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Surprise Adventures, Vol. 1, No. 3

Mon, 03 May 2010 13:56:29 -0700

Most successful cartoonists have �ghost artists� � mighty Mike B�WANA BEAST) Sekowsky had himself a genie! (No wonder he was so prolific!) SURPRISE ADVENTURES doesn�t even begin to describe this Oddball Comic -- which also features a story drawn by the man behind the infamous �Split!� version of CAPTAIN MARVEL! (And what is its connection to the LI�L ABNER comic strip?) [fieldinserts][issuetitle]Title: [subissuetitle]Surprise Adventures[subissuetitle]
[issuetitle][issue]Issue: [subissue]Vol. 1, No. 3[subissue]
[issue][publicationdate]Date: [subpublicationdate]March, 1955[subpublicationdate]
[publicationdate][publisher]Publisher: [subpublisher]Sterling Comics, Inc.[subpublisher]
[publisher][coverartists]Cover Artist(s): [subcoverartists]Mike Sekowsky[subcoverartists]

[coverartists][introtext]Most successful cartoonists have �ghost artists� � mighty Mike B�WANA BEAST) Sekowsky had himself a genie! (No wonder he was so prolific!) SURPRISE ADVENTURES doesn�t even begin to describe this Oddball Comic -- which also features a story drawn by the man behind the infamous �Split!� version of CAPTAIN MARVEL! (And what is its connection to the LI�L ABNER comic strip?) [introtext]

[fieldinserts]The mid-1950s was a very odd time for comic books, especially for those with the controversial themes of �horror� and �crime�, since they were the primary targets of Dr. Fredric Wertham�s funnybook witch-hunt a few years earlier. The newly-formed Comics Code Authority (check out the size of that CCA seal on this cover), made sure that horror and crime comics were de-sensationalized and referred to as �suspense� comics. Such is the case with SURPRISE ADVENTURES, a series that featured stories with rather played-down themes of murder and the supernatural, all with somewhat ironic twist-endings. Even the title mentions the element of �surprise� present in each story; in fact, it�s interesting to note that SURPRISE ADVENTURES� first two issues bore the much more lurid title of TORMENTED! This was the first issue under the new title, and it lasted until its fifth issue (cover-dated July, 1955).

Rather than depicting the sort of lurid situations associated with horror and crime, this issue�s cover features a whimsical scene. Specifically, it has a self-portrait of cartoonist Mike Sekowsky � whose voluminous resum� included everything from teenage comedy such as GEORGIE to superhero action such as THE JUSTICE LEAGUE OF AMERICA to Oddball characters like �B�wana Beast� and �The Maniaks� in SHOWCASE � who�s surprised that his comic strip starring a genie has conjured up a real-life one!

Unfortunately, although the cover-scene of this issue of SURPRISE ADVENTURES is certainly intriguing, the disappointing �surprise� is that it has no counterpart in the interior�s offerings. However, these stories, features and advertisements are included in this issue of SURPRISE ADVENTURES:

�Reduce With Delicious Kelpidine Candy Plan!�, a black-and-white, inside-front-cover ad for weight-reducing candy available via mail-order from the �American Healthaids Company�.
�Guilty?�, penciled by Mike Sekowsky. � �He was innocent...and yet his iron-clad alibi was a floating corpse in the river � put there by his own hands! How could he possibly prove that he wasn�t guilty?� Despite his protests, [pic2]handcuffed Dr. Don Simmons[pic2] denies killing his brunette fianc�e, Edith, to the police detectives who�ve arrested the physician. In an extended flashback, we learn that Don maintains a rather aloof and detached attitude around the girl, primarily because he�s actually in love with Joan, a red-haired torch singer. Don plans to marry Edith, not for love, but because her doctor father is the head of a hospital who can assure a rapid rise in his career. Later, back at his apartment, a group of Don�s friends shows up for a bachelor party, with a big surprise for Don -- they�ve brought along Joan! As one of the guests reminds Don, �Well...this party is a farewell to the old life...ands wasn�t she part of your old life? You dog, you!� During the party, Joan corners Don in his examining room (in his apartment?), becoming hysterical as she declares her love for the ambitious physician. Rebuking her, Don steps out to rejoin the party, and when he returns later, he finds Joan dead, with a bottle of poison lying next to her lifeless form. Panicking, he tells the other guests that Joan needs to compose herself before he walks her home. But after they leave, he receives a concerned phone call from Joan�s father, asking if Don knows where his daughter Edith is. Apparently distraught, she went for a walk and hasn�t returned. Breaking out in a sweat, Don gathers up Jean�s purse, gloves and coat � but neglects to pick up a polka-dotted yellow scarf -- and hauls her corpse down to his car. Driving to the outskirts of town, he weighs down Joan�s body with stones and tosses it in the river, along with her possessions. Then Don races back to his apartment, expecting Edith to arrive any minute. But instead, two police detectives show up, looking for his fianc�. Don claims he accompanied her home hours earlier, but when they notice the yellow scarf, the lawmen become suspicious. They reveal that Edith�s body was discovered a short time ago; she was strangled to death � probably with that scarf! But how could that be, considering that the scarf was Joan�s? Or was it? As the police detectives lead him away, it suddenly strikes Don: �It was Joan who strangled Edith with the scarf in a jealous rage...and Joan who was his iron-clad alibi!� Unfortunately, Joan is no longer alive to confess to the crime!
�$7.18 Worth Of Stamps, All Yours For 25��, an ad for a �giant imported collection of 338 different stamps� available through mail-order from the �Zenith Co.�
�One Way Trip!�, drawn by Myron Fass. � �All the plans were made and the two couples were leaving at dawn on a joint vacation...But now, John Redfield had a surprise for his partner and house guest, Martin Hepburn...� The night before the two couples are scheduled to leave on their trip, John begs off, explaining that an important business matter has arisen. Despite Martin�s protests that his partner is a �workhorse�, John asks his butler, Summers, to move the luggage from his car to that of his partner. But since both cars are identical, Martin volunteers to drive John�s car; after all, �both cars are exactly alike�. John asks Summers to check the gas and oil in his car to make certain they have no automotive problems. After Martin and his wife bid them goodbye, the Redfields go to bed, but not before John promises his gorgeous brunette wife Jean, that someday, he�ll �lay the whole world� at her feet. Later that night, while Jean sleeps, John steals out to his garage, thinking, �The business doesn�t make enough to support two families on the scale I want my life to live! Besides, I do all the work, and that leech, Hepburn, sucks out all the profits...� After determining which car is his, due to the luggage in its trunk, he plants a mysterious object under its back seat. Redfield then returns to bed without ever waking his wife. But the next morning, when John awakens, he discovers that his wife has decided to accompany the Hepburns, with John joining them a few days later. Redfield freaks out � Jean is riding in the car he booby-trapped! Still wearing his pajamas, John rushes out, jumps into the Hepburns� car and takes off in the hopes of catching up with them. But en route, he encounters one obstacle after another. First, a traffic cop pulls him over for speeding and issues John a ticket. Next, he accidentally sideswipes a jalopy full of teenagers; they cut him off and refuse to let John drive on until he hands over a �flock of bills�. Then, John becomes snarled in a massive traffic jam; a highway patrolman informs him that the backup is due to a bad accident up ahead. [pic3]John reacts to this in horror[pic3], then dismay, as he realizes that he�s too late to save his beloved wife Jean. He turns the Hepburns� car around to go back home, but before the distraught, pajama-wearing businessman can travel much further, the car blows up, instantly killing him! Meanwhile, not far away, Jean and the Hepburns relax around a swimming pool, while Martin reflects, �Heh! I hope your butler reminded Redfield to have that low tire checked! I�m sure we�d have wound up with a flat if we hadn�t switched tires!�
�The Luckiest Man In the World�, penciled by Mike Sekowsky. � �Call it luck! Call it anything you want! But a shadow appeared on deck before it happened...a shadow Graham alone saw...and followed. And the result...when the ship capsized, Graham was thrown free. The others went to their doom. Graham found a piece of floating debris and held on. But one thought kept turning over and over in his mind...� As he bobs on the ocean�s surface, Ed Graham realizes that if it weren�t for him following that mysterious shadow, he�d be dead now. The next morning, a rescue crew picks up Graham, the sole survivor of the seagoing disaster, and returns him to civilization. A month later, while on the job at the Bronson powder plant, Graham once again sees the shadow and follows it outside � immediately prior to the entire plant blowing sky-high in a massive explosion. While being interviewed by the press, Graham makes no mention of the mysterious shadow that lead him to safety, instead attributing his continued existence to good luck. Suffering from a case of �survivor�s guilt�, Graham confides in his fianc�e, Madge Harris, that he can�t understand why he�s still alive. Two days later, Graham reports to his new job at the Metropolitan Tunnel Authority; apparently, he got the gig because his new bosses claim to need someone with his �luck�. After Midge gives him a kiss for good luck, Graham starts to work in the tunnel. But that afternoon, an explosion triggers a cave-in just before Graham returns from his lunch break. A few days later, while working in Tunnel 12, Graham sees the mysterious shadow again; this time, it spares him from drowning when water starts coming through the tunnel�s ceiling. Back home and brooding, Graham confesses to Midge about the shadow that somehow helps him evade these disasters, but she convinced it�s only Ed�s imagination. A week later, on his new job as a construction worker, Graham follows the shadow before being crushed by debris from a collapsing skyscraper! Fed up with these work-related disasters, Ed and Midge take the first plane out of town. But when Ed tells the passenger sitting next to them that he�s �the luckiest man in the world�, the stranger makes a surprising observation, �You seem to be a disaster wherever you go! Your luck spells everybody else�s doom! I�d cal you a �Jonah�...a CURSE!� Suddenly, as if to prove this theory, one of the plane�s motors catches on fire, causing them to lose altitude. Like before, Graham notices the mysterious shadow appear and move to the rear of the plane. Determined to save Midge�s life, Ed refuses to follow the shadow, instead hurling himself out of a nearby escape hatch � and this time, [pic4]the shadow follows him![pic4] As Ed falls to his death, the plane�s motor-fires are extinguished and it regains altitude. �The plane climbed and climbed but the �luckiest man in the world� lay in a heap on the ground...in a shadow! He�d learned at last what the shadow was...DEATH!�
�Prize Contest Winners�, a 1/3-page notice of the winners of a contest, one that was apparently held through another comic book: �The Editors Of �Tormented� would like to thank the many readers who sent letters for the contest. We sincerely wish it were possible to give everyone a prize. But the inspiring praise and constructive criticism we received renews our determination to make our magazines the very best! (signed) Editors, Sterling Comics�.
�Reversible Auto Seat Covers Made Of Flexton � Service Gauge Plastic�, [pic5]an ad for seat covers[pic5] in �Snake-Zebra� and �Leopard-Cowhide� designs � as well as a �combo� wrist watch, a �little rocket radio� and �long view binoculars� � all available via mail-order from �Mardo Sales Co.�
�Reasonable Doubt�, an illustrated two-page text-story.
�Kids! Be The First To Send For This New Plastic Aircraft Carrier With 5 Catapulting Jets�, an ad for a set of toy naval ships, available through mail-order from �Lucky Products�.
�The Last Number�, drawn by Edvard Moritz. � �This report begins on the very day Harry Cobb became certain that Eddie Shipman had developed what (for a bank teller) can be a fatal malady � sticky fingers!� After Harry notices Eddie pocketing a wad of bills, he approaches his co-worker to warn him that he�ll never get away with the crime. Later, while on their lunch break, Eddie admits his guilt, but explains that he desperately needs the money �to make a killing on the horses� before the bank examiners arrive the next week � and he�s already $5000 in the hole! Then Eddie tells Harry why and how he got into this mess in the first place: �Well you used your head, Harry � you saved your dough, and you stayed single! But me? I got married � to a beautiful girl! Beautiful � and expensive...� Harry tries to talk Eddie out of any further gambling, and to turn himself in to the bank�s officials and plead for mercy, but before he can convince his fellow teller, �Baldy� the bookie shows up. Despite Harry�s protests, Eddie puts his stolen swag on a nag, based on the license plate number of a nearby parked car � thanks to a sarcastic suggestion by Harry. When Eddie�s horse wins the race, Baldy convinces him that Harry should determine all his bets! The next day, although Harry refuses to believe he has any effect on the races, he picks a license plate number that pays off for Eddie, coming close to erasing his debt. When Eddie makes a third bet, Harry�s skepticism begins to falter, and when Eddie wins enough to completely pay off his debtors, Harry catches the gambling bug while Eddie swears never to gamble again. But when Harry can�t read the license plate number of an approaching car, he runs into the fog to get a closer, clearer look � and [pic6]is run into and instantly killed[pic6]. If that isn�t enough, it turns out that the driver � who swears that Harry ran out in front of his car � is revealed to be none other than Baldy the bookie!
�Draw Any Person In One Minute�, an ad for the �Magic Art Reproducer� (also known as an �artograph�), available via mail-order from �Norton Products�.
�It�s Great Fun To Play A Guitar And It�s So Easy, Too!�, an ad for mail-order �Picture Way� guitar lessons available from �Bob Atcher�.(Hmmm, I wonder if any returned orders to the company were marked �Right Back Atcher�?)
�Come On, Buddy, Quit Being A Bag-Of-Bones Weakling Like I Was � In 10 Minutes Of Fun A Day You Can Do All I Did!�, a black-and-white, inside-back-cover ad for mail-order bodybuilding lessons from the �Jowette Institute Of Physical Training�.
�Gain Weight In 7 Days � Or Don�t Pay!�, a black-and-white, back-cover ad for �Pounds Plus�, a �delicious pleasant-tasting tablet jam-packed with wonder calories�, available through mail-order from the �Pounds Plus Company�.

ODDBALL Factoid � SURPRISE ADVENTURES was edited by Elliot Caplan, the brother of syndicated newspaper comic strip cartoonist Al (LI�L ABNER) Capp!

Bonus ODDBALL Factoid �Cartoonist Myron Fass, the artist of �One Way Trip!� in this issue of SURPRISE ADVENTURES, later became a publisher of black-and-white horror comic magazines, as well as M. F. Enterprises� short-lived � and completely unauthorized -- Oddball version of CAPTAIN MARVEL, as well as an ARCHIE-esque series starring the teenage super-spy, HENRY BREWSTER!

Special ODDBALL Flashback � Thanks to Official Oddball Archivist Jeff O., I now realize that ODDBALL COMICS has spotlighted this particular comic book once before, waaay back on Tuesday, November 14, 2000. Oddly enough, it�s an entirely different column! So please enjoy this vaguely familiar blast from the distant past of Tuesday, November 14, 2000:

LOG LINE � It�s ODDBALL CARTOONIST COMICS Week! You won�t believe the startling surprise in store for you in today�s ODDBALL COMIC!

COMIC BOOK TITLE � SURPRISE ADVENTURES

ISSUE NUMBER � Vol. 1, No. 3

COVER DATE � March, 1955

PUBLISHER � Sterling Comics, Inc.

COVER ARTIST � Mike Sekowsky

Commentary by ODDBALL COMICS curator/creator SCOTT SHAW! � That�s a self-portrait of cartoonist Mike Sekowsky on the cover of this comic! SURPRISE ADVENTURES #3 includes the stories �Guilty?� and �The Luckiest Man In The World!� (both drawn by Mike Sekowsky) and �One Way Trip!� and �The Last Number� ...and not a cartoonist in the lot of �em! Apparently, this issue of SURPRISE ADVENTURES really lives up to its name, because this cover scene appears nowhere within the comic itself! Surprise!

Mike Sekowsky and I became friends in 1979, when he moved to California and began working at animation studios in Hollywood. (Mike was probably best-known for his work on DC�s JUSTICE LEAGUE OF AMERICA, WONDER WOMAN, INFERIOR FIVE and �Jason�s Quest� in SHOWCASE, but he had a long career in comic books before those, doing work in nearly every genre at nearly every publisher since the Golden Age began.) Over the years, we worked together at Hanna-Barbera, Marvel Productions and even the short-lived Tom Carter Productions. Mike and I also did quite a few comic book stories (with Mike penciling and me writing and inking) for both Mark Evanier and Roy Thomas. After Mike died in 1989, his widow gave me boxes of Mike�s sketches, art supplies, reference books, and his drawing board, which is depicted here on this very comic book cover!

ODDBALL Factoid � Cartoonist Mike Sekowsky also worked on the 1981 live-action Disney film CONDORMAN, about a cartoonist (played by Michael Crawford) turned superhero. Mike drew various comic book pages that were used as props for the cartoonist�s studio-set. Some of those pages included Mike�s caricatured version of >ahem< Yours Truly as a drug-smuggling bad guy!

Next Week -- ODDBALL COMIC #1,128: MONDAY, JULY 10, 2006 �What has two famous funny animals with speech impediments, an ostrich that acts like a boomerang, a crooked landlord named Squire Squeeze and some of the wildest-looking hallucinations ever seen this side of Timothy Leary? Why, an outrageously ODDBALL issue of PORKY PIG (guest-starring Sylvester the puddytat and Porky�s girlfriend, Petunia Pig), that�s what! And th-th-th-that�s not all, folks!

Stop and Go, the Safety Twins

Mon, 29 Mar 2010 12:09:02 -0700

Here come STOP AND GO, THE SAFETY TWINS, a duo of demented-looking do-gooders who present stories of "play time safety" on behalf of a chain of department stores! Just don�t read this Oddball Comic while crossing the street -- or your body might wind up crushed even flatter than those of the Safety Twins! [fieldinserts][issuetitle]Title: [subissuetitle]Stop and Go, the Safety Twins[subissuetitle]
[issuetitle][issue]Issue: [subissue]None[subissue]
[issue][publicationdate]Date: [subpublicationdate]1953[subpublicationdate]
[publicationdate][publisher]Publisher: [subpublisher]J. C. Penney Company, Inc.[subpublisher]
[publisher][coverartists]Cover Artist(s): [subcoverartists]Unknown[subcoverartists]

[coverartists][introtext]Here come STOP AND GO, THE SAFETY TWINS, a duo of demented-looking do-gooders who present stories of "play time safety" on behalf of a chain of department stores! Just don�t read this Oddball Comic while crossing the street -- or your body might wind up crushed even flatter than those of the Safety Twins![introtext]

[fieldinserts]

The Safety Twins, named "Stop" and "Go", are two otherwise-identical boys � each of whom have pointy-topped haircuts that resemble either Herge�s "Tin-Tin" or Martin Short�s "Ed Grimley" -- who have flat signs that read "Stop" and "Go". Whether these are supposed to be actual signs or traffic signals is unknown, but one thing�s for certain � they make for some truly bizarre-looking spokescharacters for safety!

As its cover states, STOP AND GO, THE SAFETY TWINS was "produced and distributed in support of National Safety Council�s Accident Prevention Program". The presentation of the high-quality artwork and printing in STOP AND GO, THE SAFETY TWINS provide ample evidence that the material in this 16-page "giveaway" comic book was produced by the legendary ad agency Johnstone & Cushing, which specialized in promotional ad-strips and comics for many years.

