlined service called the Flying Hamburger had been introduced. This was a diesel train set that ran between Hamburg and Berlin at remarkably high speeds - it had an average speed of 77 mph and could hit around 99-100 mph at its maximum. For regular service, this was impressive, and Gresley wondered if the same could be done using steam power. He knew streamlining was the key, but the LNER knew that the diesels in Germany didn’t have the same passenger capacity as their steam locomotives could pull in carriages, so he needed to get creative. He looked to Bugatti for inspiration; their racecars, in their resplendent blue, were but one thing the car company was working on - they were making streamlined railcars, as well. Gresley took note of their designs, and his new locomotives would eventually pay homage by being colored Bugatti blue.

(Image: a Bugatti Type 54 racecar, painted in a vivid blue.)

By the time Flying Scotsman hit 100 mph in 1934 and another Gresley Pacific locomotive, A3 2750 Papyrus, managed to hit a whopping 108 mph without streamlining, the LNER knew that Gresley was capable of the task, and they allowed him to design a streamlined locomotive. Gresley set to work making improvements to his A3 design, and the first four A4s were born.

(Image: an unidentified A4 Pacific locomotive.)

The A4s were fast, hitting 112 mph on the inaugural run of the Silver Jubilee service between London and Newcastle in 1935. Gresley, of course, was not satisfied - he knew he could still improve his design, and at any rate, his competition over at the LMS was going to be trying to catch him. He went back to the drawing board to make the A4s even better.

As this was going on, the LMS was indeed playing catchup, and they introduced their beautiful Coronation class locomotives, designed to pull the Coronation Scot starting in 1937. The first several of them were streamlined in gorgeous, bright casings, and they caused a stir, taking the British speed record back at 114 mph in an attempt by 6220 Coronation that ended with a sudden braking and a whole lot of kitchenware being flung every which way in the dining car. Engineer/driver T.J. Clark and fireman C. Lewis kept her under control, but the passengers were not amused, and speed records were shelved for the time being...until, once again, Germany entered the fray.

Back in 1936, a German locomotive, the DRG Class 05, set a land speed record for steam, hitting 124.5 mph. Gresley was aware of this and had it in the back of his mind as he improved his A4s. He experimented with giving some of them a Kylchap exhaust system, an innovation developed by French locomotive designer André Chapelon after the work of Finnish engineer Kyösti Kylälä. Chapelon’s work went woefully under-acknowledged, but Gresley paid attention and appreciated his work, and it would pay off. Wind tunnel tests proved a bit frustrating at first until a fortuitous accidental thumbprint helped to move the smoke up and over the locomotive instead of in the crew’s faces, and the stage was set.

4468 Mallard rolled off the line at Doncaster Works on March 3rd, 1938, her name derived from Gresley’s love of breeding waterfowl. Indeed, many of her sibling locomotives were also named for birds, like 4464 Bittern, 4467 Wild Swan, 4902 Seagull, and 4903 Peregrine, but the duck was about to steal the show. Mallard spent the next few months getting used to working and being broken in so she wasn’t brand new, and on the day she turned four months old, it was time to make history.

Mallard’s driver that day was a 61-year-old grandfather named Joe Duddington. As a locomotive engineer, he was experienced and knew how to take calculated risks, and so he’d been assigned to pilot her. With him on the footplate was fireman Tommy Bray and his massive tattooed arms, ready to keep Mallard fed as they drove into the history books. They were performing a “brake test” that day, or so the LNER told most people, passengers included, but Joe and Tommy knew what was actually going on. In the cab with them was an LNER official, Inspector Jenkins, and attached to the train behind the tender was a dynamometer car, there to record Mallard’s speed throughout her run. Since this was an alleged “brake test” the dynamometer car didn’t raise any eyebrows right away. Gresley himself unfortunately wasn’t in the best health that day and was unable to be present himself, but there were enough LNER officials on hand to see to it that everything ran smoothly. Mallard was fitted with a stink bomb of sorts of aniseed in case the big end bearing for the middle of her three cylinders overheated, as the A4s had previously had difficulty with this, and she set out heading northwards. The return trip was where everything was going to get serious.

Upon turning around to return south to King’s Cross, passengers were finally informed of what was going to happen and were given the opportunity to disembark and take another train if they were worried, especially given what had happened during the LMS record attempt a year prior. Everyone agreed to stay on board. Joe Duddington turned his hat backwards, a reference to George Formby’s character in the film No Limit, and opened the throttle.

Mallard slid back onto the main line, headed towards Grantham, where the speed-up was to begin. Unfortunately, work on the track limited her to only 15 mph at this stage, and Joe Duddington got her through the Grantham station at only 24 mph instead of the 60-70 mph she should have been at. Nevertheless, she began to build up more and more speed as she climbed up Stoke Bank, and Duddington had her at a solid 85 mph at the summit.

“Once over the top, I gave Mallard her head, and she just jumped to it like a live thing,” Duddington recounted later in an interview. Her speed rapidly increased, and she was soon hitting 110 mph, at which point he told her, “Go on, old girl, we can do better than this!” Mallard responded, and by the time she was flying through a village called Little Bytham, a blur of blue paint and pumping rods and flying ash, she had well exceeded the LMS record and was even with the German DRG Class 05. The needle in the dynamometer car tipped up higher and higher and surpassed the Class 05 by slipping up to 125 mph...then, for about a quarter of a mile, reached even higher, at 126 mph. She’d done it.

Mallard had to slow down soon after because of a junction, but Joe Duddington and Tommy Bray were sure she could have gone faster had they not had to slow for construction - they believed she was capable of 130. The big end bearing did overheat, and Mallard was detached from the train at Peterborough and brought back to Doncaster to be fixed up, but not before one of the most famous photos in railroad history was taken:

(Image: the crew poses in front of Mallard, a 4-6-2 Pacific locomotive numbered 4468, immediately after setting the speed record. L-R: Tommy Bray [fireman], Joe Duddington [driver/engineer], Inspector Jenkins, Henry Croucher [guard/conductor]. Joe Duddington has turned his hat around to face the correct way again after having it on backwards during the record run. Photo credit: National Railway Museum.)

Joe Duddington actually stayed on a bit past his retirement age to help free up soldiers for the war effort. When he finally retired, on his final day of work, he drove Mallard one last time.

Sir Nigel Gresley himself never accepted the brief stint at 126 mph, instead saying his locomotive set the speed record at 125 mph. But history has accepted the 126 mph as the true top speed, given that Mallard was possibly capable of even more, and today she has plaques on her streamlined cladding to commemorate her feat. A second record attempt was planned to see if she could go even faster, but World War II broke out and the idea was scrapped.

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Tommy Bray eventually got on the throttle himself, fulfilling his own dreams. Both men are honored in a cemetery in Doncaster with a new memorial headstone for Duddington featuring Mallard on it.

As for Mallard herself, she continued working until April 25th, 1963, at which point she’d clocked nearly a million and a half miles in service. She was pulled for preservation for obvious reasons, and today she lives at the National Railway Museum in York, along with her dynamometer car that recorded her history-setting run. Five of her A4 siblings also survive, and a few of them are operational to this day, including the one named for her designer, Sir Nigel Gresley. Of all of his ‘birds,’ the one that flew fastest was the humble duck.

For more on Mallard and her creator Gresley, here are a few resources:

Mallard: How the Blue Streak Broke the World Speed Record by Don Hale is a great book on the subject that I enjoyed thoroughly. It does have a Kindle edition if you’d prefer an ebook variation, as well, and most major book retailers carry it on their websites.

The National Railway Museum, Mallard’s retirement home, has a 3D experience/ride of sorts that simulates what it was like to be running with her that day, the video of which is online here. Note the music, which mirrors her three cylinders pumping away. The video isn’t able to be embedded, but you can watch it here. There’s also a child-friendly version, too.

Lastly, the appropriately named prog rock band Big Big Train did a song about Mallard called East Coast Racer, which regularly moves me to tears because this locomotive means so much to me and they tell her story so lovingly.

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I actually recommend checking out the live version, too, because they show the photo of the crew at the end and every single time I start sobbing.

If you want to visit the old girl herself, she’s at the National Railway Museum in York in the UK, and they have a ton of amazing resources and incredible locomotives and rolling stock in their collection. I’d highly recommend checking them out if you can!

Happy Mallard Day, everyone. Fly far, fly fast, make history.

#LNER Mallard #LNER 4468 Mallard #LNER #LNER A4 #I like trains #I spent literal hours on this whoops #but she's really important to me

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wheelsgoroundincircles · 2 years

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Top 10 Innovative Cars

The cars of today owe a lot to the vehicles that came before them. Car design has always been about innovation and breaking new ground, but it's rare to find an automobile that can genuinely be said to have changed everything that came afterwards. The cars in this list were not your average motors - each and every one of them had an influence that reached far beyond their original conception. Here are the unique stories of ten of the most innovative and influential cars ever produced.

Ford Model T (1908)

The first massed produced automobile.

The Model T - colloquially known as the Tin Lizzie - is generally regarded as the first affordable car in the world, and the vehicle that opened up a world of automobile travel to the middle classes. Ford's assembly line production made it all possible, setting a standard of manufacturing that influenced almost every industry in the world. Produced between 1908 and 1927, more than 15 million Tin Lizzies were sold, and the car gave mobility to the masses. For that reason, it is often considered to be one of the most influential developments in the history of design and production.

Rolls Royce Silver Ghost (1908)

The first military car.

At the time of its development, the beautiful Rolls Royce Silver Ghost was considered to be at the forefront of luxury car design. However, it was to become something much more important than a toy for the rich. In 1914, all Silver Ghost chassis were re-purposed to form the basis for a brand new armored car, and the vehicles ended up playing a significant part in World War I, the Irish Civil War, the Turkish Wars and even World War II. In doing so, the Silver Ghost gave birth to the modern concept of mechanized military conflicts and ended the days of the horse cavalry.

Austin Seven (1922)

The first 'people's car'.