Included in this STOP AND GO, THE SAFETY TWINS giveaway comic are these stories, features and advertisements:

"Those Knights Of Old Were Very Bold�They Wore Iron Suits". � Stop and Go, The Safety Twins, inform the reader about the armor of [pic2]the knights of medieval England[pic2]. It was an asset for protection, but was so heavy that, if thrown off of his horse, a knight was rendered helpless by gravity. The pointy-haired twins observe that, "Those heavy iron suits must have been mighty uncomfortable�but knocking each other around with spears and swords required a lot of protection�so they figured they�d rather be uncomfortable than unconscious!" Then the Safety Twins make a connection between medieval armor and modern pedestrians: "The way some of you dash across streets in front of cars and trucks and buses, anyone would think YOU were wearing armor!" Stop says, "STOP and think a minute before you dash across a street! You�re not wearing an iron suit, you know!" Go says, "GO when it�s safe to cross�here�s a story that will show you what we mean�" We see a boy who ignores the crossing guard, claiming that signals are "for sissies", and runs out into traffic, nearly getting squashed in the process. [pic3]Stop sternly lectures the profusely sweating kid[pic3]: "See? You nearly got hit by that car! Sure, you�re in a hurry � all kids are when school�s out � but that�s no reason to take foolish chances!" Go tosses in his two cents worth: "The school safety patrol officer is here to tell you when it�s safe to cross � follow his signals and you�ll keep out of trouble!" Go concluded, "There aren�t enough safety patrol officers to guard ALL crossings � so before you GO across ANY street � remember�" Stop picks up where Go left off: "�STOP at the curb � look both ways and for turning traffic � wait until it�s safe, then walk across the street!"

"Flash Flood!" � While having a picnic alongside a small stream, Martha and her younger brother, John, are caught in a sudden summer shower. As the clouds open up, the siblings take shelter under a tree (but only because there�s no lightning in the sky!) Back home, Martha and John�s parents are alarmed when the hear a radio broadcast of a flood warning! Meanwhile, the river�s waters have risen to the point that the kids are forced to climb the tree�s trunk. When the river�s current sends a huge old tree trunk crashing into Martha and John�s tree, it�s uprooted as it falls across the raging river. Gingerly, the two kids make their way across the horizontal tree trunk, but when John slips on its wet bark, Martha doesn�t hesitate to dive into the floodwaters to rescue him. As she drags him to shore, they�re met by their concerned parents, who escort them home to recover .Stop says, "In an emergency DON�T LOSE YOUR HEAD!" Go says, "Be calm�be sure AND ACT QUICKLY!"

"A Race Nobody Won!" � An unnamed boy invites little Jimmy to ride on his bicycle�s handlebars during a race to the corner against Betty and her roller skates. But as they accelerate toward the corner, neither of them see [pic4]an approaching truck[pic4] enter the intersection. Fortunately, the truck has good brakes and the boys walk away from the accident with only a few bruises and scrapes � but the bike was badly damaged. Stop says, "STOP taking chances on your bike�you can�t push a truck out of your way, you know!" Go says, "GO have fun�but remember, riding double invites trouble!"

"The Settling Of The West". � "The year was 1843�John C. Fremont had just returned from a journey to Oregon with tales of its rich, fertile land, vast forests and wonderful climate. People in the East were fired with enthusiasm�among them the Wilson family�" Leaving from St. Louis, the Wilsons head west along the Oregon Trail. Their party stops for the night, the wagons drawn in a circle. But come the dawn, [pic5]they�re attacked by hostile Indians[pic5], "proud in their war bonnets and hideous in their war paint". Finally, the Indians are driven off, carrying their dead and wounded. Pa Wilson congratulates his boy, "Nice goin�, son�you can stop shootin� now They�re skedaddling! We�ll be getting� on our way, too!" A few weeks later, the Wilsons� party arrives at Fort Laramie, where they prepare for the hardest part of the trail � crossing the Rocky Mountains. "On the trail, the pioneers pass an Indian village, which, 61 years later, will be the little coal-mining town of Kemmerer, Wyoming, where Mr. J. C. Penney opened his first store." Passing the village, young Master Wilson comments, "Bet those Indians wouldn�t be so friendly if this wasn�t such a big wagon train!" As expected, the trail leading up into the Rockies is a hard one, but the way down proves to be even more difficult. Finally, the Wilsons� wagon train reaches the Great Divide, and "after terrible hardships, hunger, cold, deserts, mountains, rushing torrents and hostile Indians", they reach Oregon, "just like the Promised Land!" Upon arriving, the weary pioneers give thanks to their Maker: "Let us give thinks for our safe arrival, friends, and say a prayer for those who died on the way here. This is now your home. Some day all this wilderness will be settled and a part of the United States!" This story ends with this caption: "America is proud of her courageous pioneers who overcame all difficulties in their search for freedom and self-determination. This same spirit of independence and liberty governs our people today making our United States the greatest nation on Earth!"

"Wally Saves His Sister!" � Wally�s mother tells him to watch his little sister, but Wally has other ideas. But while Wally and his friends are playing baseball out in the street, they don�t see Sis as she runs out into the street trying to grab a rolling ball. As a car bears down on the little girl, Wally finally notices her � [pic6]almost too late[pic6]! Fortunately, he leaps forward, pushing her out of harm�s way by mere inches, with only minor injuries. Stop says, "STOP setting bad examples to the younger kids � how can they be taught not to run out in the streets if YOU play there?" Go says, "GO use the playgrounds or stay on the sidewalks � the streets are for traffic. Help protect the little kids from traffic accidents! Set them a GOOD example!"

"The Girl Who Wouldn�t Give Up!" � In France, on March 22, 1822, a daughter named Marie Rosalie is born to fine artist Paul Bonheur. But Bonheur rejects his baby girl; he hoped to have a boy to follow in his footsteps, demanding to know "Who ever heard of a woman artist?" Despite this, Rosa (as she was called) studies for a career in art. But although her work is outstanding, her teachers discourage her, because she�s bound to meet failure in trying to sell her art. Never giving up, Rosa sends one of her paintings, "The Horse Fair", to the Paris Art Exhibition Of 1855. It�s met with a tremendous reaction! And in 1894, Rosa Bonheur is given the Grand Cross Of The Legion Of Honor, France�s highest honor, the first woman ever to receive the award. Her acceptance is a humble one: "I hope that I have shown that women can have careers as well as men!"

"The Playground Is Safer!" � As Billy and his two pals leave school, they�re so anxious to play baseball, they even pester Jimmy the crossing guard to let them cross the street sooner. On their way to the playground, Billy hits a fly ball up and over the street. As his friends run to catch it, they fail to notice a car pulling out from the curb. Since the driver�s looking for oncoming traffic, he doesn�t notice the two boys who run into his path. Fortunately, he sees them just in time and [pic7]stomps on the brakes[pic7]. They might have been killed! Their knees shaking, the gang swears never to snag fly balls in the street again. Stop says, "STOP and think before you go dashing into the street to play! Don�t rely on the driver. He may be the careless kind." Go says, "GO to your playground where you�re safe!"

A back-cover letter to the president of the J. C. Penney department stores from Ned H. Dearborn,. President of the National Safety Council that reads: "Mr. A. W. Hughes, President, J. C. Penney Company, Inc. 330 West 34th Street, New York 1, New York Dear Mr. Hughes: I have just seen with great interest the splendid little booklet you are planning to produce and distribute to young folks of the nation through your stores. All of us at the National Safety Council are delighted that you are doing this, and we regard it as an outstanding contribution to safety. Certainly children can be reached with safety messages better through a pleasant palatable medium such as your book than by ponderous, stuffy pronouncements on safety. Our sincere thanks to you and your company for helping prevent accidents among school children by this booklet. Sincerely yours, Ned H. Dearborn, President"

ODDBALL Factoid � Early in his career, cartoonist Neal Adams did a lot of work for the Johnstone & Cushing agency for many of their strip-ads and promotional comic books!

Next Week � ODDBALL COMIC # 1,126: MONDAY, JUNE 26, 2006 -- THE OFFICIAL SOUPY SALES COMIC BOOK MAGAZINE -- Make way for "The Prince Of Pies"! THE OFFICIAL SOUPY SALES COMIC BOOK MAGAZINE stars the legendary kids show host, with special appearances by Soupy�s Oddball friends, including White Fang, Black Tooth, Hippie the hippo, Pookie the lion, private eye Philo Kvetch � and Archie Andrews and the Riverdale gang! It�s more fun than dancing to "The Mouse" while getting hit in the face with a cream pie!

Skypilot, No 10

Mon, 15 Mar 2010 12:10:33 -0700

Move over, Lash LaRue! Who "delivers a powerful sermon and packs a mighty punch"? Why, it�s John Hawk, AKA SKYPILOT, "the fighting missionary of the far North", that�s who! You won�t believe your eyes when this whip-wielding preacher locks horns with evil lumber pirates and other ODDBALL menaces of the North Woods! Face it, SKYPILOT is cooler than an Eskimo Pie! [fieldinserts][issuetitle]Title: [subissuetitle]Skypilot[subissuetitle]
[issuetitle][issue]Issue: [subissue]No. 10[subissue]
[issue][publicationdate]Date: [subpublicationdate]1950[subpublicationdate]
[publicationdate][publisher]Publisher: [subpublisher]Ziff-Davis Publishing Company[subpublisher]
[publisher][coverartists]Cover Artist(s): [subcoverartists]Norman Saunders[subcoverartists]

[coverartists][introtext]Move over, Lash LaRue! Who "delivers a powerful sermon and packs a mighty punch"? Why, it�s John Hawk, AKA SKYPILOT, "the fighting missionary of the far North", that�s who! You won�t believe your eyes when this whip-wielding preacher locks horns with evil lumber pirates and other ODDBALL menaces of the North Woods! Face it, SKYPILOT is cooler than an Eskimo Pie![introtext]

[fieldinserts]

Comic books with a religious theme have existed for decades, but here�s an absolutely unique � and quite rare -- Oddball Comic that carries a Christian message, delivered by John Hawks, a two-fisted minister operating across Canada and Alaska! (In military slang, a "sky pilot" is a chaplain, a pastor, a rabbi or any other "man of the cloth", and the title character of this short-lived series adapts this term as his personal nickname. Unfortunately, Mr. Hawks never gets anywhere near an airplane in this comic; then he really could have really earned his title as a "sky pilot"!)

This was the first issue of SKYPILOT (although some of the interior stories� logos and dialog suggest that the character�s nickname is actually "Sky Pilot" Unfortunately, there�s not enough consistency to make a definitive call on the character�s actual name!) Ziff-Davis published a second (and final) issue, cover-dated April � May, 1951.

This issue�s 8-page "Sky Pilot" cover-story is "The Lumber Pirates", drawn by Frank Borth. It begins with this splash-page caption:

INTRODUCTORY CAPTION:
The Northland is a country of great cold, violent upheavals of nature, and giant trees, where death and primitive life lurk��a rugged country, where only strong, red-blooded men can survive! This is a tale of just such men��for here SKYPILOT battles the "LUMBER PIRATES"! There are men in the North called LUMBER PIRATES��Brutal, strong men who cut and sell timber without license in defiance of the law! Such a man was Jules Broussac!

As we open, Jules and Pierre, his rodent-faced sidekick plan their latest lumber-heist in accents so thick, they make reading the characters� dialog a real chore:

JULES BROUSSAC:
By gar, that ees find stand of timber! Make camp, we cut here!
PIERRE:
We can float thees logs down the rivair below, eh, Jules?
JULES BROUSSAC:
Sure, thees timber slide down the slope eento the water! Sacre nom, what you wait for? Begeen cutting!
PIERRE:
Hah, you are anxious to get a good cutting started down the rivair before the Mounties find out! I think we make much money from thees timber!

But the lumber pirates� scheming is suddenly interrupted by an approaching group of native Eskimos* led by an old man named Innuit and his adult daughter M�loot (both with skin that�s been colored nearly as yellow as ripe lemons):

PIERRE:
Look, Jules, some blubber-eaters come!
JULES BROUSSAC:
What you want, Eskimos? Say eet an� be quick! We have work to do an� cannot be bothaired by beggars!
M�LOOT:
We are not beggars!
INNUIT:
Be still, child! Sir, you have no right to cut this timber. This is Eskimo land, owned by us! Below is our village and if these trees are cut, shale and ice from the top of this mountain will come down and kill us! Only this belt of timber holds the shale and ice from falling!

But "Big Jules" and his buddy are unmoved by this information; their only response is to kick the concerned back down the mountainside:

JULES BROUSSAC:
Wat eef the ice keels you��wat loss ees that, blubber-eaters? Get out of here��Big Jules take wat he wants, an� he wants thees timber!
RODENT-FACED SIDEKICK:
Eef you come back, we keel you!

Later, the "angry and bewildered" Eskimos seek out "the only man they know will help them��John Hawks, the missionary of Moose River":

INNUIT:
We are worried, Skypilot! Lumber pirates are cutting down the timber on the ledge above our village! Once the trees are down there will be nothing to keep an avalanche from burying our village and killing us all! Our young men wish to attack the pirates, but I have said that you should first be allowed to try to make these bad men go away peacefully.

JOHN "SKYPILOT" HAWKS:
Thank you for your confidence, Innuit! This is serious indeed! I�ll see these law breakers right away! What part of the ledge are they working?

M�LOOT:
Come, M�loot will guide you!

The attractive young Eskimo leads Skypilot to the "bad men�s camp", where he makes the sort of stiff declaration that defines his characterization as a real straight shooter:

JOHN "SKYPILOT" HAWKS:
M�loot, if I can�t persuade these men to stop I shall have to report them to the Mounties! I should dislike doing that��I don�t like to cause trouble for anyone!

Suddenly, some of Jules Broussac�s men loosen a stack of logs above them, forcing John and M�loot to take cover beneath a stone outcropping on the hillside. But the man known as Skypilot just can�t accept the fact that the renegade lumberjacks are intentionally murderers. Then Big Jules himself approaches them and makes his intentions all-too-clear:

JOHN "SKYPILOT" HAWKS:
My friend, you should look more carefully before starting a log roll! There are people living below who might have been killed as you almost killed us!

JULES BROUSSAC:
SACRE BLEU! A white man! When I saw the girl weeth you I thought you were Eskimo, too! So I send logs down!

JOHN "SKYPILOT" HAWKS:
So you DID try to kill us! Thinking I, too, was an Eskimo! My friend, white man or Eskimo, we are all the same. But I didn�t come here to preach, I�m here to ask you to stop cutting timber that belongs to the Eskimos!

JULES BROUSSAC:
So you are one of thees missionary fellows! NO ONE tells ME what to do! I going to hurt you a leetle for warning. But do not steek your nose een my beezness again or��I keel you!

JOHN "SKYPILOT" HAWKS:
Stop, please! I don�t like violence!

With that, John uses a jiu-jitsu maneuver to flip the lethal lumberjack right over his head!

JOHN "SKYPILOT" HAWKS:
I said STOP!

This initiates a snowbound brawl between the two men that quickly turns nasty:

JOHN "SKYPILOT" HAWKS:
Now perhaps we can talk this over calmly, as men should!
JULES BROUSSAC:
Hah, you theenk you make fool of Beeg Jules! I feex you! I smash een your pretty face! Now, preacher man, I teach you! You are afraid of Beeg Jules, no?

JOHN "SKYPILOT" HAWKS:
No, Jules, I am not afraid of you! Men should settle their differences like beasts��but I see you�re past arguing with!

JULES BROUSSAC:
Now you weel taste the boots!
NARRATIVE CAPTION:
There are no ethics in the rough-and-tumble battles of the North! Maim, cripple and kill is the code��and [pic2]Jules knows all the dirty tricks![pic2]

When Skypilot accidentally slips on the icy ground, Big Jules sees his opportunity and kicks John in the face, knocking John out cold, face-down in the snow. And when M�loot charges Big Jules, he grabs her and tosses her into the river:

JULES BROUSSAC:
You weel tell no one nothing when I am through weeth you! MEN��LOOSE THOSE LOGS! The logs weel grind you to leetle pieces, woman! I weel watch, then go back and feenish the preacher-man!

Fortunately for John Hawks, his "clean life" has served him well, and he rapidly recovers from Big Jules� "brutal mauling". Thinking fast, John loosens the contents of a log crib, causing them to roll down to the river and form a log jam that should stop the other logs before they reach M�loot. As the jammed logs form a pile, John runs out onto their shifting, quivering formation and pulls M�loot out of the rushing waters of the river � but not before Big Jules starts taking pot-shots at them with a pistol!

JULES BROUSSAC:
He dodges lak jack rabbit��I cannot hit him! But I feex heem yet! Pierre��breeng me dynamite��queekly!

Skypilot and M�loot discover that they�re trapped -- the log jam doesn�t stretch all the way across the river � while Big Jules plays even dirtier:

NARRATIVE CAPTION: Meanwhile, Jules has planted his dynamite under the key log of the jam, to blow it up and start the piled up logs rolling down the raging river!

JULES BROUSSAC: Ha! Pretty soon, one big bang��then we see how long you stay on logs, meester preacher man!

But John Hawks manages to stay one step ahead of the explosion, as he and M�loot hop from log to log, [pic3]like some sort of North Woods version of the "Frogger" video game[pic3]!

NARRATIVE CAPTION:
The treacherous logs leap, roll and plunge like live things in the racing river��wet, unsure menaces under Skypilot�s flying feet! One slip means a crushing, grinding death!

Finally, with the Eskimo ingenue clinging around his neck, Skypilot makes a desperate move:

NARRATIVE CAPTION:
Miraculously, Skypilot keeps his balance on the churning timber��then, as the swift-moving logs carry him to the over-hanging branches, he leaps upwards, and��

JOHN "SKYPILOT" HAWKS:
Made it!

While John and M�loot stop a moment to pray -- giving thanks to their Maker for seeing to their survival � Big Jules and Pierre resume their pirate logging operation, assuming that the missionary and the girl have been killed.

JULES BROUSSAC:
Now weel skeen thees ledge of timber! Work, you nameless peegs��work!

PIERRE:
Wait, Jules! What ees that rumbling sound?!!

JULES BROUSSAC:
RUN! Eet ees an avalanche!

PIERRE:
They warned us and we paid no heed!

Spurred into action by the calamity, Innuit and the other Eskimos use the chaos in their favor, subduing and capturing the panicked lumberjacks. But Big Jules has other plans:

JULES BROUSSAC:
The blubber-eaters have captured those fools! Now ees time for Jules to go��before the Mounties come!

Fortunately, Skypilot plants himself directly in Big Jules� path of escape, again offering the murderous log-thief the possibility of a non-violent surrender. But the fiendish lumber pirate [pic4]pulls a big knife out of his back pocket[pic4] and does his best to turn John Hawks into a pile of cold cuts:

JULES BROUSSAC:
YOU! Everything that has happened to Big Jules ees your fault! I thought I have keel you, but now, eef you be man or GHOST, I make sure I keel you!