The Austin 7 is a legendary British car that was hugely successful both in its home country and abroad. It is often seen as the forerunner to the modern automobile as we know it, and made a huge impact on the economy car market that was comparable to the innovative inroads made by the Ford Model T fifteen years before. It is seen as the first 'people's car' that further popularized motoring, and it was re-bodied to form the basis for the first cars produced by BMW, Nissan, Lotus, Jaguar and the Australian firm Holden.

Volkswagen Beetle (1938)

The mechanical innovator that became a cultural icon.

It's hard to find another automobile with the rich history of the Volkswagen Beetle. The brainchild of Ferdinand Porsche, it was one of the first rear-engine automobiles and was specifically designed to travel at 100kph on Germany's autobahn highway system. It also featured one of the world's first air-cooled engine designs, but its impact went way beyond its mechanical innovations. Its production lasted for 65 years between 1938 and 2006 - the longest ever run for a single design concept - and it was the first car to truly become a cultural icon (helped by the 'Herbie' films of course), showing that motor cars had a place in wider entertainment.

BMC Mini (1959)

The early 'hot hatchback'.

Another car that gained an influence outside of the motoring world is the much loved BMC mini. It was conceptualized as a car for everyone and went on to be produced in over 100 variants in countries all over the globe. It was also one of the first modern front wheel drive cars, and made the idea of the small 'hot hatchback' cool. This simple, little car which came to symbolize the 'swinging' 60s, was one of the first efficient 'city' cars and became a rally car, racing legend and movie icon in pictures like The Italian Job.

Citroen DS (1955)

The groundbreaking car that influenced car design for years.

The Citroën DS always occupies high places when experts are looking to crown the best car of all time, and with good reason. This executive car was years ahead of its time and it's widely accepted that every modern car model can in some way trace its design back to the DS. It was the first mass production car to include disc brakes, featured an aerodynamic body design considered futuristic at the time but standard today, it had hydraulic suspensions and revolving headlights, and sold a then-record 12,000 units on its first day of release. It remains one of the most influential automobile designs ever produced.

Jaguar E-Type (1961)

The luxury icon of the 1960s.

The Jaguar E-Type is one of the most beautiful sports cars ever to grace the road, and a legend of 1960s design. At a time when most cars were more about practicality than style and performance, the E-Type boasted top of speeds in excess of 150mph and could travel 0-60mph in under 7 seconds. It was the first production vehicle that didn't feature a body fixed to a separate chassis, instead, it employed a 'racing design' where the body was attached to a tubular framework. It will always be associated with high performance and sleek sophistication, and it influenced sports car designed long after it left the production line.

Lamborghini Miura (1966)

The world's first super car.

The Lamborghini Miura was the world's first super car, and pushed the boundaries of what people thought was possible in automobile design. It ushered in the era of the high-performance, two-seater sports car and was lightning quick - comfortably the fastest road car in production when it was first released. The design shared much more in common with the race cars of the day, rather than the sleek touring car designs that had previously been favored by car firm bosses, including Ferruccio Lamborghini himself, who objected the original concept for the Miura, forcing the company's engineers to design it in their spare time.

Chrysler Minivan (1983)

The first ever multi-passenger mini-van.

In 1983, Chrysler effectively invented the Minivan and changed the way cars were conceptualized for good. The Minivan's design grew from the need for a vehicle suitable for larger families, which still retained the driveability of a normal car. It looked boxy, but had a sliding side door that made loading the kids in the car easy, yet it was small enough to fit in a standard parking spot. Owning one came to symbolise both financial, adult success and, paradoxically, 'lost youth' in 1980s America. The car changed the landscape of automobile design forever.

Toyota Prius (1997)

The world's first mass-produced electric hybrid vehicle.

The Toyota Prius was the first mass-produced hybrid, electric vehicle in the world, and its influence is probably yet to be fully realized. Just as the Model T and Austin 7 brought automobiles to the masses, the Prius broke new ground in the important quest for an electric powered alternative to modern gas guzzlers and remains one of the most environmentally friendly cars sold to date (now in its fourth generation, it remains in production). For all these reasons, the Prius deserves its place on this list of the most innovative car designs of all time.

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justforbooks · 6 months

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Towards the end of his life, the actor Adrian Schiller, who has died unexpectedly aged 60, found success and sudden fame in two blockbuster TV shows: The Last Kingdom (2018-22), on Netflix, in which he played the richest man in medieval Wessex, Aethelhelm; and ITV’s drama Victoria (2016-19), as Cornelius Penge, a footman in the royal household.

In both, a fleeting glance would suggest that here was a naturally authoritative actor, blessed with gravitas and style. This camouflaged the demonic comic spirit within, which had informed so many of his memorable stage performances since he first appeared in the German Expressionist Carl Sternheim’s 1911 play The Knickers at the Lyric, Hammersmith, in 1991. In a delicious comic performance, he played a weak-chested Wagner-loving barber thunderstruck by a flash of discarded lingerie as the Kaiser drove by, suggesting, said the Times critic, “a tousle-headed combination of Charlie Chaplin, Egon Schiele and Gollum, whose idea of romance is reading extracts from the Flying Dutchman”.

Schiller proceeded to leading roles with the Royal Shakespeare Company in the 1990s – his Porter in a disappointing 1996 Macbeth was the funniest I had ever seen, while his entertaining Touchstone in an awful 2000 designer knitwear production of As You Like It rescued another dud evening.

He was less prominent in some strange productions at the National – Peter Handke’s wordless The Hour We Knew Nothing of Each Other in 2008, as one of 27 actors playing 450 characters in a town square, coming and going with no interaction, and as a revolutionary tailor in a poor 2013 retread of Carl Zuckmayer’s 1931 Captain of Kopenick, in which Antony Sher did not eclipse memories of Paul Scofield in the NT’s 1971 production.

On the other hand, he was outstanding in Chekhov’s Three Sisters, superbly directed, and modernised, by Benedict Andrews at the Young Vic in 2012, playing Kulygin, a leather-jacketed schoolteacher tragically infatuated with his own disloyal wife; and he was a compelling, original, quietly spoken and sympathetic Shylock in The Merchant of Venice at the Wanamaker, the candle-lit indoor venue at Shakespeare’s Globe, in 2022. The Merchant rekindled the current noise around the play – is it antisemitic or about antisemitism?

In an interview with the Jewish Chronicle, Schiller tilted towards the second view. He averred that he was “a Jew, but not Jewish”.

Schiller was born in Oxford, the second of four children of Judith (nee Bennett), a teacher, and Klaus Schiller, a gastroenterologist whose family had emigrated from Austria to Britain in 1938. When Klaus was appointed a consultant at St Peter’s hospital, Chertsey, the Schillers moved to Surrey.

Adrian was educated at Kingston grammar school and Charterhouse, in Godalming, Surrey, where he pursued a busy life in stage productions. Instead of drama school, he took a good degree in philosophy (after switching from architecture) at University College London, although he always self-deprecatingly said that he majored in “plays and partying”.

His early television career encompassed series such as Prime Suspect, A Touch of Frost, Judge John Deed and much else, through to the first series of Endeavour in 2013. He also popped up in the Channel 4 series The Devil’s Whore (2008) set in the English civil war, and the Doctor Who story strand The Doctor’s Wife in 2011.

One of his most effective cameos on screen was as the barman in a striking government-sponsored advert in the anti-drink-driving campaign in 2007. He leaned deep into the camera with a series of non-equivocal questions to a bemused, unimpressed young glass-holding customer who may or may not have grasped the seriousness of the interrogation.

But he always returned to the theatre, seeking out the most demanding roles with companies who would accommodate him. He gave an almost ideal Cassius, wirily intellectual while bubbling passionately underneath, said Michael Billington, for David Farr’s 2005 RSC touring version of Julius Caesar. In the title role of Tartuffe at the Watermill, Newbury, in 2006, he was cool and venomous, as well as understated, and clearly the star of the show.

And for Stephen Unwin’s English Touring Theatre in 2007, he rebooted the remorseless villain, De Flores, in Middleton and Rowley’s Jacobean shocker, The Changeling. He was more than notable, too, opposite Sher’s Sigmund Freud, as a vividly hilarious Salvador Dalí, in their great encounter scene in Terry Johnson’s Hysteria at the Hampstead theatre, revived there in 2013, 20 years after its Royal Court premiere.

His feature film credits were not extensive, but in 2014 he was well cast as the sardonic high priest Caiaphas in Son of God, Christopher Spencer’s biblical epic. In Sarah Gavron’s Suffragette (2015), scripted by Abi Morgan, he was an imposing Lloyd George, coming round to the persuasion of the militant vote-seeking women led by Meryl Streep as Emmeline Pankhurst and Carey Mulligan as a fictional worker fuelled by the excitement of change and protest.

His last movie, yet to be released, is Red Sonja, in which he plays the king of Turan in a remake of the 1985 sword-and-sorcery Marvel Comics fantasy.

Back on stage in 2023, he returned to questions of Jewish identity and survival in three short new plays at the Soho theatre and a more substantial Holocaust drama, The White Factory by Dmitry Glukhovsky, at the sparky new Marylebone theatre (formerly the Steiner Hall), in which he was a powerful, wise presence in the story of a survivor of the Łódź ghetto in Poland, played by Mark Quartley, adapting to American life in the Brooklyn of the 60s.

At the time of his death, Schiller – who was also a skilled sculptor and guitarist – had just returned from Sydney and the triumphant international tour of The Lehman Trilogy, directed by Sam Mendes, and had been looking forward to the next leg of the tour in San Francisco.

He is survived by his partner, Milena Wlodkowska, a laboratory support technician, and their son, Gabriel, and by his sister, Ginny, and brothers, Nick and Ben.

🔔 Adrian Townsend Schiller, actor, born 21 February 1964; died 3 April 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #adrian schiller #in memoriam

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superman-the-secret-third-thing · 9 months

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The Humble Origins of Superman

Action Comics #1 (1938) by Jerry Seigel and Joe Schuster.