JOHN "SKYPILOT" HAWKS:
Jules, don�t you think it would be better if you came quietly and took your just punishment from the law?

JULES BROUSSAC:
I show you how quietly Jules weel go! I weel cut your heart out, you��!

NARRATIVE CAPTION:
Now the two men strain against each other in a silent deadly duel! Only the sodden sound of fist on flesh, the crack of straining sinew, and the shuffle of moving feet can be heard! The powerful logger sags under the blow and Skypilot puts every bit of strength he has left into a pile-driving smash to the big man�s jaw!

A few hours later, after the Northwest Mounted Police have taken away Big Jules and his men, Innuit and his daughter ask how they can repay Skypilot for saving their village. John Hawks, the man known as Skypilot (or is that "Sky Pilot"?) makes a typically humble request:

JOHN "SKYPILOT" HAWKS:
I ask no payment, but for your own sakes I ask that you come to church on Sunday, and help spread the Gospel on this frontier.

Also included in this issue of SKYPILOT are these stories, features and advertisements:

"Eskimo Lore", an unsigned, black-and-white, inside-front-cover [pic5]educational feature[pic5].

"Sky Pilot" in an untitled introductory story, drawn by Frank Borth. � "The rugged stretches of the great Northwest were a spawning ground where the worst in men all too often came out��and through this wild, dangerous territory roamed John Hawks, Sky Pilot, a man who quoted from the Scriptures��and backed his words with muscles of steel, to guarantee that evil doers heeded them��" This story opens near the Alaskan-Canadian border, as an elderly prospector named Jake Henderson emerges from his cabin, only to be shot dead by a hidden assailant. Elsewhere, in the nearby settlement of "Hard Luck", an Eskimo named Naluk is being attacked by an angry trapper, who claims the man has been raiding his traps. Suddenly, a stranger intercedes on Naluk�s behalf, clobbering the over-aggressive trapper while quoting the Bible (more or less): "The meek shall inherit the Earth, but sometimes they need aid!" The stranger introduces himself to Naluk as John Hawks, a man who the now-humbled trapper realizes is "that new fighting parson who don�t take no guff from no one!" While they get acquainted, they�re nearly run down by "crazy" Ted Benedict�s horse. He�s just made discovered that Jake Henderson�s been murders, and since it�s well known that there�s "bad blood" between himself and the old prospector, he�s going to leave town before the Mounties arrest him as the killer. Despite the protests of his girlfriend Nora, Ted takes off, convinced that no one will believe his innocence in the matter. Once again, John Hawks volunteers to enter the situation, telling Nora to go to the sheriff�s office to let them know that he�ll bring back Ted. Riding his horse, "Snow King", Skypilot eventually catches up with Ted Benedict, who�s trying to hide out in an abandoned mine. Although innocent, Ted is desperate, and brandishing a pistol, tries to drive away the rough-and-tumble Good Samaritan. Disarming his opponent with a kick, Skypilot allows Ted to punch him twice � literally "turning the other cheek" with each blow -- but as they tussle, John and Ted cause such a ruckus that the mine�s timbers start to give way. When Ted nearly falls into a mineshaft, he catches himself on a rotten wooden beam. But before the young outlaw can plunge to his death, Skypilot makes an amazing leap across the gap, grabbing Ted and surely saving his life. John�s sincerity convinces Ted to return to Hard Luck to help solve the mystery of Jake Henderson�s murder. But the next morning, when they show up back in town, they are met by a lynch mob calling for Ted Benedict�s execution. As the townfolk�s bloodlust rises, John, Ted and Nora turn to the sheriff to offer them sanctuary in his fortified office. When the angry crowd surrounds the building, Skypilot grabs a whip and steps outside, allowing Nora to slip out the back unnoticed, to summon the Mounties. Despite John�s recitation of the Sixth Commandment ("Thou shalt not kill!"), the tone of violence escalates further, egged on by local rabble-rouser, Snag Jensen. [pic6]Unafraid to wield his whip[pic6], Skypilot keeps the seething crowd at bay, then snags Snag to prevent him from making the situation even worse. Just then, a Mountie shows up, causing most of the crowd to scatter and return home. While Snag rants and raves about Ted being responsible for Jake Henderson�s murder, the Mountie asks Ted to remove his shirt, then declares the young man to be innocent. He explains, "Henderson wasn�t quite dead when I got to his cabin! He managed to gasp out that his killer had the name �Sal� tattooed on his chest! Poor fellow was delirious��couldn�t seem to remember the killer�s name��just about the tattoo!" Meanwhile, sweating like a pig, Snag Jensen nervously tries to take off, and when John stops him, Snag simultaneously grabs Nora and a pistol from a holster hanging on the wall. Reacting, Skypilot wields his whip, painfully snapping the gun out of Snag�s hand. Then he rips open Snag�s shirt, to reveal a flowery tattoo that reads "Sal"! Trapped, Snag finally confesses his guilt: "Yeah��I killed Jake Henderson��should have done it years ago! It was all over a gold claim! I tried to cheat him and he caught me! Kicked me out and took the claim for himself � the rat! Sal was the gal I hoped to marry! Finest woman in the world! I got wrongly accused of a robbery, just before our wedding day! Instead of facing the music��and proving I wasn�t guilty��I ran out! Well, by the time they found out I didn�t commit that robbery, I�d been really mixed up in some crooked deals! I just went from bad to worse��" When Ted and Nora thank John for all of his help, Skypilot replies, "He who labors in the Lord�s vineyards does not expect thanks! A good life will offer thanks to the Lord!" The [pic7]final panel[pic7] of this story ends with the exciting "teaser" caption: "Tell all your friends about this great new comics hero��A man who puts his faith in God��and carries on the battle for justice and humanity with his fists � SKY PILOT".

"Cheechako Constable", a two-page text-story.

"[pic8]Snowfang[pic8]". � "Out of the barren wilds of the frozen North hurtles the giant figure of the legendary Snowfang��part wolf, part Malemute (sp.) dog! Born to the law of claw and fang, he roves the snowy wastelands��KING OF THE ARTIC WILD!" Bob Sanders is an American engineer who has struck gold in the Northern wastes and is returning home via a husky-powered sled. Little does he suspect that his guide, Henri Broussard, plans to murder him, lay claim to his gold mine and steal his newly-found fortune. But before the murderous French-Canadian can act, he�s interrupted when Bob notices a huge wolf lurking nearby! Bob makes the observation that the critter is wagging its tail � it must be a dog � but Henri tries to shoot the beast and drives it away. That night, as Bob and Henri make camp, the treacherous guide drugs his employer�s coffee and leaves him to freeze to death during the night. After Henri takes off with his sled dogs, the massive pooch � who�s been hanging around the camp � approaches Bob�s unmoving form and shakes it roughly, finally rousing the engineer back to consciousness. As an Arctic blizzard begins to drop snow on them, Bob and his new friend take shelter from the storm under a log-and-brush windfall. While they wait for the blizzard to pass, Bob notices that his furry companion is half-wolf and half-dog, and decides to name the powerful semi-pooch "Snowfang". When the storm finally ends, Snowfang even catches them a rabbit to eat. For days, they follow Henri Broussard�s trail, until they finally catch up with the would-be killer. Since Bob is unarmed, Henri takes aim at the charging Snowfang, who manages to elude the French-Canadian�s bullets before taking him down. Later, after they finally return to the coast, and turn the disarmed and trussed-up guide over to the law, Bob and Snowfang take shelter in an abandoned cabin. But when Snowfang hears the howling of wolves outside, he leaps through the window, returning to the Arctic wilds, "where Snowfang is king!" Bob wishes his canine companion well: "Go ahead, boy! You were never meant to be taken back to civilization! You belong out there under the stars! Fighting! Ruling the land that gave you birth!"

"Sky Pilot" in "The Crisis", drawn by Frank Borth. � "The harsh winter of the great Northwest is a background against which the lives of two young people swing in the balance! Only John Hawks, the Skypilot, heeds their cry of distress as he gives a ringing answer to the challenge of��"The Crisis�!!" While picking up supplies at the "Silver Lode" � Hard Luck�s combined trading post and general store � John "Skypilot" Hawks notices a young couple, Dave and Myra, who are at the end of their rope. After six weeks of trapping, they�ve brought in a few furs, but are paid only $35 for the bunch. When Dave says that only a miracle will save them from starving to death before spring, Skypilot introduces himself. The flying minister tells the discouraged couple, "In the olden days there was one that fed the multitude with only five loaves of bread. If a man is good, the final power that judges all men will not suffer him to go hungry!" But rather than appreciate Skypilot�s interest, Dave storms outside to meet with a "vicious" local trapper named Bender, who�s been after Dave to work for him. When Skypilot tries to convince Dave not to get involved with Bender, the bearded tough guy punches John Hawks right in the face, knocking him down and challenging him to a fight. But as Skypilot slowly gets to his feet, he tells Dave something that is ridiculed by the crowd that�s gathered around them: "There�s no point in my fighting this man. What I can prove he�s already demonstrated. He�s a man of violence, and if you team up with him � no good will come of it!" That night, John Hawks� Eskimo friend, Naluk, shows up at Skypilot�s cabin. Soon, he and the flying minister are racing across the snow, their sled pulled by a team of huskies, hot on Bender�s (and Dave�s) trail. Meanwhile, in remote hunting grounds up north, Bender demonstrates his trapping "system" as [pic9]he murders a passing Eskimo in cold blood[pic9] for his sled full of valuable pelts.

"We let the Eskimo do the trapping, an� then we trap him! Pretty neat, eh?" Horrified and outraged, Dave stands up to the maniac, refusing to be part of his murderous gang. But before Bender can beat Dave to death with the butt of his rifle, Skypilot shows up, hurling his knife to pin Bender to a tree. The evil trapper manages to rip himself free, burying the knife in Dave�s shoulder. This drives Skypilot into a "righteous anger", causing him to clobber Bender into unconsciousness. Later, after Naluk has taken Bender and his gang to the law authorities in town, John accompanies Dave back to his cabin, where Myra administers to his injuries. When he notices a pile of fresh pelts sitting nearby, Dave can�t believe his eyes. It�s the miracle they were hoping for! Myra reveals that they came from their traps; she emptied them after her willful husband took off with Bender. Skypilot councils Dave and Myra: "Then accept it as a sign�a sign that those who engage in honest labor, cannot and will not go unrewarded."

"Laugh, Betty, Laugh!"/"What�s With The Crosbys?", a black-and-white, inside-back-cover [pic10]house-ad[pic10] for Ziff-Davis� FAMOUS STARS comic book series.

A striking [pic11]back-cover pinup[pic11] of Sky Pilot, drawn by Frank Borth.

* "Eskimo" is actually a derogatory and insulting term created by French-Canadian trappers to refer to those who call themselves as "Inuits". However, for the sake of clarity, the term "Eskimo" will be used here as it is in this comic book. � SS!

ODDBALL Factoid -- Cartoonist Frank Borth has also drawn many stories and features for George A. Pflaum�s TREASURE CHEST OF FUN AND FACT, as well as material for ADVENTURE COMICS, BOY COMICS, CAPTAIN BATTLE COMICS, CHAMP COMICS, CRACKED, DAREDEVIL COMICS, DARING MYSTERY COMICS, FEATURE COMICS, KEN STUART, MONSTERS ATTACK, POLICE COMICS, SUNDAY PIX and USA COMICS, among others!

Bonus ODDBALL Factoid � Cover-artist Norman Saunders also painted countless covers for pulp magazines and images for trading cards!

Next Week -- ODDBALL COMIC # 1,125: MONDAY, JUNE 19, 2006 -- STOP AND GO, THE SAFETY TWINS -- Here come STOP AND GO, THE SAFETY TWINS, a duo of demented-looking do-gooders who present stories of "play time safety" on behalf of a chain of department stores! Just don�t read this ODDBALL COMIC while crossing the street -- or your body might wind up crushed even flatter than those of the Safety Twins!

Detective Comics, No 241

Mon, 08 Mar 2010 00:01:06 -0700

(Note: This article was originally posted on June 5, 2006.) Commentary by ODDBALL COMICS curator/creator SCOTT SHAW! � For decades, folks have speculated about the sexuality of Batman! Finally, here�s an Oddball Comic that hints at an answer to that burning question! Don�t miss this flamboyant issue of DETECTIVE COMICS, featuring "The Rainbow Batman!" (Plus, tune into "Roy Raymond, TV Detective"! And no, he�s not a cross-dressing sleuth�but this is an unintentionally television-themed issue!) It�s frankly Bat-fabulous!

[fieldinserts][issuetitle]Title: [subissuetitle]Detective Comics[subissuetitle]
[issuetitle][issue]Issue: [subissue]No. 241[subissue]
[issue][publicationdate]Date: [subpublicationdate]March, 1957[subpublicationdate]
[publicationdate][publisher]Publisher: [subpublisher]National Comics Publications, Inc. (DC Comics)[subpublisher]
[publisher][coverartists]Cover Artist(s): [subcoverartists]Sheldon Moldoff[subcoverartists]

[coverartists][introtext]

[introtext]

[fieldinserts]

The details of Bob Kane�s supposedly solo creation of Batman are more than a bit controversial, but it is safe to say that the cartoonist drew a lot of inspiration for Batman�s design � especially his cape � from one of Leonardo Da Vinci�s sketch of a bat-like flying device. But I seriously doubt if Kane had ever envisioned Batman wearing a pink bat-suit! Considering that this comic was published only a few years after Dr. Frederic Wertham�s SEDUCTION OF THE INNOCENT (1953), which postulated that Batman and Robin were living a homosexual lifestyle, it must have been pretty risky to cover-feature a pink Batman! (I know, the cover-copy refers to Batman�s suit as being red, but it�s definitely a hot pink in color. Check out the DETECTIVE COMICS logo on the cover; now, that�s red!) And nearly fifty years later, it�s interesting to note that the rainbow has been adopted by gay people to represent sexual diversity and gay pride. Was Dr. Wertham right about the Caped Crusader�s sexuality, after all?

This issue�s 12-page "Batman -- With Robin The Boy Wonder" cover-story is "The Rainbow Batman", written by Edmond Hamilton, penciled by Sheldon Moldoff and inked by Stan Kaye (but signed simply "Bob Kane".) It opens with this [pic2]splash-page[pic2] introduction:

INTRODUCTORY CAPTION: When a dark, caped figure flashes through Gotham City, the cry always goes up, "IT�S BATMAN!" Yes, the familiar costume of the BATMAN is known to everyone�but now, after all these years, the great lawman CHANGES his uniform, time and again, from one color to another, causing a whole city to wonder which garb will next be worn by�THE RAINBOW BATMAN!"

This story actually begins as Dick (Robin The Boy Wonder) Grayson uses his circus-trained acrobatic skills to carry a little girl out of the path of a getaway car of criminals who�ve stolen a valuable camera. But not only dues Dick attract undue attention with this act of bravery -- he also accidentally sprains his arm in the process, allowing the crooks to escape with their stolen swag. Later, at stately Wayne Manor, Dick Grayson consults his guardian, Bruce Wayne, "who is really the famed Batman" after watching a televised news broadcast:

TV NEWS REPORTER: �And the thieves, who stole a valuable camera, would have run down a child but for a youthful hero, Dick Grayson! He lost the use of his left arm temporarily, but SAVED A LIFE!
DICK (ROBIN THE BOY WONDER) GRAYSON: It wasn�t as big a feat as all that! My arm will be all right in a little while!
BRUCE (BATMAN) WAYNE: But why would anyone steal a portable TV camera? They�d have no use for it � and couldn�t sell it! There must be some other motive!
DICK (ROBIN THE BOY WONDER) GRAYSON: Maybe I can spot those crooks in our crime file�

Later, the duo retreat to their secret Bat-Cave below Wayne Manor:

DICK (ROBIN THE BOY WONDER) GRAYSON: No, their pictures aren�t in our file�We haven�t any record of them!
BRUCE (BATMAN) WAYNE: I can only see one motive for stealing that camera�as preparation for some big crime, to be staged where TV crews will be working!

As they change into their crime-fighting costumes, the pair arrives at a realization:

ROBIN THE BOY WONDER: You mean � they intend to disguise themselves as TV cameramen so they can get close to something valuable?
BATMAN: That�s what I suspect � and, from now on, we�re going to watch every big event covered by television! You can identify those crooks if they turn up!

When Batman relates "a unique strategy" to Robin, the boy wonder can hardly believe his ears:

ROBIN THE BOY WONDER: But � you�ve never done anything like THAT before!

The next day, at a parade held as Gotham City�s official welcome to the visiting "king of Zoronia" (!), Batman and Robin make their appearance � but Batman�s appearance is anything but usual!

BYSTANDER #1: Look�there�s BATMAN and ROBIN! But � what�s happened to BATMAN?
BYSTANDER #2: I�ve never seen him looking like that before!
BYSTANDER #3: He�s wearing a RED COSTUME � but why?

Yep, we soon see that the Caped Crusader is now the [pic3]Crimson Crusader[pic3]! Without a single reference to his Oddball makeover, Batman and Robin leap from their Batmobile to check the local television cameras covering the event, then scan the crowds for a sign of the camera-swiping criminals. The Dynamic Duo hangs around until the parade is over, then take off. Later that day, in response to Gotham City�s police department�s special Bat-Signal, Batman and Robin show up with the World�s Greatest Detective now wearing [pic4]a powder-blue bat-suit[pic4]! (It should be noted that Robin is shown here driving the Batmobile by using only his right hand.) The emergency at hand is a truck carrying a load of explosives � and it�s on fire! Despite Commissioner Gordon�s protests, Batman climbs into the truck�s driver�s seat -- and with Robin closely covering him with the Batmobile -- aims the flaming truck down a pier and into Gotham Bay, jumping into the Batmobile at the very last possible instant. But when newspaper and television reporters arrive on the scene, the fashion-conscious journalists aren�t particularly interested in the Dynamic Duo�s latest act of heroism:

REPORTER #1: BATMAN, can you tell us why you switched to a red costume, and now to a blue one?
REPORTER #2: Yes, you�ve never done anything yet without a reason! Why these colored costumes?
BATMAN: It could be I�m just tired of the same-colored costume, you know! But I�m not giving my reasons, yet!
REPORTER #1 (to Reporter #2): I�m certain there�s some big story behind these colored costumes � but I can�t figure it out!