The first step in my journey to consume all of Superman's media!

Ah, all the way back to the beginning- the very, very first Superman comic ever. It's interesting to see where Superman came from, and what has evolved as time has gone by.

Things to note about OG Superman.

-Jor-eL, Metropolis and Krypton aren't named. Krypton was destroyed by "Old Age"

-It's the Daily Star, not the Daily Planet.

-No Ma/Pa Kent, Jimmy Olson or Perry White. No Supervillains to be seen- just social inequality.

-he was put in an orphanage to be placed at the mercy of the state (and placed the state at the mercy of a amusingly drawn baby)

-He is not powered by the Sun at this time, but his biology is hyper-advanced.

-He cannot fly or do the Care Bear Stare- but he's super durable, strong, fast and can jump really, really good. I actually quite like these limitations myself- but they...uh...don't last for very long.

Superman is immediately established as a champion of Justice- his very, very first act is to get an innocent woman off of the electric chair...by breaking down the Mayor's door with a confession and a sulking murderer outside. The idea, I think, is that Superman is at a point where he can protect those that the average person cannot.

I also quite like his sense of humor. He's a cheeky man, both physically and personally.

"Gasp! I have never heard of this Superman fella! He sounds amazing and handsome with a large wiener and a desire for anonymity!"

Based Clark. Superman is the champion of justice for all- he protects everyone who cannot protect themselves.

Next is established is Lois and the false persona of "mild-mannered reporter, Clark Kent"- Clark wants to ask her out, she hates him for being a spineless coward (which isn't terribly inaccurate). He tries to let some scumbags dance with her, which is a shitty move- however as we've just established, Clark hates abusers, so he stalks them like The Technicolor Demon.

They kidnap Lois, since it's one of her fundamental character traits, he scares the shit of them by outrunning their car and smashing it against a wall (Does Superman count as an Act of God for insurance purposes?), tosses them onto a telephone pole and rescues Lois. Who looks into his dreamy eyes and falls in love, adding her second fundamental character trait.

I do like that Superman asks her not to tell the newspaper about their adventure- only for the next panel to have her trying to get it printed.

Third Character trait: Reporter.

All in all, great story, establishes his setting and personality fairly well- and I'd like to praise Joe Schuster's fantastic art! I recommend you read this one!

Next Time On The Secret Third Thing: Superman Tackles War Profiteers?

#Superman #dc comics #clark kent #lois lane #dc universe #detective comics #1930s #1930s cartoons #dcu

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batmannotes · 2 years

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MAX FLEISCHER’S SUPERMAN 1941-1943

Warner Bros. Discovery has meticulously remastered Max Fleischer’s treasured set of 17 animated Superman shorts from the original 35mm source elements. Max Fleischer’s Superman 1941-1943 will be available to purchase Digitally on HD and on Blu-ray May 16, 2023.

Superman made his comic book debut in 1938, appearing in Action Comics #1 (dated June 1938, but officially published on April 18, 1938), and the Man of Steel’s popularity grew with his subsequent radio program. Max Fleischer gave the world’s first Super Hero his initial animated spotlight, producing 17 theatrical animated shorts from September 1941 to July 1943 that further elevated the character’s profile, and added many significant aspects to his canon – including coining many of Superman’s patented catchphrases and attributes.

Warner Bros. Discovery’s advanced remastering process began with a 4K, 16-bit scan of Fleischer’s original 35mm successive exposure negative. Staying true to the original theatrical aspect ratio of 1.37-to-1, the highest quality raw image was then scanned and then entered into the recombine process – utilizing special proprietary software to merge the successive exposure Technicolor negatives into a single RGB color image. The end result are pristine animated shorts that have been restored to the animators’ originally intended production quality.

Well known radio actors Clayton “Bud” Collyer and Joan Alexander reprised their famed The Adventures of Superman radio show roles for the Fleischer/Famous Studios animated shorts as Superman/ Clark Kent and Lois Lane, respectively. Jackson Beck provided the voice of Perry White and the show’s primary narrator. Additional voices, many of whom had participated in the Superman radio program, were provided by Jack Mercer, Grant Richards, Julian Noa, Lee Royce, Max Smith, Sam Parker and Carl Meyer.

Max Fleischer’s Superman 1941-1943 will be available on May 16, 2023 to purchase Digitally in HD from Amazon Prime Video, AppleTV, Google Play, Vudu and more, and on Blu-ray at major retailers both online and in-store.

EPISODES (AND PREMIERE DATE):

Superman (Mad Scientist) – 9/26/1941

The Mechanical Monsters – 11/28/1941

Billion Dollar Limited – 1/9/1942

Arctic Giant – 2/27/1942

The Bulleteers – 3/27/1942

The Magnetic Telescope – 4/24/1942

Electric Earthquake – 5/15/1942

Volcano – 7/10/1942

Terror on the Midway – 8/28/1942

The Japoteurs – 9/18/1942

Showdown – 10/16/1942

The Eleventh Hour – 11/20/1942

Destruction, Inc. – 12/25/1942

The Mummy Strikes – 2/19/1943

Jungle Drums – 3/26/1943

Underground World – 6/18/1943

Secret Agent – 7/30/1943

SPECIAL FEATURES INCLUDE:

New Featurette – Superman: Speeding Toward Tomorrow – Superman’s exploits in the Fleischer series modernized the monomyth of the Greek godlike hero and expanded and romanticized the prevalent themes of sci-fi and fantasy. It was this combination of heartfelt storytelling, relatable heroes and amazing visuals that has endeared the Fleischer series to fans as one of the greatest superhero stories of all time. This featurette explores the visual storytelling as the lavish animation, with special attention paid to all the atomic age technology, pushes science fiction closer to becoming a powerful social and pop culture force.

Featurette – First Flight: The Fleischer Superman Series – The Origins and Influence of This Groundbreaking Cartoon Series – A gathering of contemporary animators, comic book & animation historians, and legendary Fleischer artists examine these beloved shorts, focusing on the animation and the breakthrough techniques that created it, as well as studying the title character’s place in history.

Featurette – The Man, the Myth, Superman: Exploring the Tradition of Superman Heroes on the Page and Screen – A fascinating study of Superman-esque characters throughout history – in ancient myth, literature and film – that bring forth imaginative, super-human qualities, captivating audiences and enduring the test of time.

Languages: English

Subtitles: English, French

Running Time: 145 minutes

Preorder: Max Fleischer’s Superman 1941-1943 will be available to purchase Digitally on HD and on Blu-ray May 16, 2023.

Preorder here.

#batman #notes #superman #news #dc comics #comicbooks

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jlwilliams-us · 2 years

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The Second-Greatest American Ballet Choreographer You Never Heard Of

[Originally published in October 1995]

Ask a balletomane to list some major American choreographers, and the odds are good that Lew Christensen will not be among the first that leap to mind. Thumb through a few general reference works — or even dance-specific ones — and you're likely to find him mentioned only as a secondary entry, if at all.

It's not that Christensen is obscure. Well-informed ballet enthusiasts know the story of Salt Lake City's three Christensen brothers — grandsons of an immigrant Danish balletmaster — who brought ballet to the western United States: Harold, the progenitor of Ballet West; Willam, the founder of the San Francisco Ballet; and Lew, its artistic director from 1952 until his death in 1985. Or they may recall Christensen as the nation's first homegrown premier danseur: the first American to dance the title role in George Balanchine's Apollon Musagète, and later principal dancer with Balanchine's seminal Ballet Caravan.

As a choreographer, though, Christensen seems to have drifted away from the reputation mainstream. Although he created more than 100 works — including a genuine historical landmark (Filling Station, 1938) and a much-loved minor classic (Con Amore, 1953) — comparatively few are staged today. And few younger choreographers, even those he brought to the San Francisco Ballet, chose to follow his stylistic lead, as Arlene Croce noted in a 1978 review.

"Oddly enough, their work — on this showing, at least — derives from everywhere but the Christensen repertory," she wrote. "Maybe he's just too eccentric, and maybe his mind does wander, but it is a choreographic mind of no small distinction. The Christensen ballets hold a provocative secret. They ought to be much better known than they are."

Today, Christensen enthusiasts still feel that his works deserve more recognition than they're getting. Among those trying to do something about it are two of his San Francisco Ballet alumni: Richard Carter, now balletmaster of the Miami City Ballet, who stages Christensen revivals throughout the country; and Robert Vickrey, now artistic manager of Pittsburgh Ballet Theater and former artistic director of Nebraska's Ballet Omaha company -- where he became one of the few contemporary artistic directors to build a Christensen repertory from scratch.

Between them, the two may know Christensen's works from more angles than anyone else alive. From the 1950s until Christensen's death, Carter served him at various times as dancer, ballet master, production manager and technical director. During his nine years at the helm of Ballet Omaha, Vickrey inaugurated the "Lew Christensen Project," introducing audiences to a rotating trio of ballets selected from the choreographer's early, middle and late periods: Filling Station, Con Amore, and Il Distratto (1967.) Both men are quietly but firmly convinced that Christensen was one of America's greatest choreographers — possibly the second greatest, after Balanchine, and entirely different in style and approach.

Carter, a sincere Balanchine admirer, nonetheless shows no reluctance to mention Christensen in the same breath. Often, he finds that the clearest way to illustrate a unique characteristic of Christensen's style is to point to Balanchine for contrast.

"Balanchine used to say that ‘ballet is woman.'" he said. "Lew Christensen must have said ‘ballet is man.' All his works are male-oriented. Balanchine glorified the female… Lew was more interested in the male dancing.

"The role of Mac [in Filling Station] he choreographed for himself, and no one has ever been able to do it like him. I've seen movies in the Library of the Performing Arts in New York, and it's incredible! He was a great male dancer. There was one step in particular where he'd do a series of turns in a circle, and he used to do them so fast that he'd lean into the circle. When he went to set the work on me – I couldn't do that! No one could do that! So he had to rechoreograph it. Of course I was really disappointed that I couldn't live up to his expectations – and then years later I saw that movie, and I thought, ‘My God! He was a strong, strong dancer.' As strong as I ever saw.

"Balanchine had become an American, but came from a European/Asian influence. He had his ideas set before he came here. But Lew was American from the very core. He grew up in Utah. The ballet Filling Station is the first *American* ballet – did you know that? Not very many people do. It had an American theme, American composer, American choreographer, American scenery and costumes, and was danced by Americans. There was not one European in it. It preceded Billy the Kid, which a lot of people think is the first American ballet, by about nine months.

"All Lew's works, I must tell you, have that same signature. Balanchine was able to choreograph Americana…he picked up things that he saw in America and put them, in an ingenious way, in a ballet. The "Rubies" section of Jewels – it's very American, jazzy. The last movement of Concerto Barocco starts with the Charleston step. This is Balanchine.

"Lew, on the other hand, didn't pick up and use tricks like that. His [movement] themes were very American to begin with. I don't know how to articulate the difference. I can feel it, but I can't tell you what it is. One of the differences is the flourish of the port de bras, the arms. Balanchine had a very rococo arm – actually it was French, wasn't it? He got it from Violette Verdy, very flowing. Whereas Lew thought that was too much, and he made it very square, very basic. And he wanted dancers to dance that way – not with all this affectation, if you will. That's one of the differences."

Another difference, Carter said — one that sometimes makes it hard for today's dancers to learn Christensen's style — is that his basic "atom" of choreography was different from Balanchine's.

"Lew choreographed in phrases," he said. "Like sentences, you know: da-dum, da-dum, da-da-da-dum – that was all one step, although it was a phrase of music. Balanchine didn't do that – Balanchine choreographed steps. It's hard to imagine the difference – but to a dancer, it's a world of difference.

"The steps that Balanchine created are phenomenal. Absolutely phenomenal. He did things such as, just a simple chaîné turn, just a chain of turns: in one ballet he would do it turned out, then in another ballet he would do it turned in, then in the next ballet he would do it in first position, next ballet he would do it in fourth position. It was incredible – he would take steps and do them in a different way, and that's the miracle of Balanchine. It was incredible the way he did this.

"But Lew related directly from the music – it came from the music. I don't know if Balanchine ever tried to do that – he never tried to explain the music. He went beyond the music, into another level. Lew tried to explain the music, the phrasing."

Getting dancers to grasp this key difference is a major challenge in staging Christensen's choreography, Carter said. "It's hard to get them to dance in terms of phrases," he said. "That's very difficult. The last company I was [staging a work] in, for the Russians it was like pulling teeth. In the Russian training, they do a step, and stop. They do another step, and stop.

"This isn't that way. Each time you bend your leg, that's a preparation for the next step. You go up, you come down, you go up again. And then you go up again. You just keep going. Russians aren't used to that. They're used to going up, down, and stop; and then you start the next step – up, down and stop. I had to get very angry and insist, and carry on, and create quite a scene to get these people to understand what I was talking about – that you can't adapt the work to you; you have to go to the work. You can't change ballet to you – you've got to become a dancer."

Even Christensen's methodical working style was diametrically opposed to Balanchine's, the two recalled.

"He'd always try to plan his patterns absolutely." Vickrey said. "He'd come into rehearsal with specific plans.'

"…Which was absolutely anti-Balanchine," said Carter. "Balanchine asked Lew to do a work; it was called Pocahontas. Lew was very enthusiastic. He came in with all these reams of notes and everything. He came into the studio – and Balanchine came and took his notes! ‘Now, dear,' he said, ‘just paint.'

"And Lew said, ‘What?!' He couldn't believe it! Lew told me this on the Q.T. – we got drunk one night, and he was telling me - he said, ‘I used to write the stuff on my shirt, and sneak it in when Balanchine wasn't looking.' He couldn't remember all the stuff!

"Balanchine was just the opposite. I used to watch him, and he was a genius. He used to come into the studio and say [imitating his voice] ‘Now, dancers, here's what we're going to do,' and then WHOOSH! The stuff would pour out, and people were trying to remember it, and it was crazy – it was coming out so fast you couldn't memorize it. And he'd get irritated if he had to go back. He was overwhelming, really.

"But Lew wasn't that way. Lew would come in, and everything was sort of planned out – he'd have worked it out at home, and he knew what he was going to do when he got there."

That preplanning extended beyond choreography to every aspect of theater, Carter said:

"He used to build [model] theaters, with lights and everything. One of his in-laws invented Celastic…it's a plastic-impregnated cloth. You'd put acetone on it, and put it over something, and it would take that shape. You could make almost anything with it. He used to make molds and then cast these proscenium arches; he'd have a whole theater, complete with fly curtains and everything, and he'd even have little spotlights made out of flashlights. And he used to manipulate these and work out his ballets.

"He knew a lot about theater. If you look at any of his ballets, they're very carefully thought out. He had a lot of background in technical theater – he knew a lot about lighting, he knew a lot about backdrops, props and all that kind of stuff. Did you ever see A Masque of Beauty and the Shepherd? It's lost now – I mean, I could reconstruct it, but… anyway, it was a charming work. It was about the Judgment of Paris – the apple, and the three goddesses vying for the apple. At the very end of this ballet they constructed a big ship, right on the stage, in front of your eyes, that happened so fast it was just BANG – ‘What? How'd you do that?' It was incredible, actually incredible. He knew how to do these things.

"Balanchine, you know, was just the dance; he didn't like a lot of scenery and costumes. He didn't do that until later, when he got into the State Theater, and it looked awfully bare. But Lew incorporated all these various theatrical things at all times, and used them in an intelligent way. He was interested in that kind of stuff, and ways that he could use it in dance."

Christensen himself attributed some of his theatrical savvy to his pre-ballet days on the vaudeville circuit. And it was there, Vickrey thinks, that he picked up another trait: his willingness to make his ballets entertaining. This accessibility, he said, makes Christensen's repertory ideal for artistic directors who need to program both for artistic quality and for audience-building appeal.

"A lot of what I always liked about his works is that they are so accessible," he said. "I think a lot of that goes back to his vaudeville history, to pleasing an audience. Trying to be intelligent about his work, and trying to get his ideas across choreographically – but always knowing that he needed to please his audience. Especially in a situation like San Francisco, where he had to sell those tickets – people had to come back."

"I read a review that said, ‘An intelligent person can see the San Francisco Ballet and come away rewarded,'" Carter said. "But I think an unintelligent person can go and see some of Lew Christensen's works, and come away rewarded too. It sort of hits you at all levels. It's not so esoteric that it's only for aficionados."

Another Christensen asset for artistic directors, Vickrey said, is flexibility. Most of his works don't demand a large corps of perfectly-matched dancers, because Christensen seldom had that luxury himself.

"He didn't necessarily have what San Francisco Ballet has now as a standard of style, or what New York City Ballet has that's come out of their school," he said. "He would have a group of dancers – some from the school, some from here, some from there, some from everywhere – and he would just work with what he had, and make them look brilliant. Some of them were brilliant, don't misunderstand me. But…"

"He worked with the people who were available to him," Carter said. "Who he had in Ballet Caravan…weren't the finest dancers in the world. They had certain capabilities, and that's the way the steps came out.

"Now, the beauty of that is that you can take a work like Filling Station and go almost anywhere with it. You have two central roles, Mac and the Rich Girl, who are dance roles. You have to have some ability to do those roles, you see? The rest of them, you don't! The last company I was in, I actually had a girl do the State Trooper and a girl do the Thief – dressed up as a man. The truck drivers – one of them was a Russian, more of a character dancer – he came from the Moiseyev [folk dance company.] He didn't even have ballet training. And yet we were able to set it on them, because these steps are more universal, and it's more acting than actual dancing."

So why is it that this versatile, accessible, creative, decent artist ("He was a gentle man," said Carter; "a nice guy, really a nice guy.") is not more famous as a choreographer? Carter has a blunt answer:

"The reason Lew is not more famous is that he left New York! And went to San Francisco, and that's 3,000 miles away. The center of dance has always traditionally been New York. It hasn't been until recent years, with jet airplanes, that it's been simple to get to the West Coast. In the ‘50s, on a propeller plane, it took about 14 hours – it was a long, harrowing trip.

"And I think that one other problem with his fame [or lack of fame] was that he himself was more of an introvert. He was a shy man; he never tooted his own horn."

One consequence of this neglect, Carter said, is that Christensen's ballets are gradually disappearing.

"The Christensen legacy has really been lost in the San Francisco Ballet, in a sense," he said. "What they tend to do now is throw on a token Christensen work for the season, and so these works are in danger of being lost. There are a couple, I'll tell you, that are lost, and will never be done again; one of them was one of the finest works he ever did, Don Juan. It was phenomenal."

In this, as in other areas, the Christensen story is eerily reminiscent of another Dane's: a man of the theater, a champion of the male dancer, a lover of musicality and humor; famous in his own time, but later obscured by geography and shifts in critical taste; his legacy now imperiled by neglect in his "home" company. Could Christensen be America's 20th-century counterpart to August Bournonville?

Bournonville, at least, was rediscovered eventually. Christensen, his admirers believe, is still waiting for the renaissance he deserves.