Later, back in the Batcave, Batman and Robin compare notes, agreeing that, since there was no sign of the camera-thieves at the pier, they will continue to cover any local event that might attract TV crews. Over the next few days, [pic5]a golden-suited Batman[pic5] is on hand to greet Marion Marley, "the famous movie star" � next, [pic6]an orange-clad Batman[pic6] makes an appearance at a big jewel and fashion show -- and then [pic7]a green Batman[pic7] shows up at the launching of the GIGANTIC, a huge new ocean liner. After the mayor�s wife christens it with a bottle of champagne, the ship starts to slide out into the water. That�s when the keenly observant green-clad Darknight Detective notices that one of the ship�s cables has been tied to the launching platform, and uses an axe to disconnect the threat before the GIGANTIC pulls down the wooden structure. Was that attached cable an accident, or an intentional attempt at sabotage? After the crowd leaves, the Dynamic Duo confer on this subject:

ROBIN THE BOY WONDER: Again, I checked every person here today � and didn�t see the thieves we�re after!
BATMAN: But they�d been here � and had fixed that hidden cable to get US! They must know, from the way we watch every event covered by TV cameras, that we�re after them�so they tried this sabotage, to put us out of the way before they strike!
ROBIN THE BOY WONDER: It looks that way � and I don�t like it! You�re planning to cover the big sharpshooting contest in GOTHAM STADIUM tomorrow! Suppose they strike at you there?
BATMAN: It could be dangerous, all right � but we�ve got to look for them there, too, and we�ll take precautions!

The next day, Batman and Robin show up at "the spectacular rifle sharpshooting contest", his costume attracts a lot of attention, not for its color, but for its absence of color. You see, the Caped Crusader has worn a bat-suit that�s entirely white � except for the [pic8]big, black bull�s-eye on his chest[pic8], right where his bat-insignia normally appears! Batman�s new outfit also attracts the attention of a sniper in a nearby skyscraper, hitting his human target with a bullet right in the bull�s-eye. Fortunately, Batman�s wearing a steel vest under his costume, so he�s only bruised by the impact. As he and Robin speed from the stadium in their Batmobile, Batman comments:

BATMAN: That�s why I wore the target-costume this time�Anyone trying a shot at me would aim at the bull�s-eye, and my protective armor is underneath that!
ROBIN THE BOY WONDER: But it shows that those gangsters will stop at nothing!

But when they finally reach to rooftops from which the sniper fired, they find their quarry long-gone:

BATMAN: Too bad � they had time to escape�but this desperate attempt to stop me proves we�re getting CLOSE to whatever big job they plan!
ROBIN THE BOY WONDER: Trouble is, BATMAN, these brilliant costumes of yours make you too easy for them to strike at!
BATMAN: Still, you know I MUST wear these costumes, ROBIN!
ROBIN THE BOY WONDER: Yes � it does seem the only way we can keep searching for those thieves! If we only knew what they plan to do with a TV camera!

Meanwhile, those camera-crooks � whose boss looks like the results of an unlikely crossbreeding experiment between Broderick Crawford and Lon Chaney, Jr. -- are ready to put their mysterious plan into action. And if Batman shows up, they predict that his latest nutty bat-suit will only serve to distract people from noticing their bold caper-in-progress! The next day, at the fabulous "Moneys Of The World" exhibit, the curators anticipate a big crowd, as well as the appearance of Batman and Robin. But when the Caped Crusader shows up in [pic9]a striped bat-suit with all the colors of the rainbow[pic9], the show�s organizers can�t help but notice:

"MONEYS OF THE WORLD" ORGANIZER #1: A RAINBOW costume! I give up � I can�t see why on Earth he�d wear such things!
"MONEYS OF THE WORLD" ORGANIZER #2: NOBODY can see why�but who cares, as long as he guards our exhibit?

A little while later, after TV newscasters have set up to cover the show, the Rainbow Batman and Robin scrutinize the crowds entering the exhibit hall. Suddenly, the boy wonder recognizes a face among them as belonging to one of the thieves � their trenchcoat-wearing leader, in fact -- who stole the TV camera. Suddenly, Batman lunges forward, "a rainbow of dazzling action" as he punches the shady-looking criminal in the jaw.

BATMAN: Whatever you�ve got in your pocket, pal. That�s where it stays!

When searched, the crime-boss is revealed to have been hiding a gas mask inside his trenchcoat. Suddenly, the camera-thieves� master plan becomes clear to the Rainbow Batman. He turns and barks out an order to the TV camera operators in attendance:

BATMAN: Don�t turn on your cameras! One of them is booby-trapped!

Then, after inspecting the TV cameras, he discovers proof of his suspicions:

BATMAN: I thought so�This one would have flooded the whole hall with tear-gas, when turned on! Then, thieves with gas-masks could have snatched that $1,000,000 in spite of the guards!

A few seconds later, the two other camera-bandits attempt to make a getaway, but the Rainbow Batman grabs them before they can escape.

BATMAN: They�ll find no pot of gold at the end of THIS rainbow�only prison!

Later, after the Gotham City police have apprehended the ring of thieves, Batman finds himself surrounded by curious members of the press:

REPORTER: BATMAN, your watchfulness prevented a crime again! But can you tell us, now, why you�ve been wearing all these colored costumes?
BATMAN: No, I can�t! This is the last one I�ll wear, but WHY I did it must remain a secret!

But later, in the depths of the Batcave, we finally learn the agenda behind Batman�s bizarre multi-colored identities:.

ALFRED PENNYWORTH: I�m glad you caught the rascals, sir � but why did you have to wear such gaudy garments?
BATMAN: You see, Alfred, ROBIN had to help me find those thieves because only he had seen their faces and could IDENTIFY them!
ROBIN THE BOY WONDER: But if anyone noticed that as ROBIN, I couldn�t use my left arm, they might remember the publicity about Dick Grayson�s injury � and suspect your identity!
BATMAN: That�s why I wore such colorful, eye-catching costumes � so everyone would look at ME and not at ROBIN!
ROBIN THE BOY WONDER: And it worked�No one noticed me and my arm, when all eyes were on BATMAN�S bright costumes!
BATMAN: But now that�s over, I can quit being a peacock and become a BATMAN again!

(This story was reprinted in DC�s BATMAN No. 182, August, 1966. One of DC�s "80 Pg. Giants", this special issue bore the blurb, "A Second Star Collection Of The Strange Lives Of Batman And Robin".

Also included in this issue of DETECTIVE COMICS are these stories, features and advertisements:

"Check The Kind Of Body You Want! Right In The Coupon Below�And I�ll Prove How Easily You Can Have It!", a black-and-white, inside-front-cover ad for mail-order bodybuilding courses from "Charles Atlas".
"100 Toy Pirates -- $1.25", an ad for a fleet of plastic toys available through mail-order from the "Josely Co."
"Buzzy�s Special Brotherhood Week Quiz (Feb. 17 � 24) Do You Know The People Of Your Country?", a public service page written by Jack Schiff and drawn by Ruben Moreira.
"Roy Raymond TV Detective" in "The Man Who Couldn't Touch Ground", drawn by Ruben Moreira. � When Roy Raymond is late for the live broadcast of his IMPOSSIBLE BUT TRUE TV series, his secretary and assistant Karen has only two minutes left to make a decision on how to handle her boss� absence. But she�s even more flustered when Roy � hovering with the aid of a one-man-helicopter gizmo strapped to his back -- finally snows up on time � but is unable to appear on the show! Even more startling is the reason why Roy can�t appear on TV: while interviewing human "oddities" for his show, exposure to an inventor�s "cosmic ray" machine imparts a glowing "over-charge" that will cause a massive explosion when Roy�s body comes in contact with the ground! Until an antidote is created, Roy is forced to wear the bizarre flying device � and now, the inventor responsible for his condition has vanished! With the help of Roy�s old friend, Police Commissioner Jameson, the TV detective is given a water tower to use as his base of operations. Later, Roy supervises a team of police sketch artists who create a huge "wanted" poster of the missing inventor on a billboard. That night, the audience of a local [pic10]drive-in theater[pic10] is distracted by Roy�s glowing form as he drops in to watch the film. (Karen and Police Commissioner Jameson wind up paying an irate theater manager for Roy�s movie ticket!) But when Karen uses a pair of binoculars to get a close-up look at Roy, she makes a startling discovery. Climbing up to Roy�s tower HQ, she approaches Roy and forces him to touch the ground � but there�s no resulting explosion. Karen reveals that this whole thing is a hoax. First off, the glowing, helicopter-hovering man is not Roy, but instead, "an amazing double of him"! After Police Commissioner Jameson grills the lookalike, he reveals that Roy is being held hostage in a shack on the outskirts of town. After the police show up and rescue Roy, the TV detective reveals the whole scheme, "These crooks knew I had knowledge of where a valuable collection of art treasures, due to be seen on my show, was stored � and they tried to make me reveal where it was kept! But they also realized that there�d be an investigation if I simply disappeared�so they got hold of that character who resembled me to put on that flying act!" Later, Karen explains to Roy how she cleverly recognized that he was being impersonated, "Because, Roy, he was wearing a white shirt! Like all other TV performers, you always wear blue shirts, because blue photographs white on the TV screen!" (Hmmm, how come that after nearly thirty years working in the television biz, this the first � and only � time I�ve ever heard this "fact"!)
"Given! Boys! Girls! Ladies! Men! We Give You�Cash Or Premiums", a one-page [pic11]strip-ad[pic11], subtitled "Jim And Betty Solve The �Flying Saucer� Mystery" and drawn by "R. T.", soliciting for young door-to-door salespeople for "White Cloverine Brand Salve" for the "Wilson Chemical Co." (Please notice that the kids uses their telescope and binoculars to spot "the first Earth satellite" � the U.S.S.R.�s "Sputnik"!)
"Casey The Cop" in a one-page gag-strip written and drawn by cartoonist Henry Boltinoff.
"They Fight Frauds", a two-page text-story that�s described as "Police squads and federal postal inspectors wage relentless war on all sorts of racketeers", written by Jack Miller (writing as "Jack McCoy").
A statement of ownership from the publisher.
"John Jones, Manhunter From Mars" in "The Impossible Manhunt!", drawn by Joe Certa. � When an arson fire melts the wax figures on display in Jones� Wax Works, its owner, Roger Jones, is completely at a loss as to who would wish him harm. But in the following days, a series of fires plague the city, all destroying businesses owned by people named "Jones". Before long, every shop owner by that name lives in fear of being burned out of business. Meanwhile, at police headquarters, police detective John Jones (AKA J�onn J�onzz, the Manhunter From Mars), receives a mysterious letter from his chief. It reads, "Down with all men named Jones. I won�t stop until every business owned by a Jones is burned down! Long live the Smiths! � A Man Named Smith". When he�s given the assignment of bringing in the serial arsonist, John is understandably worried � because fire is the one element that can prove fatal to his Martian material makeup! Soon, John finds himself the "owner" of the John Jones Art Gallery. Since all of the other Jones-owned businesses in town have had their signs removed or replaced, it�s a good bet that the arsonist will turn up at John�s place. Concerned, John has the walls covered with asbestos paint and special fire extinguishers installed. After the gallery�s swanky opening reception � which is overseen by John�s invisible alter ego -- the arsonist finally strikes, hurling a fire-bomb through the venue�s glass skylight. But when J�onn uses one of his extinguishers to quench the blaze, he makes a startling discovery � someone has replaced the extinguisher�s fire-retarding chemicals for high-test gasoline! As the flames leap higher, J�onn weakens, but before he�s overcome by the fire, the quick-thinking Martian uses his "super-eye-sight" on the panes of the skylight overhead, liquefying it to put out the fire. Now recovered, J�onn � still invisible � uses his Martian vision to track "firebug Smith" by [pic12]the microscopic particles of carbon[pic12] from his car�s exhaust. The trail leads to the bayside Sam Jones Museum Of Famous American Ships (hey, I thought the police had removed all such signage), which displays "huge replicas of the country�s most famous ships". Inside, he encounters Sam Jones himself, who can�t understand how John entered the museum without setting off its alarms. Using his Martian "super-sensitive hearing", John detects the presence of Jasper Craig, who Sam Jones identifies as "my former superintendent, whom I fired for stealing! He threatened to ruin me!" That�s when John/J�onn mentally puts it all together: "So that�s it! He knew he�d be suspected if he destroyed your place � so he created a red herring by first setting fire to places owned by other men named Jones, while pretending to be a maniac named Smith!" But Craig�s got a final surprise for them; he�s planted a timed fire-bomb somewhere in the museum � but where? Even with his ability to see through objects, J�onn can�t scan all the replicas on display. But using his powers of deduction, the Martian Manhunter locates the fire-bomb in the RANGER, an old warship, then tosses "the ticking weapon of destruction" into the water. Relieved, Sam Jones asks John Jones how he knew where the bomb was hidden. The disguised Martian detective/superhero explains, "Just a hunch! I figured that Craig, who was following the pattern of bombing one Jones place after another, would be likely to pick the RANGER, which was the ship commanded by another man named Jones � JOHN PAUL JONES!"
"Do You Want Spending Money" Sell These Popular Patriotic And Religious Mottoes", an ad soliciting for young door-to-door salespeople to peddle "beautiful glittering mottoes" for "Stephens Credit Sales".
"Everything You Need To Enjoy Stamp Collecting, Yours For Only 25�", an ad for a stamp-collecting "starter kit" available through mail-order from the "Zenith Company".
"Mickey Mantle Goes To Bat For �Billy Bikeless�", a black-and-white, inside-back-cover [pic13]strip-ad[pic13] starring baseball great Mickey Mantle, soliciting for young door-to-door salespeople to peddle boxes of "All-Occasion Cards" for the "Junior Sales Club Of America".
"Choose Your Prize", a back-cover ad soliciting for young door-to-door salespeople to vend packets of vegetable and flower seeds for the "American Seed Co."

ODDBALL Factoid � Edmond Hamilton (1904 � 1977), the writer of "The Rainbow Batman", was a noted science-fiction author, whose work included STARWOLF, THE CITY AT WORLD�S END, BATTLE FOR THE STARS, the CAPTAIN FUTURE pulp magazine series and many more! Hamilton was also married to another writer of science fiction and screenplays � including THE EMPIRE STRIKES BACK, Leigh Brackett!

Next Week -- ODDBALL COMIC # 1,124: MONDAY, JUNE 12, 2006 -- Move over, Lash LaRue! Who "delivers a powerful sermon and packs a mighty punch"? Why, it�s John Hawk, AKA SKYPILOT, "the fighting missionary of the far North", that�s who! You won�t believe your eyes when this high-flying, whip-wielding, preaching plane-pilot locks horns with evil lumber pirates and other ODDBALL menaces of the North Woods! SKYPILOT is cooler than an Eskimo Pie!

Archie's Madhouse, No. 61

Mon, 22 Feb 2010 13:37:08 -0700

Which ODDBALL COMIC published a character called �Zappy The Hippy� in the late 1960s? Not only wasn�t it one of those �underground comix�; would you believe it was published by Archie Comics? Well, here�s proof, an issue of ARCHIE�S MADHOUSE that also features one of the publisher�s only Silver Age superheroes that�s never been re-launched, Captain Sprocket! (But what is classic illustrator Norman Rockwell doing in this Archie Comic?) [fieldinserts][issuetitle]Title: [subissuetitle]Archie's Madhouse[subissuetitle]
[issuetitle][issue]Issue: [subissue]No. 61[subissue]
[issue][publicationdate]Date: [subpublicationdate]June, 1968[subpublicationdate]
[publicationdate][publisher]Publisher: [subpublisher]Archie Comic Publications, Inc.[subpublisher]
[publisher][coverartists]Cover Artist(s): [subcoverartists]Unknown[subcoverartists]

[coverartists][introtext]Which ODDBALL COMIC published a character called �Zappy The Hippy� in the late 1960s? Not only wasn�t it one of those �underground comix�; would you believe it was published by Archie Comics? Well, here�s proof, an issue of ARCHIE�S MADHOUSE that also features one of the publisher�s only Silver Age superheroes that�s never been re-launched, Captain Sprocket! (But what is classic illustrator Norman Rockwell doing in this Archie Comic?)[introtext]

[fieldinserts] According to Wikipedia: �Flower Power was a slogan used by the American counterculture movement during the late 1960s and early 1970s as a symbol of passive resistance and non-violence ideology. It is rooted in the opposition movement to the Vietnam War. The expression was coined by the American Beat poet Allen Ginsberg in 1965 as a means to transform war protests into peaceful affirmative spectacles. Hippies embraced the symbolism by dressing in clothing with embroidered flowers and vibrant colors, wearing flowers in their hair, and distributing flowers to the public, becoming known as flower children. The term later became generalized as a modern reference to the hippie movement and a culture of drugs, psychedelic music, psychedelic art and social permissiveness. Flower Power originated in Berkeley, California as a symbolic action of protest against the Vietnam War. In his November 1965 essay titled How to Make a March/Spectacle, Ginsberg advocated that protesters should be provided with "masses of flowers" to hand out to policemen, press, politicians and spectators. The use of props like flowers, toys, flags, candy and music were meant to turn anti-war rallies into a form of street theater thereby reducing the fear, anger and threat that is inherent within protests. In particular, Ginsberg wanted to counter the "specter" of the Hells Angels motorcycle gang who supported the war and had threatened to violently disrupt planned anti-war demonstrations at the University of California, Berkeley. Using Ginsberg's methods, the protest received positive attention and the use of "flower power" became an integral symbol in the counter-culture movement. By late 1966, the Flower Power method of guerilla theater had spread from California to other parts of the United States. The Bread and Puppet Theater in New York City staged numerous protests which including handing out balloons and flowers with their anti-war literature.[ Workshop in Nonviolence (WIN), a magazine published by New York activists, encouraged the use of Flower Power. In May 1967, Abbie Hoffman organized the Flower Brigade as an official contingent of a New York City parade honoring the soldiers in Vietnam. News coverage captured Flower Brigade participants, who carried flowers, flags and pink posters imprinted with LOVE, being attacked and beaten by bystanders. In response to the violence, Hoffman wrote in WIN magazine, "Plans are being made to mine the East River with daffodils. Dandelion chains are being wrapped around induction centers.... The cry of 'Flower Power' echoes through the land. We shall not wilt." On the following Sunday in May 1967, WIN activists declared the Armed Forces Day as "Flower Power Day" and held a rally in Central Park to counter the traditional parade. Turnout was low and, according to Hoffman, the rally was ineffective because guerilla theater needed to be more confrontational. In October 1967, Hoffman and Jerry Rubin helped organize the March on the Pentagon using Flower Power concepts to create a theatrical spectacle. The idea included a call for marchers to attempt to levitate the Pentagon. When the marchers faced off against more than 2500 Army national guard troops forming a human barricade in front of the Pentagon, demonstrators placed flowers in the soldier's rifle barrels. Flower Power, a Pulitzer-nominated photograph by Washington Star photographer Bernie Boston, became a classic image of the Vietnam War era protests. The photo, taken on October 21, 1967 at the "March on the Pentagon", showed a young, long-haired man in a turtleneck sweater, placing carnations into the rifle barrels of military policemen. (The young man was identified later as George Edgerly Harris III, an 18-year-old actor from New York who was on his way to San Francisco and later performed there under the stage name of Hibiscus. The iconic center of the flower power movement was the Haight Ashbury district in San Francisco, California. By the mid-1960s, the area, marked by the intersection of Haight and Ashbury Streets, had become a focal point for psychedelic rock music. Musicians and bands like Jefferson Airplane, the Grateful Dead and Janis Joplin all lived a short distance from the famous intersection. During the 1967 Summer of Love, thousands of hippies gathered there, popularized by hit songs such as San Francisco (Be Sure to Wear Flowers in Your Hair). A July 7, 1967, Time magazine cover story on "The Hippies: Philosophy of a Subculture," and an August CBS News television report on "The Hippie Temptation" as well as other major media interest exposed the hippie subculture to national attention and popularized the flower power movement across the country and around the world.�

According to Wikipedia: �ZAP COMIX is the best-known of the underground comics that emerged as part of the youth counterculture of the late 1960s. The first issue of ZAP, ZAP No. 1 was published in San Francisco in early 1968. It featured the work of satirical cartoonist Robert Crumb. Some 3,500 copies were printed by Charles Plymell (under the publisher name of Apex Novelties), a Beat writer who shared a house with Allen Ginsberg and Neal Cassady when LSD hit San Francisco in the early 1960s. An earlier issue had been intended to for publication, but the person who was supposed to publish it (he had published earlier works of R. Crumb in his tabloid called YARROWSTALKS ) left the country with the artwork. Shortly before ZAP No. 3 was to be published, Crumb found photocopies of the issue, drew new covers, and published it as ZAP No. 0. Thus ZAP No 0 became the third in the series (even though it was drawn before No. 1 in 1967), and ZAP No. 3 the fourth. Many of these first issues were sold on the streets of Haight-Ashbury out of a baby stroller pushed by Crumb or his wife. In years to come, the comic's sales would be most closely linked with alternative venues such as head shops. After the success of the first issue, Crumb opened the pages of ZAP to several other artists, including S. Clay Wilson, Robert Williams, "Spain" Rodriguez, and two artists with reputations as psychedelic poster designers, Victor Moscoso and Rick Griffin. This stable of artists, along with Crumb, remained mostly constant throughout the history of ZAP, which published sporadically. It was typical for several years to pass between new issues; the most recent ZAP (No. 15) appeared in 2005. Griffin died in 1991; a two-page story by artist Paul Mavrides appeared in issue No. 14. Mavrides was invited to contribute when Crumb announced that he no longer wanted to work on ZAP. Premiering in 1968, ZAP No. 1 was unlike any comic book sensibility that had been seen before. Labeled "Fair Warning: For Adult Intellectuals Only", it featured the publishing debut of Crumb's much-bootlegged "Keep on Truckin'" imagery, an early appearance of unreliable holy man Mr. Natural and his neurotic disciple Flakey Foont, and the first of innumerable self-caricatures (in which Crumb calls himself "a raving lunatic", and "one of the world's last great medieval thinkers"). Perhaps most notable was the story "Whiteman", which detailed the inner torment seething within the lusty, fearful heart of an outwardly upright American. While a few small-circulation self-published satirical comic books had been printed prior to this, ZAP No. 1 became the model for the "comix" movement that snowballed after its release. The contents of the first ZAP were not intended to be the debut issue. Crumb had drawn a completely different issue's worth of comics, but the artwork was stolen prior to publication. Rather than repeat himself, Crumb drew a new assortment of strips, which replaced the missing issue. Fortunately, Crumb had made Xerox copies of the missing pages, which (according to fellow ZAP contributor Victor Moscoso) successfully captured the linework but not the solid blacks. After being reinked, those cartoons subsequently appeared as ZAP No. 0 (which was first published about the same time as ZAP No. 3). While the origin of the spelling "comix" is a subject of some dispute, it was popularized by its appearance in the title of the first issues of ZAP. Design critic Steven Heller claims that the term "comix" refers to the traditional comic book style of ZAP, and its mixture of dirty jokes and story-lines. ZAP was also one of the books that put the "underground" in comics: ZAP No. 4 (by then being published by The Print Mint), in particular, was the subject of numerous "community standards" obscenity busts and court cases. That issue was most notorious for Crumb's satirical story Joe Blow, depicting an incestuous all-American nuclear family whose motto was "the family that lays together, stays together." San Francisco's City Lights Bookstore was raided by police, and the fourth issue of ZAP was eventually prohibited from selling over the counter in New York. However, the case was as much about publicity as anything else, and the issue continued to be readily available for purchase, including by City Lights. The attention created a bump in ZAP sales and elevated its reputation among counterculture types; it certainly cannot be argued that succeeding issues of ZAP were any tamer in content. Due to its unusual outside position in the comic distribution industry, a completely accurate count of ZAP's circulation cannot be known, but overall sales for the comic's 16 issues are in the millions.�

Its first issue -- cover-dated Oct. � Nov., 1952 -- EC's TALES CALCULATED TO DRIVE YOU MAD (soon to be known simply as MAD ) was a humor/satire comic book series that became incredibly influential within a year or so of its initial appearance. In fact, it spawned dozens of four-color imitations published by most of the comic book companies in existence at the time. Although not especially quick to jump on the MAD bandwagon, Archie Comics eventually responded to the trend, launching ARCHIE'S MADHOUSE -- also published under the title MADHOUSE MA-AD JOKES -- in September, 1959. (Ajax/Farrell had already published a satirical comic titled Madhouse in 1954 and 1957.) Please notice how the cover-logo separates "MADHOUSE " into two words, probably to further promote the concept that this comic is somehow connected with the "real" MAD, although this isn't done with any consistency within the interior pages of this comic itself.. Although the early issues of ARCHIE'S MADHOUSE featured the typical antics of Archie and his Riverdale pals 'n' gals, the comic began to resemble MAD magazine, full of articles and gag-strips that only occasionally featured Archie's gang. (Please note that Archie and his friends are shoehorned into this issue as "presenters" of most of the articles therein, somewhat like wholesome versions of such "horror hosts" as EC's �Old Witch�, �the Vault-Keeper� and �the Crypt-Keeper�). ARCHIE'S MADHOUSE provided the perfect vehicle to present short (and intentionally juvenile) parodies of whatever fads and crazes were currently popular with teen-agers: monster movies, science fiction, westerns, rock 'n' roll groups, television series, superheroes, spies, TV commercials, hippies, beatniks, etc. Of course, all of these were rendered with the squeaky-clean veneer associated that was typical of Archie's line of titles. Allowing ARCHIE'S MADHOUSE to skew much younger than MAD's teenage and adult audience.

�Captain Sprocket� made his first appearance in the pages of ARCHIE�S MADHOUSE No. 25 (April, 1963); the prolific George Gladir was the characters� co-creator. Although Archie had published a number of �straight� superhero characters since the 1940s, Captain Sprocket was the company�s first intentionally humorous superhero�and possibly the one with the longest continual run! In fact, It should also be noted this parody of the super-hero genre pre-dated the campy prime-time BATMAN live-action ABC TV series by almost three years. Captain Sprocket has no specific �secret origin�; in his first appearance it is assumed the Captain has been on the job for awhile, since officials in Washington DC are trying to get rid of a "...strange girl from outer space (who) is up to some evil." Only one man can do the job -- Captain Sprocket! Additionally, he was billed as "The World's Only Three-In-One Hero; Space Scientist, Space Adventurer, Space Loverboy". (Oddly enough, the �super� qualities that make Captain Sprocket a superhero � other than his costume � have never been specified.) Although Captain Sprocket didn�t appear in every issue of ARCHIE�S MADHOUSE, he was a character to be found there for many years; oddly, he was never given his own title. He hadn�t appeared in print for decades, but Captain Sprocket was recently revived � along with many much-more-obscure old Archie characters -- in the pages of ARCHIE AND FRIENDS No. 137, January, 2010.

The first issue of ARCHIE'S MADHOUSE (or "MAD HOUSE", depending upon the issue) was cover-dated September, 1959 and the final issue was No 66, cover-dated February, 1969. Following that, the series changed its title to MADHOUSE MA - AD JOKES from issue No. 67 (April, 1969) through No. 70, then MADHOUSE MA - AD FREAK OUT from issue No. 71 through 72 (January, 1970). After that, the title became MADHOUSE GLADS from Issue No. 73 (May, 1970) through No. 94 (August. 1974) � but skipping No. 78 through No. 92! Finally, the title shifted to MAD HOUSE and the genre to horror with its 95th issue (September, 1974). The final issue of MAD HOUSE was No. 130, cover-dated October, 1982. There were also eleven different annuals published under the umbrella of Archie's "MADHOUSE" titles, as well as a single digest reprint collection.

At age nine, writer George Gladir won a Mickey Mouse sweater in a contest in MICKEY MOUSE MAGAZINE. A few years later, he had the winning entry in a "Buffalo Bob" cartoon contest that appeared in TIP TOP COMICS. Winning a dollar was nice, but even more significant to George was seeing his drawing and name in print in a comic book. In 1943, at the age of seventeen, while attending Cooper Union Institute in the evening, George landed an apprentice-type job at Eisner and Iger; Will Eisner was away in the service at the time. But within a few months, he enlisted in the Army and served as a combat infantryman in France and Germany during which time George was a POW for sixteen days. George didn't get back to the comic book field for many years. Following his discharge from the Army, he went to NYU on the GI Bill of Rights, majoring in History and English. After graduation there was another stint in the Army, this time as a Psychological Warfare Officer in Germany. While in the service he could still feel the lure of cartooning tugging at him. George sold a number a gag cartoons to various publications-including several cartoon ideas to the NEW YORKER. Upon his second discharge he took a job at a bank and enrolled in a night course at New York's Cartoonists and Illustrator's School (changed later to the School of Visual Arts). Two of George's classmates were Bob Weber, Sr., later to create the hilarious MOOSE strip for King Features, and Orlando Busino, who became a top-selling gag cartoonist for major magazines like THE SATURDAY EVENING POST. Years later, George and Orlando would co-create the classic Oddball monster parody comic, TALES CALCULATED TO DRIVE YOU BATS! (1961). After leaving C&I, George submitted gag cartoons to various magazines for several years. In1959, a cartoonist friend of George's told him that Archie Comics was looking for a writer. He started submitting one-page gags for ARCHIE'S JOKE BOOK, and George quickly found his niche at Archie and has been writing for the publisher ever since, for forty-seven years and counting. In 1961, George also started working for CRACKED magazine a humor magazine in the tradition of MAD. George wrote over 2,000 pages for the magazine, collaborating with such talented cartoonists as John Severin and Don Orehek. Always exploring new creative possibilities, in 1991, George sold a series �� drawn by cartoonist Tetsuya Ohyama -- with the title "Is That True?" ("Honto Ko Na?"), a humorous feature on an American's misconceptions about life in Japan, to Kodansha, a major Japanese publisher. This feature ran for 69 episodes over four years. George's experiences in Japan also inspired a new fantasy-adventure series for Rorschach Entertainment, CINDY AND HER OBASAN, co-created with the great Stan Goldberg; the first issue was published in October, 2006. Still quite busy, concocting new characters and stories, George lives in Carlsbad, California with his wife Mary.

Cartoonist Charles �Chic� Eber Stone (1/4/1923 - 2/28/2000) was born in New York City, New York, on East 23rd Street and Third Avenue in Manhattan, As a kid, Chic admired many cartoonists from the Sunday newspapers� �funny pages�: Rube Goldberg, Milton Caniff, Gus Edson and Raymond Dirks, among others. During the Depression, Chic studied at the High School of Industrial Arts -- now the High School of Art and Design -- and the Works Projects Administration School, where he studied under cartoonist Chuck Thorndyke. At 16, he landed his first job in comics in 1939, apprenticing at the legendary Eisner & Iger comics packaging �shop�, performing such menial jobs as pasting, whiting out, etc. During the 1940s, Chic worked on the original �Captain Marvel� for Fawcett Comics, and BOY COMICS for Lev Gleason Publications. For Timely Comics (Marvel Comics� 1940s predecessor), Chic contributed to BLONDE PHANTOM COMICS, "Eustis Hayseed" in JOKER COMICS and "Jeep Jones" in ALL SELECT COMICS and KID COMICS. In the 1950s, Chic left the comic book field to art direct a number of magazines; these included TRUE EXPERIENCE and THE AMERICAN SALESMAN. He also published a short-lived magazine, BOY ILLUSTRATED. Chic drew commercial illustrations for the Grey Advertising Agency -- now Grey Global -- and having relocated to Hollywood, California, drew storyboards for TV commercials for Filmack Studios and art directed more magazines, MODERN TEEN and DIG MAGAZINE. In the 1960s, Chic returned to comic books, working for the American Comics Group, drawing �Nemesis� for ADVENTURES INTO THE UNKNOWN, as well as stories for FORBIDDEN WORLDS, UNKNOWN WORLDS and other ACG titles. He also renewed his relationship with his old boss from the 1940s, Stan Lee, inking various pencilers for Marvel, most notably, Jack Kirby on FANTASTIC FOUR, AVENGERS, UNCANNY X - MEN, �The Mighty Thor� in JOURNEY INTO MYSTERY and later, �The Inhumans� in AMAZING ADVENTURES. (Speaking of mysteries, why didn�t Smilin� Stan ever ask Chic to do any penciling for Marvel? Or did he and Chic turned him down?) In any event, Chic�s varied line work beautifully embellished Kirby�s pencil art, making the figures �pop� against meticulously-inked backgrounds. Indeed, the powerful but immensely appealing Kirby/Stone collaborations represent the �house style� of early Marvel. Chic also worked as an occasional �ghost artist� for Bob Kane on various �Batman� stories; for example, although uncredited, Chic drew the lead story of DC�s BATMAN No. 200 (March, 1968). He also did uncredited inking for George Papp on SUPERBOY, as well as assisting Sal Trapani. Around this time, Chic also did work for Tower Comics (T.H.U.N.D.E.R. AGENTS, DYNAMO, NOMAN ), Dell (FLYING SAUCERS, GARRISON�S GORILLAS ), and Skywald�s black-and-white magazines (PSYCHO, NIGHTMARE ), as well as a high-profile half-page advertisement that ran in many DC comics, �Grandpa Munster �Digs� The Drag-U-La�, hyping an AMT plastic model kit based on a custom car built for THE MUNSTERS TV series by George Barris. During the 1970s and 1980s, Chic drew many stories for Archie Publications, both depicting Archie Andrew�s Riverdale �pals �n� gals� as well as horror stories for Archie�s �Red Circle� imprint and superheroes for such �Archie Adventure Series� as ARCHIE�S SUPER HERO SPECIAL and BLUE RIBBON COMICS. He also continued to do work for Marvel, returning to inking Keith Pollard�s pencils on THE MIGHTY THOR. Chic eventually retired, but continued to draw commissioned art pieces for his many fans. Chic Stone died in Prattville, Alabama, while living with his adult daughter and her family.

Cartoonist Daniel �Dan� S. DeCarlo (12/12/1919 � 12/19/2001) was born in New Rochelle, New York. After graduating from New Rochelle High School and attending the Manhattan Art Student League from 1938 to 1941, Dan was drafted into the U.S. Army and shipped overseas. Stationed in England, Dan drew a weekly comic strip for a military newspaper and painted mascots on the noses of US airplanes while working in the base motor pool and as a draftsman. After the fighting in the Battle Of The Bulge, Dan met his future wife, the lovely Gosette "Josie" Dumont, a French citizen living in Belgium. After World War II, Dan and Josie � now Mrs. DeCarlo -- moved back to New Rochelle, where Dan freelanced for Atlas/Marvel, drawing a ten-year-long run (No. 18, June, 1949 through No. 93, November, 1959) of MILLIE THE MODEL -- as well as MY FRIEND IRMA, SHERRY THE SHOWGIRL, SHOWGIRLS and HOMER THE HAPPY GHOST, among others -- with writer/editor Stan Lee. He also drew many "cheesecake" gag cartoons for Atlas/Marvel publisher Martin Goodman's HUMORAMA, as well as for somewhat classier publications such as THE SATURDAY EVENING POST and ARGOSY. Dan also drew THE BRAIN! for Magazine Enterprises, a humorous series about an eccentric boy inventor. In 1959, Dan DeCarlo began to freelance for Archie Comics; it was soon obvious that their comics, when featuring covers drawn by Dan, were among the publisher's best sellers. This led to Dan re-establishing a "house style" for Archie, an appealing "look" also modernized Archie's core cast of characters. Dan not only co-created �Sabrina The Teen-Age Witch� with George Gladir and red-haired "Cheryl Blossom" with Frank Doyle, he also created JOSIE � later re-titled JOSIE AND THE PUSSYCATS � with its title character based on his wife Josie. "We went on a Caribbean cruise, and I had a [cat] costume for the cruise, and that's the way it started," says Josie DeCarlo. The DeCarlos had two sons, Dan Jr. and James, who also went on to work for Archie Comics. In 1974, Dan was awarded the Shazam Award for Best Penciller (Humor Division) and in 2000, he received the National Cartoonists Society's Reuben Award in the Comic Book Division. In 2001, MCA/Universal released a JOSIE AND THE PUSSYCATS feature film, prompting the property's creator, Dan DeCarlo to finally approach his bosses at Archie Comics regarding a piece of the action. Dan had seriously considered such an action before, but was counseled by his lawyer that the owners of Archie might react with extreme prejudice against Dan � and unfortunately, the lawyer was right. After over forty years, Dan's freelance relationship with Archie was terminated by the publisher. However, Dan was immediately offered work by his fan and friend, cartoonist Bill Morrison, editor of Bongo Comics' SIMPSONS COMICS, BART SIMPSON COMICS and RADIOACTIVE MAN and author of INNOCENCE AND SEDUCTION: THE ART OF DAN DECARLO (2006). Dan also drew a story for Paul Dini's JINGLE BELLE. "It was tragic that when he was at an age when many cartoonists are revered as treasures by more beneficent publishers, Dan felt spurned and slighted by the owners of properties that prospered greatly from his contributions. Still, he was esteemed by fans and professionals the world over, and he often told me he was very grateful for the support he received from them over the past few years", said Dini. Tragically, Dan lost his lawsuit case against Archie, and he passed away in 2002. Fortunately, even in death, Dan DeCarlo�s distinctive and appealing drawing style is still among the most recognizable comic book imagery with the American public.