#ballet

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bananalan · 2 years

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Just the two of us song year

"Harlem," the stomping opener, was released as the first single, but radio DJs favored the mournful ballad on the B-side, "Ain't No Sunshine." Sussex responded with a pressing that switched designations, and the new A-side scaled to number three on the Hot 100 (and number six on the R&B chart). The album entered the Billboard's Top LP's chart in June 1971. Jones and most of the producer, keyboardist, and bandleader's partners in the M.G.'s, along with Stephen Stills (guitar), Jim Keltner (drums), and Chris Ethridge (bass), Withers cut Just as I Am, a 12-song set with ten originals. Physically moved by an original titled "Grandma's Hands," Avant signed Withers to Sussex. Rhythm Band's Ray Jackson, one of the musicians hired to help, took the tape to the Stax label's Forest Hamilton, who arranged to have Sussex Records' Clarence Avant meet Withers. A little later, having moved to Los Angeles and landed another aircraft mechanic job - more specifically as a toilet installer - Withers invested in recording a demo. Withers soon made his recorded debut with the self-composed "Three Nights and a Morning," an uptempo hardscrabble shouter produced, arranged, and released by Mort Garson, but the 1967 single was a one-off. While at an Oakland club to see Lou Rawls, Withers overheard how much the star would be profiting from the gig, and was consequently motivated to buy a guitar and develop his singing and writing skills. Discharged after nine years of service, Withers relocated to San Jose, where he worked as a milkman, made aircraft parts, and eventually worked on planes. Navy, where he served as an aircraft mechanic. Withers spent his late teens and most of his twenties in the U.S. He wrote his first song at the age of four, but his talent wouldn't truly manifest for another three decades. was born in Slab Fork, West Virginia on July 4, 1938, and was raised in nearby Beckley. The son of a maid and a coal miner, William Harrison Withers, Jr. Given his flowers before his death at the age of 81, Withers was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame. Early to leave, Withers made his last statement with Watching You Watching Me (1985), closing a songbook that has served as a bountiful resource for artists from a multitude of stylistic persuasions. He collected more gold singles with "Lean on Me" and "Use Me," both off the similarly successful Still Bill (1972), reached the same height with Menagerie (1977), led by "Lovely Day," and was handed a second Grammy for "Just the Two of Us" (1981), his collaboration with Grover Washington, Jr. Through the next ten years, Withers continued to meld soul, gospel, folk, and funk with rare finesse. Late to arrive, the everyman R&B paragon had just turned 33 when "Ain't No Sunshine," the unfading ballad off Just as I Am (1971), made him a sudden and unlikely success story, within one year an aircraft mechanic-turned-million-selling, Grammy-winning artist. Even smaller in number are the songwriters who have shared the West Virginian's natural ability to articulate a comprehensive range of emotions and perspectives - jubilation and gratitude, jealousy, and spite - with maximal levels of conviction and concision. Few singers have possessed a baritone as rich and comforting as that of Bill Withers.

#Just the two of us song year

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newsshoesbluesanddudes · 1 month

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The History of Superman: The Man of Steel's Journey Through Time

Superman, the iconic superhero, has stood the test of time as one of the most beloved and enduring characters in popular culture. Since his creation in the 1930s, Superman has become a symbol of hope, justice, and the quintessential American hero. His journey from comic book pages to the big screen is a fascinating story of evolution, adaptation, and cultural impact. In this article, we’ll explore the history of Superman, from his origins to his role in today’s world, while naturally integrating some informative links for those who want to dive deeper into specific aspects of his legacy.

The Birth of Superman: 1930s Origins

Superman was created by writer Jerry Siegel and artist Joe Shuster, two high school friends from Cleveland, Ohio. The character first appeared in Action Comics #1 in June 1938, published by Detective Comics, which would later become DC Comics. Superman was an instant hit, introducing the world to a new kind of hero—one with superhuman strength, the ability to fly, and a moral compass that was unshakeable.

Siegel and Shuster’s creation was inspired by a mix of influences, including science fiction, mythology, and the political climate of the time. The idea of a powerful being coming to Earth to protect humanity resonated with readers, particularly during the tumultuous era leading up to World War II. Superman quickly became a symbol of American ideals, embodying the fight against tyranny and injustice.

Evolution Through the Decades: The 1940s to the 1960s

As Superman’s popularity grew, so did his mythology. In the 1940s, Superman expanded beyond comic books into radio shows, animated cartoons, and even serial films. The Adventures of Superman radio show introduced new elements to the character’s lore, such as his vulnerability to Kryptonite and his famous catchphrase, "Truth, Justice, and the American Way."

By the 1950s, Superman was a household name, thanks in part to the television series starring George Reeves. This era also saw the introduction of iconic characters like Lois Lane, Lex Luthor, and Jimmy Olsen, who have remained integral to Superman’s story.

During these decades, Superman’s character continued to evolve, reflecting the changing societal values and fears. The Cold War influenced many of the stories, with Superman often facing threats that mirrored the real-world concerns of nuclear war and espionage.

The 1970s: Superman on the Big Screen

Superman’s transition to the big screen in the 1970s was a game-changer. The 1978 film, Superman: The Movie, directed by Richard Donner and starring Christopher Reeve, set a new standard for superhero films. The movie’s success solidified Superman’s place in cinematic history and introduced him to a new generation of fans.

Christopher Reeve’s portrayal of Superman is still widely regarded as one of the best, capturing both the hero’s strength and his humanity. The film’s tagline, "You’ll believe a man can fly," perfectly encapsulated the sense of wonder that Superman brought to audiences. The movie also helped to cement the iconic imagery of Superman, particularly the Superman S logo, which became a symbol recognized around the world. For more on the logo's significance, check out this article on the Superman S logo meaning from Northamptonshire News.

The 1980s and 1990s: Challenges and Reinvention

The 1980s and 1990s were a period of reinvention and challenges for Superman. The character faced declining comic book sales and a changing landscape in the superhero genre. To stay relevant, DC Comics took bold steps, including the controversial "Death of Superman" storyline in 1992, where the Man of Steel was killed by the monstrous Doomsday. This event was one of the most talked-about moments in comic book history and had a significant impact on the industry.

Despite the challenges, Superman’s legacy endured. The character was continuously reimagined in various media, including television shows like Lois & Clark: The New Adventures of Superman and the animated Superman: The Animated Series. These adaptations kept Superman in the public eye and introduced him to new audiences.

The 21st Century: Superman in a Modern World

In the 21st century, Superman has continued to evolve, reflecting the complexities of the modern world. The character has been portrayed in a range of media, from the critically acclaimed Smallville TV series to the more recent DC Extended Universe (DCEU) films, where Henry Cavill took on the role of the iconic hero.

The DCEU films, including Man of Steel (2013) and Batman v Superman: Dawn of Justice (2016), presented a more conflicted and darker version of Superman, reflecting contemporary issues and the changing nature of heroism. These films have sparked much debate among fans and critics alike, illustrating how Superman remains a relevant and dynamic character even after more than 80 years.

The Enduring Legacy of Superman

Superman’s legacy is undeniable. As one of the first superheroes, he laid the groundwork for the entire genre, influencing countless other characters and stories. His symbol, the famous Superman S logo, has become synonymous with heroism and hope. This logo's meaning, as discussed in Northamptonshire News, goes beyond just being an emblem on his chest; it represents the ideals that Superman has stood for since his inception.

Superman’s influence extends beyond comics and films. He has become a cultural icon, representing the best of humanity and the enduring belief in justice and goodness. This influence can be seen in various aspects of popular culture, from academic discussions on mythology and heroism (as explored in this Smithsonian article) to the ongoing debates about the role of superheroes in society.

Conclusion

The history of Superman is a testament to the power of storytelling and the enduring appeal of a character who, despite his alien origins, embodies the very best of humanity. From his humble beginnings in the 1930s to his current status as a global icon, Superman has remained a symbol of hope, strength, and the unyielding pursuit of justice.

As we look to the future, it’s clear that Superman will continue to inspire and captivate audiences around the world. For more insights into the superman S logo meaning and other fascinating aspects of this legendary character, be sure to explore the resources available on Northamptonshire News.

Superman’s story is far from over, and as he continues to soar through the pages of comic books, the screens of cinemas, and the hearts of fans, his legacy will only grow stronger, proving that the Man of Steel truly is a hero for all ages.

#superman #dc #dc comics #dcu

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millingroundireland · 10 months

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Nutley, Cincinnati, and beyond [Part 5]

continued from part 4

Sadly, Bob would die, at age 56, on May 2, 1981, at Holmes Hospital from a brain tumor, malignant glioblastoma. The “Robert B. Mills Memorial Graduate Award,” a scholarship award, would be named in his honor. Left in his immediate family were his wife F.L., two children, along with his sisters Carol (in Cincinnati) and Helen (in Huntington Woods, Michigan). [18] He is buried at Spring Grove Cemetery alongside RBM I, RBM II, Hattie, and Stanley. F.L would die 15 years later on December 31, 1996 at Glen Meadows Retirement Community. Not surprisingly, her tobacco smoking and long-standing alcoholism for years was a major factor in her death. She donated her body to science.

It is best to finish the chapter off with a focus on Bob’s siblings, Helen and Carol. Helen would, in 1950, begin education at New York City’s Brooklyn College. Sometime before 1955 she would marry Alexander “Alex” Christopher Efthim. Alex’s family was born in Albania. [19] Like Helen, Alex was also politically active and aware, with both going to Communist Party meetings. He would write a Masters Thesis titled “Public relations in the Department of Welfare, New York City” at Columbia University, getting a Masters in Public Law in 1940 after graduating with a Bachelor of Arts at Washington University on June 7, 1938. He served in the military from August 21, 1943 to 1946, specifically in the Pacific Theater and become a decorated Army Air Force Captain. On June 29, 1946, Alex would lead a class on organizing vets for political action, described as a “one-man lobby” against crippling OPA (Office of Price Administration). Later that year he would criticize Representative Ploeser in St. Louis, a stout conservative who lost re-election in 1948, likely in part because of Alex’s Fight Inflation Committee. Later, on August 5, 1968, he would publish an article in The Nation titled “”We Care” in Kansas: The Non-Professionals Revolt.” By January 1976 he would be an assistant professor at Wayne State University in school of social work. He was introducing social work to nontraditional settings such as legislator's offices and family physician practices, and for his “advocacy” in the field of teaching he was denied tenure in 1975, although the school of social work fought for him on his behalf. He died on October 13, 1990 in Huntington Woods, Oakland, Michigan.

Helen and Alex's wedding. Alex's brother named Chris is on the right of the picture, near Carol. Alex is to the left of Helen in the middle of the picture). The woman on the right of the picture is Victoria. The little girl may be named Catherine. The name of the boy is not known.