Cartoonist Jon D�Agostino, born in 1929, has also worked under the pen names �Johnny D.�, �Johnny Dee� and �Matt Bakerino�. Jon received his education at New York City�s High School of Industrial Arts and Art Students League. He has worked primarily for three mainstream publishers, Archie Comics, Charlton Comics and Marvel Comics. At Archie Comics, Jon has worked on ARCHIE, ARCHIE AND ME, ARCHIE AT RIVERDALE HIGH, ARCHIE'S MADHOUSE, ARCHIE'S TV LAUGH - OUT, �The Archies�, BETTY AND ME, BETTY AND VERONICA, �Captain Sprocket�, �Coach Kleats�, �Dilton�, �The Girl From R.I.V.E.R.D.A.L.E.�, JOSIE, JUGHEAD, LIFE WITH ARCHIE, LITTLE ARCHIE, �Little Jughead�, �Little Sabrina�, MADHOUSE, �The Man From R.I.V.E.R.D.A.L.E.�, �Marvelous Maureen�, �Midge�, MIGHTY MUTANIMALS, �Mr. Weatherbee�, �Pop Tate�, REGGIE, REGGIE AND ME, SABRINA THE TEENAGE WITCH, �Svensen�, TEENAGE MUTANT NINJA TURTLES, THAT WILKIN BOY, THUNDERBUNNY and VERONICA. At Charlton, Jon has worked on ANNIE OAKLEY, ARMY ATTACK, ARMY WAR HEROES, �Arro The Caveman�, ATOM THE CAT, ATOMIC BUNNY, ATOMIC MOUSE, ATTACK, BATTLEFIELD ACTION, BILLY THE KID, CHEYENNE KID, �Cornfield Chatter�, �Count Gatto�, �Dear Park�, FIGHTIN' AIR FORCE, FIGHTIN' ARMY, FIGHTIN' MARINES, FIGHTIN' NAVY, �Freddy�, GO - GO, �Gordie And Junior�, �Grandpa�, GUNMASTER, HEE HAW, HOT ROD RACERS, HUNK, �Jeannine�, �Johnny Boy�, JUST MARRIED, �Katrina�, LI'L GENIUS, �Li�l Lumberjack�, �Li�l Wise Guy�, LOVERS' LEAP, MARINE WAR HEROES, MARINES ATTACK, MASKED RAIDER, �Miss Bikini Luv�, MY LITTLE MARGIE, MYSTERIES OF UNEXPLORED WORLDS, NAVY WAR HEROES, �Nick The Beat�, OUT OF THIS WORLD, OUTER SPACE, OUTLAWS OF THE WEST, �Professor Invento�, ROCKY JONES -- SPACE RANGER, �The Rotting Stumps�, �Roy �N� Junior�, �Roy And Lulu�, �The Shadow�, �Snooper And Blabber�, SPACE ADVENTURES, SPACE WAR, STRANGE SUSPENSE STORIES, �Stuff�, SUBMARINE ATTACK, �Sweet Jessica�, SWEETHEARTS, TEENAGE HOTRODDERS, TEXAS RANGERS, TEXAS RANGERS IN ACTION, TIMMY THE TIMID GHOST, �Tooley The Tramp�, U.S. AIR FORCE COMICS, UNUSUAL TALES, WAR AND ATTACK, WAR HEROES and WYATT EARP. At Atlas/Marvel, Jon has worked on ALL - TRUE CRIME CASES, AMAZING DETECTIVE CASES, BATTLE, CHUCK NORRIS KARATE KOMMANDOS, CONAN THE BARBARIAN, DAMAGE CONTROL, DROIDS, EWOKS, FANTASTIC FOUR, FLINTSTONE KIDS, FOOFUR, G.I. JOE, HEATHCLIFF, LUKE CAGE AND IRON FIST, MARVEL TWO - IN - ONE, MILLIE THE MODEL, PLANET TERRY, ROYAL ROY, STRAWBERRY SHORTCAKE, THE MIGHTY THOR, TOP DOG, WALLY THE WIZARD and WHAT IF ? Jon has also done work for DC Comics (lettering various comics), Mirage Studios, Palette Art, Orbit Publications (various romance comics); Story Comics (DARK MYSTERIES, HORROR FROM THE TOMB, MYSTERIOUS ADVENTURES, NUTS!, POLICE AGAINST CRIME, ROMANTIC HEARTS and TRUE LOVE CONFESSIONS ), Western Publishing (lettering various comics) and Youthful Magazines (lettering various comics), as well as some advertising work.

So small they�re early invisible on this cover�s protest-signs are the names �Richard�, �Gus� and �Jon�. I speculate that these represent publisher Richard Goldwater and cartoonist Jon D�Agostino; unfortunately, who �Gus� is/was is unknown to me.

This issue�s 5-page lead story is �Zappy The Hippy� in �Tragic Magic�. It opens with a splash-panel that introduces Zappy and his girlfriend Daisey, two hippies loitering outside an antique shop. (For no apparent reason, it includes a reasonable facsimile of [pic2]Fred Flintstone![pic2]) When Daisey spots a �groovy� Tiffany lamp in the store�s window, they both go inside:

ZAPPY:
How much bread for this lamp, man?
SHOP OWNER:
It�s free if you stop hanging around my store!

Wow, that is one hostile middle-aged businessman! And speaking of middle-age, check out the lame �hippie-type dialog� scripted by this story�s uncredited but doubtlessly middle-aged writer, when the two hippies take the lamp outside:

ZAPPY THE HIPPY:
This lamp and me are alike! We�re both very bright!
DAISEY:
I�m hungry! I wish I could eat some of your corn!
ZAPPY THE HIPPY:
You want food, Daisey? I�ll make like this is Aladdin�s lamp!
DAISEY:
Oh, Zappy! You�re so way out!

Zappy rubs the lamp, surprised that he�s actually summoned [pic3]a genie[pic3] �and the genie is a hippie, too:

KEEN GEEN THE GENIE:
This is your KEEN GEEN making the SCENE!
ZAPPY THE HIPPY:
Holy sandals! It�s a GENIE!
DAISEY:
A MOD genie!
KEEN GEEN THE GENIE:
What�s your pleasure, treasure?
ZAPPY THE HIPPY:
We�re bored! We want some KICKS!

Keen Geen (?) immediately uses his genie powers to create a pair of �super duper mod sundaes� that emit their own fireworks displays(!), but Zappy is unimpressed:

ZAPPY THE HIPPY:
BIG DEAL!

Zappy rubs the Tiffany lamp again to conjure the genie who lives within it:

KEEN GEEN THE GENIE:
You called me again?
ZAPPY THE HIPPY:
Yeah man! When I said I want kicks, I want KICKS!
KEEN GEEN THE GENIE:
Then come with me to the world�s grooviest discotheque�I created it just for you two!

Entering �The Electric Pow� discotheque -- without noticing that [pic4]King Kong[pic4] is walking by in a cameo appearance -- Zappy and Daisey are immediately immersed in [pic5]a psychedelic display[pic5] of colors and music, but Zappy is still unimpressed:

DAISEY:
Oh, Zappy! This discotheque is UNBELIEVABLE! What GROOVY LIGHTS and FAB COLORS!
ZAPPY THE HIPPY:
(Yawn!) They look like glorified traffic lights to me!
DAISEY:
And dig those way-out sounds!
ZAPPY THE HIPPY:
It�s one BIG DRAG!
BAND (singing):
I left my shoes in Columbus Georgia!

Once again, the hard-to-please hippie summons his mod genie, who Zappy apparently disturbed:

KEEN GEEN THE GENIE:
(Yawn!) You woke me out of a sound sleep!
ZAPPY THE HIPPY:
That�s your hang-up, genie! So far you�ve done nothing but set me up tight!
KEEN GEEN THE GENIE:
Well, exactly what do you want?
ZAPPY THE HIPPY:
Give me a machine that will give me KICKS 24 hours a day!
KEEN GEEN THE GENIE:
As you desire, Master! One [pic6]perpetual kick machine[pic6] coming up!
ZAPPY THE HIPPY:
You gotta lay it on the line with a genie!

Of course, this gag turns out to be exactly what one would expect to see, with Zappy locked in stocks with a revolving boot-wheel kicking his butt over and over (although I�ll admit I didn�t expect the Native American holding a sign that reads �Stop Custer Now�):

DAISEY:
Zappy is getting his wish all right! 90 kicks a minute! I hope he gets a BOOT out of the machine!
END - CAPTION:
Moral: People who keep kicking about kicks usually get it in�THE END!

(Well, at least King Kong makes an appearance in this story�and he�s hairier than a dozen hippies rolled into one!)

Also included in this issue of ARCHIE�S MADHOUSE are the following stories, features and advertisements:

�Save Time, Trouble, Money!�, a black-and-white, inside-back-cover ad soliciting for people of all ages to sell �deluxe printed name-&-address labels� as representatives of �The Writewell Co.�

�Whale Of A Sale�, a one-page gag-strip drawn by Chic Stone. � Lacey�s department store is having a �giant sale� � on [pic7]actual giants[pic7] -- who somewhat resemble the �Shemp Era� Three Stooges!

�Psychedelic Poster Covers�, [pic8]an ad[pic8] for posters/book covers, each with an �award-winning psychedelic design and Op pattern�, available via mail-order from �Studio 52�.

�Rock Combos That Really Do Look Different�� � This [pic9]two - page feature[pic9] includes the non-existent band �The Bowling Bawlers�, �Astronut And The Rockets� and �The Redfull Dreadfulls�.

�Archie� in �Stick With It!�, a half-page strip-ad � drawn by Harry Lucey � for the �Bendix Stick Shift� for bicycles.

�Stamp Collectors! Look At This Exciting Offer From Zenith!�, a half-page ad for collectible stamps available through mail-order from the �Zenith Co.�

[pic10]�The Space Cleanup Man�[pic10], penciled by Chic Stone. � �Our story is about Chester Quigly, an ambitious lad who wanted to work his way up in the world! To realize his dreams Chester went to night school and studied and studied and studied! Finally, after years of struggle, Chester succeeded in working himself up to the highest position in the sanitation dept.� But since this story is set in a comedic future, Chester�s job involves cleaning up the cluttered �spaceways� by collecting �old and useless satellites�. But although Chester is an important �sky sweeper�, his beautiful blonde girlfriend, Myrtle, considers him nothing more than a �garbageman�. When Dr. Varlet, �the universe�s 31 space fink�, creates a �super magnifying glass� that focuses the sun�s rays to melt Earth�s polar ice cap to flood the world, Chester takes it upon himself to stop Dr. Varlet�s scheme. Flying his space-scow to confront the mad scientist, Chester unloads his �space garbage� on top of the magnifying glass to cut off the rays from the sun! With Earth�s civilization returning to normal, its inhabitants declares that the space sanitation man has saved the world. Even Myrtle�s opinion of Chester changes; when astronaut �Ace� Conners, she rebuffs him: �Hmph! Why should I go out with a mere astronaut!...When I can date a space sanitation man! Sigh!� (This story is sporadically interrupted with jokes and riddles delivered by strange little creatures called �Blips�; these humorous intrusions look like they were drawn by �Little Jinx� cartoonist Joe Edwards.)

�Archie Annual #20 Is Out Of Sight�, a house-ad for the GIANT - SIZE ARCHIE ANNUAL 20 � including a mail-order offer that includes a psychedelic poster of Archie Andrews -- � drawn by Harry Lucey.

�Captain Sprocket� in �Vain Brain�, penciled by Dan DeCarlo and inked by Jon D�agostino. � The city is the victim of a crime wave and no one is exempt. In this story�s splash-panel, we see the culprits � as they dash past a storefront bearing a sign that reads: �Victor�s Hippie Shop�, undoubtedly referring to Archie editor Victor Gorelick -- led by �the greatest [pic11]criminal computer[pic11] of all time�! The authorities are confounded by this �inhuman criminal mind� so they�re forced to ask for the help of the city�s resident, �that numbskull� Captain Sprocket. After conning a passing kid to take over his paper route in his absence, Captain Sprocket reports for duty to the mayor�s office. Then, without any transition at all (I get the impression that a page was editorially chopped from this story), we catch up with the caped �nudnik� interviewing a wealthy society woman whose jewels were stolen from her wall-safe. When he discovers an IBM card at the scene of the crime, Captain Sprocket pays a visit to the Ace Computer Co., where he attempts to interrogate a computer. When he fails to elicit a reply, he mis-reasons, �There�s only one way to bring an evil computer to justice! I must destroy ALL computers!�. When he starts bashing the shop�s computers on display with a sledgehammer, the owners call the police, who summarily fire him. As he returns to his job as a newspaper delivery boy, Captain Sprocket runs across another stray IBM card laying on the sidewalk outside of the Third National Bank. Charging inside, Captain Sprocket finds the computer criminals in the process of breaking into the financial institute�s huge vault. The �electronic rouge� quivers with fear begs to call its lawyer as [pic12]Captain Sprocket grabs it and drags it[pic12] into the police station, allowing the rest of its gang to make their getaway since he�s arrested their computerized mastermind. But when the lawmen refuse to believe that �a machine can be a gang leader� � and the computer refuses to �spill the beans�, the policemen on duty decide to measure Captain Sprocket for a straightjacket! Referring to a book on criminal psychology, the superhero tells the chief of police that, �There�s no point in making this computer talk! It�s just a CHEAP TWO-BIT HOOD!� That enough to make the over-achieving computer crook to print out a long list of its crimes for the police, a computerized confession to every one of its crimes. Sentence to �99 years in prison�, the needy crooked computer finally is satisfied to get such attention. Captain Sprocket wraps things up with this message to the readers: �Let this be a lesson to all you computers out in the audience�Don�t stray from the straight and narrow of your circuits or you�ll wind up in the clink!� (Please note that the Blips are present throughout this story as well.)

�E-L-E-C-T-R-I-C Split Level, Fully-Furnished Doll House With Complete Doll Family� an ad for a doll house with electric lights and a �real growing front lawn�(!?!), available via mail-order from the �Honor House Prod. Corp.�

�Space Chase�, penciled by Chic Stone. � �Double Your Displeasure Dept. � You�ve all seen those TV shows where an innocent man is falsely accused of a crime and he keeps running away so as not to get caught. Well, MAD HOUSE combines this type of program with another TV favorite � the space show, and ruins both with��Space Chase��. Falsely accused of dropping a gum wrapper in the street, an average citizen flees fro Earth and heads into space, where he lands on what he thinks is the �friendly� planet of Blotto. Instead, he�s mistakenly landed on the planet of Gruntnik and is captured by its hostile inhabitants, the Pigmen (who resemble funny-animal pigs). The Earthman is taken to their �Exalted Highness�, who he presents with a piggy bank as a gift. The king is not impressed � he already has a �dandy human bank� � so he sends the Earthman to the arena. If he triumphs over three different opponents, he�ll be rewarded; If he loses, he�ll �be sentenced to life imprisonment and forced to live on water and pizza pie crusts�. His first foe is Rabbitman, who clobbers the Earthman with a �rabbit punch�. But when the Earthman distracts Rabbitman with a �juicy carrot�, he drives the alien bunny-boy into the ground with a huge mallet. His next opponent is Goatman, who butts his rear end -- hard! But when they go head-to-head, Goatman�s horns are ruined � the Earthman admits, �In school I was known as a big bonehead!� The Earthman�s third and final opponent is Lionman, who threatens to give him �the lion�s share of lumps and bruises�. But when the Earthman makes a sharp comment about the dandruff in Lionman�s mane, his leonine foe breaks down in tears! Having won all three matches, the king of the Pigmen presents the Earthman with his reward, the �prettiest� pig-woman in his kingdom. That�s when the Earthman makes a snap decision �to go back to Earth and pay the $5.00 fine!� (Yep, there are even more [pic13]Blips[pic13] throughout this story, too.)

A page consisting of two advertisements: �Missile Firing Tank�, an ad for a toy that�s �over 6 feet long� and �large enough for two kids inside� for $6.98�; and �10 Way Hairpiece!�, an ad for �10 glamour styles� of wigs and hairpiece, available via mail-order from the �Beauty Aids Co.�

[pic14]�Buried Alive!�[pic14], a two-page (including the black-and-white inside-back-cover) strip-ad (probably designed and illustrated by the Johnstone & Cushing art service/ad agency) for mail-order vocational courses available from �ICS�, AKA �International Correspondence Schools�.

��We�re Looking For People Who Like To Draw� Says Norman Rockwell�, [pic15]a back-cover ad[pic15] for correspondence courses from the �Famous Artists School�.

ODDBALL FACTOID � Decades later, Archie Comics acquired the license to publish funnybooks based on various Hanna-Barbera properties, including THE FLINTSTONES, from September, 1995 to June, 1997!

New Next Week: ODDBALL COMIC #1,294 � MONDAY, FEBRUARY 22, 2010 � �Don�t Jump!� Don�t worry, folks, that�s just the title of a story from this week�s �Groovy! Boss! Outa Site!� ODDBALL COMIC! Straight from Clarksville, here come Michael Nesmith, Mickey Dolenz, Peter Tork and Davy Jones in the very first issue of their Dell funnybook series! Hey, hey, it�s THE MONKEES! (Plus, learn why this is the second comic book series to feature Mickey Dolenz!)

Tales to Astonish, Vol. 1, No. 18

Mon, 15 Feb 2010 14:56:36 -0700

ODDBALL COMICS has already met Marvel�s mighty monkey-monster a few years back in an early issue of TALES TO ASTONISH! Now -- a few issues later and courtesy of Larry Lieber, Jack Kirby and Dick Ayers -- here comes �Gorgilla Strikes Again!� Yep, the big ape finally gets his very own sequel and winds up climbing the Statue Of Liberty! Plus, Steve Ditko�s �Monsteroso!� and �Robot On The Rampage!� (But what the heck is the Lone Ranger doing in this fearful funnybook?)

[fieldinserts][issuetitle]Title: [subissuetitle]Tales to Astonish[subissuetitle]
[issuetitle][issue]Issue: [subissue]Vol. 1, No. 18[subissue]
[issue][publicationdate]Date: [subpublicationdate]April, 1961[subpublicationdate]
[publicationdate][publisher]Publisher: [subpublisher]Vista Publications Inc. (Marvel Comics Group)[subpublisher]
[publisher][coverartists]Cover Artist(s): [subcoverartists]Penciled by Jack Kirby; inked by Dick Ayers[subcoverartists]

[coverartists][introtext]

[introtext]

[fieldinserts]Before what became known as the �Marvel Age Of Comics� changed the landscape of superhero funnybooks forever (starting with FANTASTIC FOUR No. 1, cover-dated November, 1961) the company formerly known as Timely and Atlas published comics featuring many genres, including horror, westerns, romance, military and humor. During the late 1950s and early 1960s, one of the Stan Lee-edited publisher�s specialties was �monster comics�, usually scripted by Stan or his brother, Larry Lieber, and illustrated by Jack Kirby and Steve Ditko, the two cartoonists who would, within a few years, co-create the burgeoning Marvel Universe.� In fact, many of Marvel�s heroes have their roots in their �pre-hero� comics. The Fantastic Four�s first foe was the Mole Man and his subterranean monsters, with the shape-shifting �Skrulls� (who Reed Richards defeated with the help of a handful of pre-hero Marvel monster mags), Miracle Man�s living monster movie prop and Sub-Mariner�s monstrous walking whale-monster soon to follow. (For that matter, the Thing looked, for all intents and purposes, like one of Kirby�s brutish, scale-covered creatures that shambled across the pages of STRANGE TALES, TALES TO ASTONISH, JOURNEY INTO MYSTERY and TALES OF SUSPENSE. Likewise, the incredible Hulk was another monsteriffic character who combined Frankenstein�s creation with �Mr. Hyde� (who would also become a Marvel supervillain), with an origin story that was practically a panel-by-panel adaptation of THE AMAZING COLOSSAL MAN (1957). Thor�s first adversaries were the craggy �Stone Men� from Saturn, who resembled creatures out of a Ray Harryhausen movie. Spider-Man was, in part, a combination of THE FLY (1958) and I WAS A TEENAGE WEREWOLF (1957). Ant�Man was composed of equal parts of THE INCREDIBLE SHRINKING MAN (1957) and THEM! (1954). The X-Men were a combination of the kids from THE VILLAGE OF THE DAMNED (1960) led by a man named �Xavier,� right out of X � THE MAN WITH THE X-RAY EYES (1963), and so on. And just like many monster movies of the time, �Gorgilla Strikes Again!� is a sequel to an earlier story, a rare example of pre-hero Marvel monster continuity!

Stan Lee, AKA Stanley Martin Lieber, was born on December 28, 1922 in his parents� New York City apartment at the corner of West 98th Street and West End Avenue in Manhattan. His parents, Jack and Celia, were both poor Romanian-Jewish immigrants. Stanley�s father was a dress cutter, but in the years following �The Great Depression�, he was unable to secure full-time work. This forced the Lieber family to move further uptown to the more affordable neighborhood of Manhattan Heights. It was there, when Stanley was nine years old, that his younger brother (and future collaborator) Larry was born. When Stanley�s family moved to the Bronx, he attended DeWitt Clinton High School. Thanks to his mother�s encouragement, Stanley was a voracious reader. This led to his enjoyment of writing, working part-time writing obituaries for a news service and press releases for the National Tuberculosis Center while still a high school student. And when young Stanley wasn�t reading or writing, he could usually be found in one of the many movie theatres near his home. Other early jobs included delivering sandwiches for the Jack May pharmacy to offices in Rochester Center, working as an office boy for a trouser manufacturer, ushering at the Rivoli Theater on Broadway and selling newspaper subscriptions to THE NEW YORK HERALD-TRIBUNE. (This was the same newspaper that, when Stanley was 15, sponsored �The Biggest News Of the Week Contest�. When Stanley entered the contest, he received a letter from one of the newspaper�s editors, encouraging him to become a professional writer.) In 1939, Stanley Lieber graduated early from high school at the age of 16 and 1/2. Following that, he joined the WPA Theatre Project. Then, with the aid of his uncle, Robbie Solomon � who happened to be the brother-in-law of pulp magazine and comic book publisher Martin Goodman � arranged for Stanley to be hired by Joe Simon (co-creator of �Captain America� with Jack Kirby) as his assistant � and �general gofer� -- at the newly-formed Timely Comics� new offices in the Empire State Building. (Stanley�s cousin Jean was also Goodman�s wife.) In CAPTAIN AMERICA COMICS No. 3 (May, 1941), a text-piece titled �Captain America Foils The Traitor�s Revenge� appeared, signed �Stan Lee�. It was Stanley Lieber�s first-ever-published professional writing. (Years later, Stan claimed that he was �saving� his real name for more �legitimate� writing gigs, such as penning �The Great American Novel�.) By the comic�s third issue, Stanley had graduated to writing the book�s back-up feature, �Headline Hunter, Foreign Correspondent�. Later that year, in the wake of a dispute with publisher Goodman, Joe Simon and Jack Kirby left Timely to work for DC Comics. Their unexpected exit created an opening for a temporary editor at Timely, and 19-year-old Stanley�s uncle-in-law assigned him the position, but Stanley proved so adept with editing that he was made Goodman�s comic book division�s Editor-In-Chief and primary art director. This was interrupted by World War II; in 1942, Stanley enlisted in the U.S. Army in early 1942, serving stateside in the Signal Corps. He wrote manuals, training films and poster copy and occasionally even drew cartoons. (Stan now claims that his official military classification was �playwright� and that only eight other Army men in history were ever given that title!) While Stanley was serving his country, 4-F cartoonist Vincent Fago ran Timely, but relinquished the position when Stan returned from the Army in 1945. Post-war Timely published comics in every genre, and Stan not only edited them, he continued to write them as well. Martin Goodman�s rule-of-thumb was to imitate whatever concept was selling for Timely�s competitors, then saturate the market with so many variations on the genre that it would quickly exhaust itself. Therefore, Stan found himself writing romance, teenage, westerns, humor, science fiction, funny animals, medieval adventure, horror, kiddie and suspense stories, often, all in the same month. On the other hand, sales of superhero comics slumped after the war, causing all the major publishers, including Timely, to cut back on funnybooks starring the �long underwear crowd�. (Stanley was so prolific that he began to use a variety of pen names. These included, �S. T. Anley�, �Stan Martin�, �Neel Nats� and of course, the one to which he eventually legally changed his name, �Stan Lee�.) This kept Stan busy, even through the comic-book �witch hunts� of the early 1950s led by Dr. Frederic Wertham and Senator Estes Kefauver, but Stan was getting bored with the material he was churning out But by this time, Stan and his family were living in Hewlett Harbor on New York�s Long Island, and he had mouths to feed and a mortgage to pay. Even worse, his publisher (now known as �Marvel� � was merely limping along. Fortunately, Marvel had two freelancers working for it who would prove pivotal to Stan�s future: Jack Kirby and Steve Ditko. Although both of them were doing a great job plotting and drawing monster and suspense comics � scripted by Stan and his brother Larry � Marvel was rapidly becoming a marginal entity in the comic book field. But when Stan received orders from Martin Goodman to come up with a team of superheroes (supposedly to take advantage of the success of editor Julius Schwartz�s JUSTICE LEAGUE OF AMERICA for DC), Stan worked with Jack Kirby to create a team of superheroes the likes of which had never been seen before. Marvel�s other, more traditional comic books weren�t selling particularly well, the duo of Lee and Kirby tried to make THE FANTASTIC FOUR (1961) a superhero team that shattered the genres� previous stereotypes � or at least turned �em on their collective ear -- and it worked and for many, even lived up to its hype as �The World�s Greatest Comic Magazine!� Stan says that his lovely British wife Joan encouraged him to experiment with this new project by applying his own approach to the subject matter; Stan�s ear for writing clever, realistic dialog was particularly groundbreaking. It didn�t hurt, either, that Stan was working with two of the most imaginative cartoonists in comics, men who could write as well as they drew. This led to working so-called �Marvel Method�, a process with Stan writing his dialog after seeing the sequential images cooked up by Kirby and Ditko, and to a lesser degree of success, to other cartoonists hired by Marvel. It worked so well, in fact, that the upstart company (with decidedly inferior production values such as brittle cover-stock and easily-smeared ink) finally began to get noticed. Once again with Kirby, Stan turned Robert Louis Stevenson�s �Dr. Jekyll and Mr. Hyde� into the misunderstood super-monster, THE INCREDIBLE HULK (1962). Then, teaming with Steve Ditko, Stan co-created a unique approach to the teenage superhero in THE AMAZING SPIDER-MAN (also 1962), arguably Marvel�s most famous and successful character. These were followed by �The Mighty Thor�, �Iron Man�, �Dr. Strange�, �Daredevil� and �The Uncanny X-Men�, as well as revived, modern incarnations of Timely�s �Captain America� and �The Human Torch�. Stan not only edited and scripted all of these, but also became a hip and humorous front-man for what would become known as �The Marvel Age Of Comics�. In the long run, this astounding ability -- to attract and secure a readership so loyal that they�d feel genuinely indebted to Marvel for publishing such comics � may be Stan Lee�s greatest talent of all -- he practically invented the concepts of �marketing� and �branding� single-handedly! Of course, Stan �The Man� Lee was the biggest Marvel fan of all, so his ballyhoo rang absolutely true. Within a few years, Marvel had grown from a small company to the comic book industry�s giant, with the other publishers attempting to create and sell their own comics, directly emulating Marvel�s style, bluster and �goofy grandeur�. Stan was convinced that the target audience for Marvel Comics was the college crowd, and made many personal appearances as a speaker at many of the nation�s colleges and universities, although research seemed to indicate that Marvel wasn�t as ever-present in the institutes of higher learning than Stan had assumed. He even, very briefly, cover-labeled each of Marvel�s books as �A Marvel Pop-Art Production�, as if they weren�t mere comic books but fine art. With Marvel�s rising star, and a change in distribution, the company added more titles to its roster, and with them, more creators. Eventually Stan wasn�t writing nearly as many books as he once had, but he still set the standards for which all Marvel product was expected to meet. Then there came the day that publisher Martin Goodman decided to sell Marvel to Cadence Industries. Whatever it was that Stan was doing, the new buyer was convinced that he was doing it right, and made him an essential element of the deal. When the transaction was finalized, Stan emerged with something he hadn�t had since starting with Marvel three decades earlier: a contract. After a false start (the samples were discovered, untouched, in the files of Goodman�s son, who briefly worked for Marvel, Stan and John Romita, Sr. launched a daily AMAZING SPIDER-MAN syndicated newspaper comic strip; in 1977; eventually, Larry Lieber, Stan�s talented kid brother, took over drawing the feature, which continues to this day. In 1981, With Marvel Comics running relatively smoothly and extremely profitably, Stan and his family moved to Los Angeles, California, where he helped to oversee Marvel Productions, an animation studio (a new incarnation of Depatie-Freleng Productions.) Stan also headed up Marvel Films, a new enterprise dedicated to developing and placing Marvel properties in high-profile television and film projects. Stan�s name and reputation guaranteed that he had no problem scheduling meetings with any of Hollywood�s big-shots, but it took years for any of Stan�s energetic pitches to reach fruition. THE INCREDIBLE HULK TV series (1978 - 1982) was a hit, but other early Marvel/Hollywood projects such as THE AMAZING SPIDER-MAN TV series (1978) and PUNISHER (1989) and CAPTAIN AMERICA (1990) films were quite poorly-received. Marvel�s licensed properties really began to deliver the goods with the theatrical release of X-MEN (2000), in which Stan had a cameo part, as well as being an Executive Producer of the film. He also appeared in the Marvel adaptations SPIDER-MAN (2002), THE HULK (2003), DAREDEVIL (2003), SPIDER-MAN 2 (2004), FANTASTIC FOUR (2005) and X-MEN: THE LAST STAND (2006). Stan also appeared in the TV movies THE TRIAL OF THE INCREDIBLE HULK (1989), GENERATION X (1996) and NICK FURY, AGENT OF S.H.I.E.L.D. (1998). Stan has also provided voiceovers for various animated cartoons adapting Marvel characters; he�s even provided narration for various �Spider-Man� video games. In non-Marvel-related films, Stan has appeared in Larry Cohen�s THE AMBULANCE (1990) and Kevin Smith�s MALLRATS (2002), as well as in Mark Hamill�s direct-to-DVD COMIC BOOK: THE MOVIE (2004). In the April 28, 2002 episode of Matt Groening�s THE SIMPSONS, �I Am Furious Yellow�, an animated Stan Lee made a nuisance of himself to the Comic Book Guy at �The Android�s Dungeon� comic book shop. Stan has also appeared on the TV game shows TO TELL THE TRUTH and IDENTITY, as well as producing and hosting an Oddball �reality� TV show, WHO WANTS TO BE A SUPERHERO?, which premiered on the Sci Fi Channel on July 27, 2006; the series was renewed for a second season. And very recently, Stan has made a cameo appearance on the NBC series HEROES. Stan has received several awards for his work, including being formally inducted into the Jack Kirby Hall Of Fame in 1995. In the late 1990s, Stan became associated with a former lawyer named Peter Paul. Together, in 1998, they formed Stan Lee Media, a studio focusing on the creation of entertainment for the Internet. The company�s projects included THE 7TH PORTAL, THE DRIFTER, THE ACCUSER and a concert-sold comic book starring the popular �boy band�, The Backstreet Boys. Unfortunately, in 2000, it was eventually discovered that Paul and corporate officer Stephan Gordon were involved in illegal stock manipulation. Although Stan Lee Media filed for bankruptcy in February, 2001, Stan Lee himself has never been implicated in their scheme. In the early 2000s, for the first time in his career, Stan finally worked for Marvel�s primary competitor, DC Comics, writing a series of �re-imagined� new superhero concepts based on their Superman, Batman, Wonder Woman, Green Lantern and the Flash. With co-writer George Mair, Stan wrote his autobiography, EXCELSIOR! THE AMAZING LIFE OF STAN LEE, published in 2002 by Simon & Schuster�s Fireside Press. In 2003, Stan created the animated superhero series STRIPPERELLA for Spike TV, featuring the voice of Pamela Anderson. In 2004, he announced plans to collaborate with pajama-wearing publisher Hugh Hefner on a similar superhero cartoon featuring animated PLAYBOY Playmates, as well as a superhero project that would star former Beatles� drummer Ringo Starr. In 2005, Stan Lee, Gill Champion and Arthur Lieberman formed POW! (�Purveyors of Wonder!�) Entertainment to develop film, television and video game properties. The first film produced by POW! was the live-action TV-movie Stan Lee�s LIGHTSPEED (2006) which aired on the Sci Fi Channel. POW! Entertainment Inc. reportedly has some forty different projects in various stages of development. Two of the company�s �Stan Lee Presents� animated direct-to-DVD productions have been MOSAIC (2006) and THE CONDOR (2007). In 2005, Stan filed a lawsuit against Marvel for his unpaid share of profits from Marvel movies, reportedly winning a settlement of more than $10 million. Apparently, Marvel held no grudge against him, though, because in 2006, to celebrate his 65th year with Marvel, the company published a series of five one-shot comics co-starring Stan Lee with Spider-Man, Dr. Strange, the Thing, the Silver Surfer (a character created solely by Jack Kirby) and Dr. Doom. Stan Lee�s impressive career with Marvel Comics has existed for over six decades. During that time, he has held the titles of Marvel�s �Head Writer�, �Art Director�, �Editor-In-Chief�, �Publisher�, �President� and �Chairman�, and is currently �Chairman Emeritus� of Marvel and an �Executive Producer� of their theatrical films. At the age of 86, Stan �The Man� Lee has never been busier!

Editor/writer/cartoonist Larry Lieber was born on October 26, 1931 in New York City. The younger brother of Stan Lee, Larry attended art school at the Pratt Institute in Brooklyn and at Manhattan's Art Students League. After that, he did military service with the U.S. Air Force for four years. Larry began has career at Atlas/Marvel in 1951, drawing stories for ALL-TRUE CRIME CASES. Then, from 1958 through 1959 � while teaching art classes on the side, he drew stories for such Atlas/Marvel titles as: JOURNEY INTO MYSTERY; JOURNEY INTO UNKNOWN WORLDS; LOVE ROMANCES; LOVE TALES; THE ROMANCES OF NIGHT NURSE HELEN GRANT; TRUE TALES OF LOVE; STRANGE WORLDS; and LOVE ROMANCE. Starting in 1962, Larry began writing, penciling and inking back-up stories for STRANGE TALES; it wasn�t long before he started to write the comic�s main feature, �The Human Torch�, over plots loosely woven by Stan Lee and Jack Kirby. Around the same time, over at JOURNEY INTO MYSTERY, he was performing the same duties on �The Mighty Thor� and various back-up stories. The pattern continued in TALES TO ASTONISH, where he wrote and penciled �Ant-Man� while creating entire back-up stories for the funnybook. In 1963, after writing, drawing and inking back-up stories starring the Wasp and the Watcher, Larry Lieber wrote the first �Iron Man� origin story in TALES OF SUSPENSE No. 39 (March. 1963). In 1964, Larry worked on KID COLT OUTLAW and RAWHIDE KID, and the next year, TWO-GUN KID, rapidly establishing himself as Marvel�s longtime go-to guy when it came to westerns. He continued to work on superheroes, writing a back-up story for THE AVENGERS in 1965, writing �Dr. Doom� in ASTONISHING TALES (he�d previously drawn the bad doctor in an issue of MARVEL SUPER-HEROES) and drawing lead stories for a pair of AMAZING SPIDER-MAN ANNUALS. In 1974, Larry Lieber briefly left Marvel to take on the editorship of Seaboard Periodicals� line of "Atlas Comics" published by Marvel�s ex-publisher Martin Goodman. He originally edited Atlas� black-and-white magazines, but soon took over the color comics as well. As Larry said in a 1999 interview: �When I went there, Martin put out two kinds of books. He was putting out color comics, and he was also going to put out black-and-white comics like Warren and Marvel. Now, I knew nothing about black-and-white comics, right? My only experience was in the color comics. Jeff Rovin came from Warren, and he knew nothing about color comics. Martin unfortunately put Jeff in charge of all the color comics and put me in charge of the black-and-white books. It was an unfortunate thing, and basically what happened was that Jeff's books didn't turn out so well. . . . Martin had to pay high freelance rates, because otherwise nobody would work for a new and unproven company. . . . It didn't work out too well, and Jeff finally left angrily or something, and I had to take over all his books. At this point, business was bad, and I tried to do what I could. One of the things I had to do was to cut rates and tell people they were going to make less money, which was not an enviable position.� In additional to his editorial duties at Atlas, Larry drew covers, wrote KID CODY GUNFIGHTER and drew PLANET OF THE VAMPIRES (both 1975). But it wasn�t long before Larry returned to Marvel, where he drew �It, The Living Colossus� in ASTONISHING TALES, wrote SGT. FURY AND HIS HOWLING COMMANDOES, wrote MARVEL GIANT-SIZE CHILLERS and wrote and drew KID COLT and SPIDEY SUPER STORIES. In 1976 and 1977, he edited Marvel�s line of British reprint comics and in 1986 and 1987, he drew character entries for MARVEL UNIVERSE. Larry Lieber has also worked on the Register And Tribune Syndicate�s THE INCREDIBLE HULK syndicated newspaper comic strip from 1978 to 1982 and King Features� daily THE AMAZING SPIDER-MAN syndicated newspaper comic strip from 1980 onward to this day, both written by his big brother, Stan Lee. (Cartoonist Alex Saviuk continues to draws the Sunday installments of the strip.) From 1983 to 1984, Larry Lieber wrote and drew �The Super-Stiks� for STICKERS MAGAZINE. Larry is a member of the National Cartoonists Society.

Here�s a brief biography of Jacob Kurtzberg, AKA Jack Kirby (August 28, 1917 � February 6, 1994) from the Jack Kirby Museum And Research Center originally written by Mark Evanier and Steve Sherman for Communicator Unlimited�s KIRBY UNLEASHED (1972).