In 1955, Helen and Alex’s child would be born. She would live in the Bronx in a non-discreet apartment building before the family moved to White Plains, New York then Michigan. Later in her life she would live in New Jersey. As for Helen, she completed her undergraduate with a bachelor’s degree at Oakland University in 1974. In 1982 published a book titled Creative Effective Schools, written with Stephen Miller, Wilbur B. Brookover, and Lawrence W. Lezotte. Following Alex's death in October 1990, Helen no longer felt she had a book in her and retired, according to a relative. On January 8, 2009, Helen died in Flemington, New Jersey.

This is reprinted from my family history of the Mills/Packard family. This tells a shortened version of the Bob Mills story in World War II sent out to relatives on June 17, 2018. Some other changes have been made to make a smoother text. This was originally published on the WordPress version of this blog in November 2018, but has been broken apart info various parts for this blog.

continued in part 6

Notes

[18] Certificate of Death of RBM III, May 2, 1981, Ohio Department of Health, Certificate of Death, Number 13101; “Robert Mills dies, service set Friday,” The University of Cincinnati news, May 8, 1981, page not known; Cincinnati Inquirer, May 5, 1981. He was also an “inveterate [avid] gardener,” planting at two greenhouses and a Japanese Garden which overlook Lunken Airport, where the fire truck his father had used was broke up and put under the ground. He still had a drives license when he died. He was treated at a University of Cincinnati medical center. He also has a probate record available. Other sources include: The Cincinnati Inquirer, Jan. 7, 1997, p. 6; Certificate of Death of F.L. Mills, Dec. 31, 1996, Maryland Division of Vital Records, Certificate of Death, issued Jan. 30, 1997. She would die of esophageal squamous cell cakcinoma and also had type 2 diabetes.

[19] His father was named Christo E. Efthim (1886-1962), and mother named Olga Peppo (1897-1959). He would have three siblings: Elthine (b. 1915), Victoria Christ (1922-2002), and Christopher. Other sources include: the Columbia University website, page 4 of the announcement of the commencement of Washington University. He graduated Central High School in St. Louis sometime before 1938, “Students at Political Action Laud Truman's Veto,” Reading Eagle, June 29, 1946; “Veteran berates Congressman,” Prescott Evening Courier, July 9, 1946. Walter C. Ploeser, a Republican, lost re-election in 1948 and later served on the board of the Salvation Army. For background, see the National Archive on the Office of Price Administration and the text of Truman's veto on June 29, 1946. Also see: Alex Efthim, “Serving the U.S. Work Force: A New Constituency for Schools of Social Work,” Journal of Education for Social Work, Vol. 12, no. 3, fall 1976, p. 29-46; Wayne University, “Alumni Relations: Alumni Giving Council,” accessed July 17, 2017. As a result, the Planning Network of the Planners for Equal Opportunity was born.

#mills family #mills #michigan #1940s #20th century #genealogy #ancestry #family history #wordpress #efthim #1970s #1990s #death #flemington

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fearsmagazine · 2 years

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MAX FLEISCHER’S SUPERMAN 1941-1943 Newly Remastered From Original 35mm Negatives

EPISODES (AND PREMIERE DATE):

• Superman (Mad Scientist) – 9/26/1941 • The Mechanical Monsters – 11/28/1941 • Billion Dollar Limited – 1/9/1942 • Arctic Giant – 2/27/1942 • The Bulleteers – 3/27/1942 • The Magnetic Telescope – 4/24/1942 • Electric Earthquake – 5/15/1942 • Volcano – 7/10/1942 • Terror on the Midway – 8/28/1942 • The Japoteurs – 9/18/1942 • Showdown – 10/16/1942 • The Eleventh Hour – 11/20/1942 • Destruction, Inc. – 12/25/1942 • The Mummy Strikes – 2/19/1943 • Jungle Drums – 3/26/1943 • Underground World – 6/18/1943 • Secret Agent – 7/30/1943 SPECIAL FEATURES INCLUDE: New Featurette – Superman: Speeding Toward Tomorrow – Superman’s exploits in the Fleischer series modernized the monomyth of the Greek godlike hero and expanded and romanticized the prevalent themes of sci-fi and fantasy. It was this combination of heartfelt storytelling, relatable heroes and amazing visuals that has endeared the Fleischer series to fans as one of the greatest superhero stories of all time. This featurette explores the visual storytelling as the lavish animation, with special attention paid to all the atomic age technology, pushes science fiction closer to becoming a powerful social and pop culture force.

Pricing and film information: PRODUCT SRP Digital HD Purchase $14.99 USA and CANADA Blu-ray $33.99 USA, 39.99 CANADA

#maxfleischersuperman #blu-ray news #digital news #remastered #hd #featurette #warner bros. discovery home entertainment #DC

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daydreamerdrew · 2 years

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Comics read this past week:

Marvel Comics:

the Hulk stories in The Hulk! (1978) #13-18

Within this batch of issues I went from February 1979 to December 1979. Also appearing in this series are back-up stories starring Moon Knight, but I’m skipping those for now and intend to read through them all once I’ve finished with the Hulk stories in this series. All of these stories were written by Doug Moench and I’d actually put off reading more of this series because I hadn’t cared for his writing on the previous issues, but here there was some hits and some misses. I appreciated some of the Bruce sections, particularly as Bruce hasn’t been getting a proportional amount of attention as the Hulk has gotten in their other concurrent comic appearances, and the way some of the stories approached the Hulk was interesting to me too. Issues #13, #16, and #18 fell flat for me, issues #14 and #17 were decent, and #issue #15 was the best of the batch.

That highlight issue that Bruce attempt to cure himself of the Hulk, inevitably fail as always, but then the Hulk got captured by soldiers and was taken to a military base where he reverted back into Bruce, who knocked out a doctor and disguised himself in his clothes which then led to him having to pretend to be a therapist and go through a session with a soldier in order to maintain his cover. This was an interesting setting to see Bruce in and the session led to Bruce trying to rescue said soldier from the military program they were in, said soldier turning on Bruce, Bruce transforming into the Hulk, and then the soldier dying through trying to fight the Hulk with the weaponry of the military program that Bruce had been so concerned about. I have some nitpicks about the characterization in the other issues, but this one was really solid for both Bruce and the Hulk. The issue ends with the Hulk recognizing that it was the negligence of the military program that resulted in the soldier’s death and comparing them to Bruce as a scientist trying to kill the Hulk earlier and then destroying the whole base. There was a little moment earlier in the issue where the Hulk smashes Bruce’s car and says “Hah! Now Banner will have to walk!” which I really loved.

The stories in issues #13-15 and #17-18 were penciled by Ron Wilson, while the one in issue #16 was penciled by Mike Zeck. The story in issue #13 was inked and colored by Bob McLeod. The story in issue #14 was inked by Rudy Nebres, the ones in issues #15 and #17-18 by Alfredo Alcala, and the one in issue #16 by John Tartaglione. The stories in issue #14 and #16-18 were colored by Steve Oliff and the one in issue #15 was colored by Marie Severin. Art-wise, the inking work of Alfredo Alcala and the coloring by Marie Severin were the highlight of the batch for me.

DC Comics:

The Human Target (2021) #10-11

Both of these issues came out in January 2023 and were written by Tom King and drawn by Greg Smallwood. This series is premised as at the beginning the main character has twelve days to live, one per each issue. With only one issue left in the maxiseries, issues #10-11 did a lot to wrap up the main mysteries of the series, but there's a big question raised at the end of issue #11 as to what to do with that information. Greg Smallwood's art is great as always, and I'm still really engaged and invested in the story. I have to wait until the last issue is released to make any final determinations, but I think The Human Target could be my favorite Tom King book, beating out the heavy hitters of Strange Adventures (2020) and Supergirl: Woman of Tomorrow (2021).

Eastern Color Printing Company:

the Connie pages in Famous Funnies (1934) #51-71

Famous Funnies primarily reprinted newspaper comics, with some original content in its later years. The “Connie” newspaper strip, which was written and drawn by Frank Godwin, began in 1927 and ended in 1941. Within the Famous Funnies book I went from September 1938 to May 1940. There was one Connie strip reprinted per issue in this batch for a total of eleven Connie strips read in this batch. There isn’t really a way for me to check when the specific Connie strips reprinted in this book were first published.

There was another content shift in this batch of Connie strips, but not as drastic. The first batch of Connie strips I read primarily depicted Connie as a detective, with the majority of the stories having her solve a self-contained mystery. The second batch of Connie strips primarily focused on her social life/interpersonal relationships, with only a few detective stories. This batch of issues also primarily focused on Connie’s social life, but rather than having her be a detective occasionally, a few of the stories had her working as a reporter for the Daily Buzz.

The Connie strips are always self-contained and don’t ordinarily have any overarching events, so I’ve never had any indication of which stories might have been reprinted out of order, if any. But the strip in issue #57 has Connie complain that “I haven’t had Jack to myself one evening since Uncle Phineas came to visit!” and depicts her and Jack working together to circumvent him so that they can spend time together without him, and then the story in issue #58 has Connie’s uncle first arriving and Connie and Jack have to work together to circumvent him for the first time. And then there were actually quite a few strips based around different ways Connie and Jack attempt and fail to having an evening to themselves without him.

I noted in the last round-up that Connie and Jack both seemed to be interested in each other but weren’t quite fully dating yet, and that Connie actually still had a bit of an eye for other boys in some strips, but this batch made their relationship seem more serious and committed.

There’s also a new recurring character in addition to Connie’s family members and her friends Jack and Willy: another boy named Alex who first appears in the strip reprinted in issue #60.

I also previously noted how over time the formatting of Famous Funnies changed as they improved how they reprinted comic strips into this early comic book. In this batch, the lettering changed a bit starting in issue #60 with the words being a little bit bigger but with there also being more white space in the speech bubbles making them less crammed and more legible, and then issue #65 makes the lettering a lot bigger.

There was also notably a Connie pin-up at the beginning of issue #63. Each issue of Famous Funnies has a pin-up of one of the many characters featured in it, and that was the first time it was Connie.

the Jane Arden pages in Famous Funnies (1934) #2-11

The “Jane Arden” strip began in 1928. Within the Famous Funnies book for Jane Arden I went from August 1934 to May 1935. I don’t have a way to check when these specific strips were first printed, but they were all written by Monte Barrett and drawn by Jack W. McQuire. There were four Jane Arden strips (and paper doll cut-outs) reprinted per issue of Famous Funnies for a total of forty Jane Arden strips read in this batch. This was my first time reading this comic strip character and I started it without knowing what it was about because the dolls stood out.

These aren’t self-contained stories like Connie’s are. Jane Arden is a reporter for a newspaper and she has arcs of stories that she’s investigating which go on for multiple strips. This means that rather than miraculously always solving the case immediately like Connie does, Jane Arden can be on the wrong trail sometimes to stretch out the story.

She’s also very fashionable, as evidenced by the paper doll cut-outs that accompany every story, each one providing a doll and multiple outfits either for Jane or for one of the side characters. None of these paper dolls have been cut out of the physical copies of these Famous Funnies issues which have been scanned and uploaded online, and I believe that at the size they would have had to have been printed at to fit on the same page as a Jane Arden strip and one of her companion strip Lena Pry, that the paper dolls would have actually been largely unusable, but they presumably weren’t in the original newspapers these strips were made for.

And the first story reprinted here is clearly not the first Jane Arden story ever, as it begins with her returning home from a preceding adventure to which she’s in the middle of the feud with another girl for the attentions of a man who are both clearly established characters.

The first plot covered 14 strips over issue #2-5 and had Jane searching for the missing part of a recipe for a cheap and powerful gasoline alternative, then kidnapped to be used as blackmail by the criminals to get ahold of the other half, then escaping in order to prevent that exchange from taking place. The underlying thread to this is that the person the recipe was stolen from, Carl, is in love with Jane, but Carl is spending time with Sue who has tricked him into thinking that Jane doesn’t like him, and Jane is spending time with Jeff, who is actually one of the criminals after the gasoline alternative recipe, because Sue’s machinations have made her think that Carl isn’t interested in her.

The second plot covered 11 strips over issues #5-8 and had Jane working as a phone operated in an apartment building in order to spy on the communications of a member of a smuggling band that lives there. There are twists and turns as the criminals realize their calls are being listened in on and so begin using code to communicate in secret while also misleading Jane down false leads, but then Jane is able to break their code and resume getting accurate information about their schemes while they believe she’s still mislead. This storyline also has her kidnapped but then escape on her own.

The third plot covered 9 strips over issues #8-10 and had Jane and another woman, Cherry Case, looking for a Prince Henry at a hotel. But while Jane is looking for him in order to interview him, Cherry is intending to lure him to where kidnappers can capture him. This is all complicated by both Cherry and Jane mistaking another random man at the hotel for the prince, who initially goes along with it for the attention, and then that both Jane and Cherry tell the real prince that the other is a spy with bad intentions for him. The storyline ends with Jane having helped save Prince Henry from the kidnappers and Prince Henry, now knowing that Jane was the one telling him the truth about Cherry, saving Jane from those same kidnappers. The prince is then interested Jane but Jane has to reject him because she was only there for a story and him being a prince complicates things.

The fourth plot covered 6 strips over issues #10-11 and had Jane working on a circus, the reason why being unclear, and in a rivalry with another performer named Lida.

I’m not sure that these storylines came right before and after each other in the original newspaper publication. The first storyline ends will Carl confessing his love for Jane and Jane not being sure what to do with that because she likes but does not love him. And then second storyline begins with Carl attempting to talk to Jane because “I can’t let you go like this” and Jane ignoring him because she’s busy with work. It’s possible that there’s nothing missing there but it does feel like there is an interaction or two between them between those two points. Whereas the fourth storyline is clearly in patches and has critical pieces missing. As it begins in Famous Funnies, Jane is already a part of the circus and the strips have her in this established setting with missing context. Notably, one strip has Lida attempt suicide after realizing that Jane can prove she is guilty of a crime, with the intention of framing Jane for her murder, but there’s no strip that depicts Lida committing a crime or Jane solving it.

There was a snafu in issue #5 with strips for this plot and the next one being printed out of order, but the entire storyline seems to be here. And then the strips printed in issue #6 are in the opposite order with the last chronological one appearing first and so on, yet the “continued on the next page” and the “continued next issue” are in the corrected order for how the strips are printed, indicating that the person who added those lines for the reprint and then put the strips in the book possibly didn’t fully read them themselves.

The way that the strip is printed in Famous Funnies is changed partway through issue #10. This new formatting makes the dolls a bit bigger and their dedicated space rectangular, rather than a crammed square on the page, and also puts the title of the strip within the strip instead of above it.

Dell Comics:

the Annibelle pages in The Funnies (1936) #2-6 and #8-11 and #13

There were seventeen strips of Annibelle reprinted across these The Funnies issues which went from October 1936 to August 1937. Eleven of the strips by Dorothy Urfer, five were by Virginia Krausmann, and one was a duplicate. The “Annibelle” comic strip was originally printed as part of the women’s page of a newspaper and went from 1929 to 1939. It was originally created by Dorothy Urfer and then was taken over by Virginia Krausmann in 1936 when Dorothy Urfer got married. I started reading the strips because the lovely art style stood out to me. The strips were focused on either Annibelle’s interactions with her other vapid socialite friends or her dating life and I enjoyed them, but this appears to be all of the strips that were reprinted in The Funnies.

the Don Dixon and the Hidden Empire pages in Popular Comics (1936) #6-8 and in The Funnies (1936) #1-6

Within these issues I went from May 1936 to February 1937. There were 2 “Don Dixon and the Hidden Empire” strips reprinted in each Popular Comics issue and 3 strips reprinted in each The Funnies issue for a total of twenty-four strips reprinted in this batch, which was not actually very far into the story of Don Dixon. What I’ve covered so far has had Don Dixon and his friend Matt and his dog Dusty travel to the kingdom of Pharia which was hidden in Brazil where he and his friend were declared to be “white strangers” that are favored by the sun-god Rav and have formed a close friendship with the Princess Wanda and her maid-in-waiting Marcia. These kids are presumably inexperienced with such things but are depicted as essentially heroic knights that are skilled in sword-fighting. According to the original announcement for the beginning of the strip in the Sunday Eagle newspaper “the hero is a small boy who goes through a series of such adventures as every child likes to imagine happening to himself.” So far I’m really enjoying the fantastical artwork, though there is some awkwardly racist elements in this fantasy story that began in 1935 with the kingdom of Pharia enslaving the “yellow people” who are depicted as conniving and villainous for fighting against them.

Fox Features:

the Flick/Flip Falcon in the Fourth Dimension stories in Fantastic Comics (1939) #1-21

This character is called Flick Falcon in the first three stories, and then is changed to Flip Falcon for the remainder of them. These issues went from October 1939 to June 1941. All of the stories were signed with the pseudonym “Orville Wells.” The Grand Comics Database tentative credits the art for the story in issue #1 to Don Rico, then the art for the story in issue #2 to either Don Rico or Claire S. Moe. Then the script for the story in issue #3 is credited to Claire S. Moe and the art is credited to Don Rico. Following that the art for the stories in issues #4-8 and #14-16 are credited to Don Rico, as well as the story in issue #17 but only tentatively, and the art for the story in issue #12 was credited to Claire S. Moe. The art in the earlier stories in particular was really great to me, the simplistic sci-fi style worked well with the ‘anything can happen’ feeling of the Fourth Dimension. I’m particularly charmed by the characters travel through the Fourth Dimension, which is just flying through while holding onto one another without a space ship or anything.

Early stories had Flick, as well as his gal Adele (who is sometimes called Peg), going on adventures to different planets in the Fourth Dimension for the first time, and I found them really enjoyable. The stories in issues #9-10 are actually time travel-based. The majority of stories after that are based around Flip either fighting or helping the “demi-things” that reside in the Fourth Dimension, which are demon-like and vaguely villainous as they are explained to be “condemned to whirl forever in the maelstrom” because of their “unforgivable crimes against mankind.” But as Flip’s responsibility is to maintain balance in the Fourth Dimension and not to eradicate the demi-things, he protects them when other things in the Fourth Dimension get out of line.

Also, the beginning stories present Flick’s Fourth Dimension machine as a very novel invention and the first story is his first ever time traveling there and he’s laughed at when he tries to discuss it with people other than Adele. But the later stories present the Flip as very familiar with the Fourth Dimension, always knowing the names of people and places. And other people seem to be familiar with it to, even if Flip is the only one that can go there, as multiple stories have the premise of someone approaching Flip because they need something specific that can only be found in the Fourth Dimension.

There was one particularly amusing moment to me in the story in issue #5 when Flip and Adele go to Fourth Dimension Mars and Flip is given a mind reading helmet by the Martians so that he can communicate but then can’t get one for Adele as it’s illegal to give a woman a mind reading helmet because “they would talk too much.” Adele is also more involved in the earlier stories than the later; she goes from almost always going with him to the Fourth Dimension to only either sending him off and/or then seeing him again when he returns or not even appearing once at all.

the Marga, the Panther Woman, stories in Science Comics (1940) #1-8 and in Weird Comics (1940) #8-20

These stories, which went from January 1940 to October 1941, covered the entirety of Marga the Panther Woman’s existence. All of the stories were signed by the pseudonym “James T. Royal.” The Grand Comics Database tentatively credits the art of the story in Science Comics #1-4 to Emil Gershwin, credits the art of the story in Weird Comics #8 to Louis Cazeneuve, and tentatively credits the art of the story in Weird Comics #20 to Bob Powell. It’s a disappointment that there’s not any credits for the writer and not more credits for the artist, because I really enjoyed this character both story and art-wise and I would really have liked to be able to seek out more of the work of the creators behind some of the completely uncredited stories. While that’s not a new sentiment for me when reading these old Golden Age comics, this character was particularly solid throughout her run. The first seventeen Marga stories are 8 pages and the four stories are 6 pages. Note that only the first two and last two pages of the story in Science Comics #7 are available online.

Marga was once a blonde nurse, but in her origin story she’s captured by a mad scientist who fuses the blood of a panther into her, which turns her hair black. After she escapes the scientist laboratory, Marga wanders the jungle and finds that she’s been otherwise changed. She tries to eat fruit from a tree but finds that the taste disturbs her. Then she comes across a deer and instinctively kills it with her new claws and eats it. After this, her “primitive senses” alert Marga to a tiger preparing to pounce on her, but she’s able to cut its throat with her claws and kill it too. At this point I thought that this character might become a villainous protagonist. Eventually she comes across a futuristic-looking city and wanders into the airport, where two military pilots are hanging out. One hits on her and she immediately knocks him out. The other soldier, who turns out to be named Ted Grant, is impressed with her punch, but has to leave immediately due to a threat to the city. But Marga stows away on his plane and ends up saving him. The story ends with Ted telling Marga that “I’m sure we can be of mutual help to each other!” and Marga responding “Er- I’m sure we’ll get along Ted.”

Following that origin, there are two main premises for Marga stories. Either she’s wandering around the jungle and comes across someone that needs help or she’s hanging around with Ted at the city airport and helps him with a mission. These are generally separate premises, so the story in Science Comics #5 stands out because it begins with the first premise, but has Marga enlist the help of the soldiers, though Ted is not one of them. I like this story because it demonstrates that Marga has positive relationships with the military outside of Ted. There’s a page where two soldiers who have to stay behind to defend the city and don’t get to fight with Marga say to each other and say “isn’t she the cute one… and so strong and brave” and that they “would love to see Marga in action.” Note that while Ted isn’t a complete damsel, Marga is still very much the protagonist.

One thing I particularly liked about Marga’s stories is how uniquely violent they can be for an early 1940s comic. Rather than being a villainous protagonist, she turned out to be a brutal heroine. Her go to move is slicing people’s throat with her claws, and in the later stories she also bites people. The blood isn’t drawn more often than it is, but even without it the stories are still notably violent, and with it they’re even more shocking.

There was an interesting idea presented in the story in Science Comics #6 that Marga’s “animal emotions are no longer compatible with the rules of civilization.” In it she joins a circus as a performer; her act is fighting a wild tiger until it submits. Two people plot to kill Marga, the owner of a rival circus and a man who was upset that Marga rejected her when he asked her out after seeing her performance, which they attempt by infusing the tiger that Marga fights with lion’s blood, thinking that this would make the tiger stronger than Marga. Marga still wins, breaking the tiger’s leg then strangling it, but “the dead tiger’s blood arouses all the primitive emotions in Marga.” Marga chases the two men and the police follow but it’s too late, she kills them both. She’s arrested, but the judge refuses to sentence her and she’s offered her job back, which she rejects because she feels that she belongs in the jungle.

Eternity Comics:

Spicy Tales (1988) #4-7

Spicy Tales is a series that reprinted comic strips from Frank Armer’s line of pulp magazines from the 1930-40s which otherwise primarily contained text stories that had some accompanying art. These comic strips reigned from simply genre stories to more often sexual and even sado-masochistic. The editorial by John Wooley in issue #4 quotes a Stephen Mertz Xenophile article that explains that “Armer’s outfit was bottom line, kind of sleazy house, paying low rates and written almost exclusively by contract writers, as opposed to being an ‘open market’ to the general freelancer the way most magazines were. Nearly all of the regulars were either hungry newcomers […] or old timers who had seen better days.” And in issue #6 he quotes Will Murray as saying “Sexy comics strips were a staple in the girlie pulps before the Spicies came along- in mags like Pep, Breezy Stories and College Humor. But they usually revolved around college girl situations, not genre stuff.”

And the rest of this comics round-up is under a cut due to discussion of said “sexy” comics:

There were four 4-page Sally the Sleuth stories, written and drawn by the character’s creator Adolphe Barreaux, republished from the October 1940, December 1940, August 1942, and December 1942 issues of Spicy Detective. In comparison to the Sally the Sleuth stories from the 30s, the ones from the 40s do seemed to be tamed down a bit, but it's a bit difficult for me to pinpoint exactly how because it's not as though she's not still depicted in revealing clothing and in exploitative situations. There isn't any complete nudity in the 40s stories, but that's not occurring frequently enough in the 30s stories for that to account for the entire change. I will say that I prefer the art style Adolphe Barreaux used in the 30s stories over the one in the 40s stories because the former is a lot cuter to me, while the latter seems more generic. It did stand out to me that the kid sidekick character Peanuts appeared in the December 1942 story since he hadn't previously appeared in any of the 40s stories and I had assumed he'd been dropped from the strip in the late 30s. I'll also note that December 1942 story was a particularly racist one of the "remember Pearl Harbor" variety.

And there were eleven 2-page Sally the Sleuth stories, also written and drawn by Adolphe Barreaux, which were reprinted from the April to June 1936, August 1936, November 1936, December 1936, February to April 1937, August 1937, and September 1937 issues of Spicy Detective. These Sally stories were largely continuing the trend from the last batch of issues. Regarding Sally's competence as a detective, she's certainly not not a detective, and I think that part of her incompetence comes from the constrain of having a 2-page story in which a mystery is presented and then solved and also a woman has to get at least partially undressed and in an suggestive position. An easy simple structure for this is Sally trying to solve a case and getting kidnapped and restrained and sometimes also tortured in a sexual way (in this batch she's been whipping, was precariously chained up in a bondage-esque way above a spike, and was also stripped and had freezing water pouring on her as an attempt at a subtle murder) before being rescued by the Chief and his guys at the last second. The February 1937 story stood out to me because Sally was restrained (mostly unclothed, of course) by a bad guy who intended to murder her but rather than be rescued by the Chief she kicked him at just the right moment that his snake bit him instead of her. Also, she's often rescued because either Peanuts alerted the Chief or because he had some knowledge about the case and figured out what was going on on his own, so the August 1937 story stands out because Sally is able to get a message to a police officer outside the building she's been held in from the bonds on her own. The June 1936 story also stood out to me as unique because of how blatantly the intended sexual assault was alluded to, rather than the typical more vaguely suggested approach in the Sally stories. It had Sally hired to help protect a jewel, but after she ensures that all of the doors to the house were locked the owner., who turns out to have been the thief who got there before she did and killed the real owner, turns on her and chases through her the house because he had a "weakness for blondes." Though, of course, he only manages to rip off her dress before the Chief arrives with a gun.

There were four 7-page Dan Turner, Hollywood Detective, stories, written by the character’s creator Robert Leslie Bellem and drawn by Adolphe Barreaux, republished from the March 1944, October 1944, April 1945, and September 1947 issues of Hollywood Detective. These are, as they have been, the Spicy Tales stories with the least amount of sexual content. There aren't even any women at all in the April 1945 or September 1947 stories. Though the October 1944 story had a woman nearly strangled on panel.

There were three 2-page Polly of the Plains stories, written and drawn by Joseph Sokoli, republished from the April 1937, June 1937, and July 1937 issues of Spicy Western. Even though they’re all two pages, always happens in the Polly stories. It’s discovered that Polly helped Jean escape from Pancho and Pancho intends to (sexually, of course) torture her for it by having her whipped while tied up on a cross, but one of Pancho’s men intervenes due to a grudge against Pancho, and is then killed instead. We next see Jean restrained in the home by a “marijuana crazed addict” who drugged her and is in the process of taking off her clothes when Polly appears with a gun and shoots him. (There’s a missing story from May 1937 that would have explained how Jean got there and how Polly escaped Pancho herself.) The two of them continue on together but are stopped by quicksand. Jean is able to save Polly from the quicksand but then they are found by the new character Senorita Diablo who upon learning that they’d escaped from Pancho captures them and takes them back to him for unclear reasons.

And there were seven 2-page Diana Daw stories, written by Clayton Maxwell and drawn by Max Plaisted, republished from the April to June 1935 and September to December 1935 issues of Spicy Adventure. There’s a story missing from Spicy Tales from March 1935 because the beginning of the first Diana Daw story in this batch from April 1935 begins with the contextual note that “Diana Daw and Ted Morton, prospectors, are saved from the vengeance of an African tribe by Bulo, who desires Diana as his mate” but that was not where the character was left off in February 1936 in the last batch. This actually moves away from the previously established Diana Daw format of her behind captured by a someone new and then saved by a new man in each story, as Diana then continues to work with Ted throughout the rest of the stories in this batch. The two of them work together to escape Bulo, then are captured and separated by “desert nomads.” After Diana threatens the Sheik Hammad with a knife when he tries to force himself on her, she’s taken to be sold in the “slave markets,” but the person who purchases Diana is actually Ted in disguise, and the two of them escape again. There’s another missing gap (presumably two stories from July to August 1935) and we next see them after they’ve “by a ruse escaped from a fort of the French foreign legion where Ted was sentenced to be shot as a deserter.” The two of them are captured by another band of desert nomad who, of course, force Diana to dance for them while naked, but they manage to escape and take control of a French plane that had been shot down. When they’re targeting by an Italian plane, Diana takes her clothes off in order to distract the other pilot, but then they have to land due to fuel loss and are captured (while Diana is still naked) by another group of desert nomads, who are then overtaken by German soldiers who are working with the Ethiopian army. Predictably, the German commander tries to force himself on Diana, but Diana and Ted manage to escape by plane again, though Diana doesn’t have the time to get more clothes. Where we’ve left off in this batch, their plane has crashed again and they’ve taken refuge in a plane where they’ve stumbled across a solider of some kind. The main core of this series is Diana’s (and now also Ted’s) attempts to “return to civilization” which is repeatedly impeded by various “savages” that sexually threaten Diana.

#comics read this past week #my posts

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