Cartoonist Richard Bache "Dick" Ayers, Sr. was born on April 28, 1924, in Ossining, New York. Dick served in the Army Air Corps during World War II, where, in 1942, the Army newspaper THE RADIO POST published his first comic strip, �Radio Ray�. After attending NYC�s Art Career School, the Cartoonists And Illustrators School -- which included drawing classes taught by Burne (TARZAN) Hogarth -- and the School Of Visual Arts, �Superman� co-creator Joe Shuster recommended that Dick interview with Magazine Enterprises� Vin Sullivan, who was impressed enough with a few FUNNYMAN stories �ghosted� by the newcomer that, in 1948, he assigned him to draw JIMMY DURANTE COMICS. Dick continued to freelance for ME until 1956, where he also drew stories for the original GHOST RIDER western and THE AVENGER, while doing a considerable amount of work for Charlton, Atlas/Marvel and many other publishers, working in a variety of genres. Eventually, Dick began working full-time for Marvel, inking much of Jack Kirby�s early work on FANTASTIC FOUR, �The Mighty Thor� in JOURNEY INTO MYSTERY, THE AVENGERS, THE HULK and SGT. FURY AND HIS HOWLING COMMANDOS, as well as many of Kirby�s �pre-hero� monster stories. Dick also penciled a great amount of work for Marvel, including �The Human Torch� in STRANGE TALES, �Ant Man� in TALES TO ASTONISH, SGT. FURY AND HIS HOWLING COMMANDOS and GHOST RIDER, among many others. During this period, Dick also contributed work to Joe Simon�s line of �Harvey Thrillers�. Dick�s work on Marvel�s various war and western comics led to similar assignments at DC, where he worked on �Sgt. Rock� in OUR ARMY AT WAR, �The Unknown Soldier� in STAR SPANGLED WAR STORIES and JONAH HEX, among many others. He also took over KAMANDI from the series� creator, Jack Kirby. In the late 1970s and early 80s he also worked freelance for Archie Comics, American Comics, Revolutionary Comics and many others. Dick has taught at the Joe Kubert School of Cartoon And Graphic Art and gave classes at the Guggenheim Museum. Dick returned to comics in 1996 to draw Old Town Publishing�s DR. WONDER. In 1985, his work won him the 1985 National Cartoonists Society Award Division Award for �Best Comic Book�. In 1997, Dick received the Inkpot Award from the San Diego Comic-Con International. Dick Ayers is still working full-time as an cartoonist, and recently the second volume of his autobiography in trade paperback form.

The co-creator of Marvel�s amazing Spider-Man, cartoonist Steve Ditko, was born Stephen Ditko on November 2, 1927 in Johnstown, Pennsylvania, the son of Slavic immigrants. As a kid, Ditko showed promise as a cartoonist; his primary influences included Will (THE SPIRIT) Eisner and the early �Batman� comic book artists. Ditko did military service in post-war Germany after graduating from Johnstown High School in 1945. Following this, he attended New York City�s Cartoonists And Illustrators School (later re-named the School Of Visual Arts); with �Batman� cartoonist (and creator of the Joker) Jerry Robinson as one of his instructors. In 1953, Ditko broke into the comic book business, working for Joe Simon and Jack Kirby�s BLACK MAGIC (Crestwood/Prize) and Kirby�s CAPTAIN 3-D (Harvey) and Charlton�s THE THING. The next year, he appeared in Farrell�s FANTASTIC FEARS and did a lot more work for Charlton, including drawing his first covers. In 1956, Steve began freelancing for Atlas/Marvel, primarily working in the genres of horror, mystery and science fiction, while continuing to freelance for Charlton. At Marvel, working with editor/writer Stan Lee, Steve Ditko�s work appeared in such comics as STRANGE ADVENTURES, JOURNEY INTO MYSTERY, STRANGE WORLDS, TALES OF SUSPENSE and TALES TO ASTONISH. His ability to craft unsettling stories with a unique �look� eventually led to AMAZING ADULT FANTASY (formerly AMAZING ADVENTURES), a TWILIGHT ZONE-esque anthology series (�The Comic Magazine That Respects Your Intelligence!�) tailored to feature nothing but his short, Stan-Lee-written tales. With its fifteenth and final issue (August, 1962), the comic changed its name once again, this time to AMAZING FANTASY. It cover-featured a new superhero, �Spider-Man�, drawn by Jack Kirby and inked by Steve Ditko. (Steve had previously drawn the cover, but Stan rejected it for being drawn from a different, less dynamic angle.) Inside, in a historical collaboration between Stan Lee and Ditko, it introduced Peter Parker, a geeky high school student who is bitten by a radioactive spider, thereby gaining creepy superpowers � and eventually becoming one of the best-known superhero characters of all time. THE AMAZING SPIDER-MAN soon received his own title, but a second Ditko character, �Dr. Strange� � who Stan Lee once admitted in a fanzine interview that was entirely Ditko�s concept � first appeared as a back-up series in STRANGE TALES No. 110 (July, 1963). Unfortunately, Dr. Strange was too brilliantly weird to catch on in a big way with the fans, although the character and Ditko�s mind-blowing depictions of sorcery and other dimensions was eventually embraced by the counterculture. (What�s ironic is that Ditko has always been conservative in his viewpoint, the polar opposite of a hippie!) During this stint at Marvel, Steve also worked on such characters as �The Incredible Hulk� in THE INCREDIBLE HULK No. 6 (an Oddball story in which the green monster finds himself stuck with Dr. Bruce Banner�s head!) and TALES TO ASTONISH and �Iron Man� (being the first to design a red-and-yellow motif for Tony Stark�s armor) in TALES OF SUSPENSE. Although Ditko was eventually given the assignment of plotting his Spider-Man and Dr. Strange stories, and despite the fact that he was the ideal talent for both series and that he had already co-created the majority of Spider-Man�s arch-villains to this day, he abruptly quit working for Stan Lee and Marvel in 1966 (his last stories for them were both cover-dated July); Steve Ditko has never revealed the specific reason for his decision, but it certainly was the end of an era at Marvel, where his artistic presence nicely complimented those of Stan Lee and Jack Kirby. Instead, Ditko concentrated on working for Charlton, for whom he�d never really stopped freelancing for and for whom he had already co-created (with Joe Gill) a Cold War superhero, �Captain Atom�, in SPACE ADVENTURES No. 33 (March,1960). Although the Derby, Connecticut publisher paid a much lower page rate, it was run without nearly as much editorial control, and this greatly appealed to Steve, who would eventually have a major part in the creation of such memorable Charlton characters as the �new Blue Beetle� and �The Question.� (both 1967) as well as dozens of science-fiction, horror, mystery, monster and even war comics. During this period, Ditko also did work for Dell (NUKLA, GET SMART, etc., often inked by Sal Trapani) and ACG, By the late 1960s, Steve Ditko�s interest in the writing and philosophy of Ayn Rand -- termed �Objectivism� -- began to manifest itself in his mainstream funnybook stories. This led to Ditko�s creation of what is perhaps his most personal (and Oddball) character, �Mr. A�, first appearing in the third issue of Wallace Wood�s legendary prozine, WITZEND (1967). The embodiment of Objectivism, Mr. A (logically, the next step beyond the Question) practices his belief that there is no grey area of morality, only black (evil) and white (good), with his calling cards designed accordingly. Meanwhile, he had been drawing some of the best work of his career for writer/editor Archie Goodwin in the pages of Jim Warren�s CREEPY and EERIE black-and-white horror magazines. The prolific Ditko was also doing excellent work for Tower�s T.H.U.N.D.E.R. AGENTS and, due to former Charlton editor Dick Giordano�s relocation, DC Comics. There, with writer Don (KONA, MONARCH OF MONSTER ISLE) Segall, he co-created �The Creeper� in SHOWCASE No. 73 (March-April, 1968) and with Steve Skeates, �The Hawk And The Dove� in SHOWCASE No. 75 (June, 1968). Both were memorable concepts that went on to short-lived series and continue to be re-visited in DC�s current continuity. For the next few years, Ditko concentrated on a combination of Charlton assignments (THE MANY GHOSTS OF DOCTOR GRAVES, GHOSTLY HAUNTS, GHOSTLY TALES, STRANGE SUSPENSE STORIES, etc.) and self-expressing material for the alternative marked. Finally returned to DC in 1975, where Ditko created co-created STALKER (1975, with Paul Levitz and Wallace Wood) and SHADE THE CHANGING MAN (1977). He also worked on new stories featuring the Creeper, Jack Kirby�s Demon and the Legion Of Super-Heroes, as well as a new incarnation of Starman and a few illustrations for DC�s WHO�S WHO. After passing on the opportunity to draw Captain Atom (DC had recently acquired the rights to most of Charlton�s �action heroes�), Ditko returned to Marvel in 1979, but refused to draw anything featuring Spider-Man or Dr. Strange. Instead, he worked on just about every other classic Marvel character or series (including taking over Jack Kirby�s MACHINE MAN) plus creating SPEEDBALL (1988) and drawing a long run of ROM, SPACEKNIGHT, with a diverse and interesting parade of talented inkers. Ditko also worked on all four issues of Marvel/Star Comics� CHUCK NORRIS AND THE KARATE KOMMANDOS, a four-issue miniseries based upon a Ruby-Spears cartoon show. After brief creative stopovers at Dark Horse, Defiant and Hamilton Comics (on MIGHTY MORPHIN POWER RANGERS, of all things!), Steve Ditko concentrated his efforts on new projects for the independent market. An extremely private man, Ditko was inducted into the Jack Kirby Hall Of Fame in 1990, and still lives in New York City.

The first issue of Marvel�s TALES TO ASTONISH was cover-dated January, 1959. Following its �pre-hero monster� phase was �Ant Man, a superhero spin-off from �The Man In The Ant Hill!� in TALES TO ASTONISH No. 27 (January, 1962) who debuted in TALES TO ASTONISH No. 35 (September, 1962). Eventually, Ant-Man was joined by �The incredible Hulk� (in issue No. 60, October, 1964); then the diminutive superhero was replaced by �Prince Namor, the Sub-Mariner� (in issue No. 70, August, 1965). The final issue of TALES TO ASTONISH was issue No. 101, cover-dated March, 1968. It spawned a one-shot two series that contained continuations of its dual storylines: IRON MAN AND SUB-MARINER No. 1 (and only), THE INCREDIBLE HULK No. 102 and SUB-MARINER No. 1.

Gorgilla first appeared in TALES TO ASTONISH No. 12, cover-dated October, 1960, in a 7-page cover-story titled �I Discovered Gorgilla! The Monster Of Midnight Mountain!� (the title that�s cover-blurbed is �Here Comes�Gorgilla!�). It was written by Larry Lieber, penciled by Jack Kirby, inked by Steve Ditko and edited by Stan Lee. According to the Grand Comic Book Database, its storyline goes as follows: �A scientist mounts an expedition to Borneo in order to locate the remains of the missing link. He is surprised upon his arrival that the locals refer to the creature as living upon "midnight mountain". The natives have built an enclosure around the area ala Kong, so after his group scales the wall, they come face to face with Gorgilla. Initially, relations between human and missing link are antagonistic, but when a T-Rex shows up, Gorgilla decides he feels more of a kinship with the explorers and attacks the reptile. He is victorious, but tired and weak after the fight, and the scientists realize he could be easily captured. Since he saved their lives from the T-Rex, they grant him the peace of remaining in his native habitat.� Or you could check out my ODDBALL COMICS column No. 802 for my personal take on the story.

This issue�s two-part, 13-page cover-story is �Gorgilla Strikes Again!�, written by Larry Lieber , penciled by Jack Kirby and inked by Dick Ayers. It begins with this turgid introduction:

INTRODUCTORY NARRATIVE CAPTION:
In the October issue of Tales To Astonish, we gave you the story of Gorgilla! Since then, you�ve asked for � begged for � demanded further adventures of the amazing creature! And so here it is � the fantastic SEQUEL to The Monster Of Midnight Mountain�GORGILLA!!

After a splash-page that essentially duplicates the cover, we�re treated to [pic2]a one-page recap[pic2] of Gorgilla�s previous story, narrated by an archaeologist only identified as �Scotty�, the same guy who discovered Gorgilla a few months earlier. But that page�s final panel � as well as the next page --takes the first step into this sequel:

NARRATIVE CAPTION (Scotty):
How could we have known that our brief encounter had awakened within Gorgilla a craving for human-type companionship�a craving so strong that as soon as he was able, Gorgilla climbed the wall which had imprisoned him for decades! In search of his evolutionary descendants, the gigantic link stole down the mountain and thundered toward the coast�Primitive awareness � primordial instinct � whatever name you give it, it told Gorgilla that in the distant regions dwelled millions of creatures�and that the great ocean liners sailed to those regions�Cunningly swimming around to the unguarded side of the ship, the mammoth ape creature silently climbed aboard�And still unseen by human eyes, he lowered himself down into the hold of the unsuspecting vessel�The following morning, the freighter pulled out of port! Its destination: the United States! [pic3]Its cargo: unbelievable![pic3] The voyage was long and rough�.But Gorgilla scarcely noticed it�For he was too busy anticipating his next encounter with the human race! Finally, the moment was at hand�

As the freighter pulls into New York Harbor and past the Statue Of Liberty, Gorgilla emerges from the ship�s hold, instantly sending the crew in search of firearms:

NARRATIVE CAPTION (Scotty):
The giant ape man peered at the humans about him! He saw their fear�their panic! What was wrong with these creatures? Couldn�t they see he was their brother? He had come to join them � to live in peace with them � NOT to harm them! But the humans did not understand�And a moment later the bullets struck Gorgilla�Bullets which could not penetrate his mighty hide, but caused him enough pain to make him leap overboard! Swimming underwater, the confused brute saw an opening in the land up ahead�An opening just large enough for him to fit through! In the dark safety of the sewer, Gorgilla was finally able to stop�to rest�and to think! He had greeted the humans in friendship, but they had only hostility for him! [pic4]Now he was hiding[pic4], without food, without light, or fresh air! What should he do? What COULD he do? WHAT?? WHAT??? In the meantime, news of the titanic creature spread like wildfire!

Among those watching the news reports on television is the archaeologist who discovered Gorgilla in the first place.

NARRATIVE CAPTION (Scotty):
Like millions of other people that day, I also was watching television�But unlike the millions of others, I KNEW the truth behind the monster in the harbor!

The scientist/explorer turns to his wife Anne, astonished (I guess that�s why this comic�s title is TALES TO ASTONISH):

SCOTTY:
T-that�s the missing link � GORGILLA! He FOLLOWED us back to civilization!
ANNE:
He�s a wild giant beast! If he�s still alive, the entire city�s in danger!
SCOTTY:
No! That�s just the POINT! The city�s NOT in danger! Gorgilla saved our lives! If he followed us here, he must�ve come in FRIENDSHIP! People must be made to understand! They must not destroy the confused harmless creature!

Scotty goes to NYC�s authorities to explain Gorgilla�s motives, but they�re too panicked to take his explanation seriously. And unknown to anyone, a secret group of imbedded Communists decide to take advantage of the dire situation:

COMMUNIST AGENT #1:
The police are all searching for the monster! This gives us a chance to carry out our plan!
COMMUNIST AGENT #2:
Da! We will strike a low against capitalistic imperialism!
COMMUNIST AGENT #3:
It will be another step in our conquest of the world!

The following afternoon, at Yankee Stadium, the enthusiastic sports fans all but forgets their monster-problem by enjoying a lively baseball game. But wouldn�t know it, that�s when Gorgilla decides to show up, [pic5]surfacing from beneath the pitcher�s mound![pic5] (Don�tcha just hate when that happens?)

As [pic6]�Part 2�Gorgilla Strikes Again!�[pic6] begins, the panicked crowd struggles to exit the stadium, unaware that Gorgilla means no harm:

NARRATIVE CAPTION (Scotty):
As the fearful crowd rushed FROM the stadium, policemen rushed INTO the stadium to encounter � to defeat the mammoth menace! Three�four�then, five grenades exploded and the more Gorgilla inhaled the potent gas, the more tired and drowsy he became�until finally�But if the police thought they could so easily capture this mightiest of creatures, they were mistaken! For no sooner did the gas evaporate, then Gorgilla became himself again!! Again strength and vigor surged within his massive form as he lashed out at his captors! And for the second time, Gorgilla made his escape�an escape that wouldn�t have been necessary if the humans had only realized that he meant no harm, that he wanted only to dwell among them peacefully for the rest of his days! As swiftly as he could, the hulking giant lumbered toward a deserted warehouse�Barricading himself in the warehouse, Gorgilla began to dig underground again�Meanwhile, in a nearby abandoned subway tunnel, foreign agents were preparing to strike a blow for the dark forces of tyranny!
COMMUNIST AGENT #1:
Set that dynamite well! There must be no mistakes!
COMMUNIST AGENT #2:
Do not worry, comrade! All will go as planned!
COMMUNIST AGENT #1:
The African premier�s car will pass over us in three minutes and twelve seconds! At exactly that moment the dynamite will explode!
COMMUNIST AGENT #3:
The premier will be injured! His nation will blame the United States for it! There will be conflict � chaos � all of which will benefit the cause of world tyranny!

(Aha, we�ve been waiting for those fiendish Commie finks to finally make their move!) Meanwhile, Scotty and his wife are with the police, investigating Gorgilla�s rather unique method of making his getaway � he even filled up the hole behind him as he burrowed into the earth! Once again, Scotty tries to convince the lawmen not to overreact to Gorgilla:

ANNE:
Oh, Scotty, are you sure�REALLY sure�that the ape creature is PEACEFUL??
SCOTTY:
I�m CERTAIN of it, Anne! Gorgilla came to us, in friendship, but we didn�t give him a chance to PROVE it! We accused him of evil intent! We attacked him! We tried to destroy him! All because we were too FRIGHTENED to wait and learn the truth!

And beneath the oncoming motorcade, the three �foreign agents� await their master plan to achieve fruition, totally unaware that Gorgilla is silently watching them:

NARRATIVE CAPTION (Scotty):
Like a jigsaw puzzle, the fateful events were all coming together! To complete the picture, only one more coincidence was needed�and that happened when Gorgilla reached the abandoned subway tunnel!
COMMUNIST AGENT #1:
Soon, the premier will be caught in the explosion!
COMMUNIST AGENT #2:
And the American police will not look for US! They will think GORGILLA released underground gases which caused the explosion! But the REST of the world will blame America for it!
NARRATIVE CAPTION (Scotty):
As he watched the humans � their manner � the tone of their voices � Gorgilla senses they were dangerous men! Men who were up to something wrong � something harmful! Men who must be stopped!
COMMUNIST AGENT #1:
The premier is approaching now�get ready�Just one more second�
NARRATIVE CAPTION (Scotty):
But for the assassins, that second was NEVER TO COME!

The police assigned to guard the premier�s motorcade notice that the ground is rumbling and correctly assume it to be Gorgilla. But rather than bursting upward into the parade route, Gorgilla chases the terrified spies through the abandoned subway tunnel, eventually emerging on a open surface area overlooking New York Harbor. When the leader of the Commie assassins pilots a waiting speedboat to escape, that doesn�t deter Gorgilla in the slightest; he dives into the water and swims after the fleeing spy. But when the pursuit winds up at Liberty island, the police and the military fail to realize that Gorgilla�s after a bad guy; instead, they assume that [pic7]the mighty monkey-monster is intending to destroy the Statue Of Liberty[pic7] �and this assumption seems more and more reasonable when the Russian spy starts climbing up the circular stairway inside Lady Liberty:

NARRATIVE CAPTION (Scotty):
We didn�t know � didn�t realize � that Gorgilla was chasing an enemy of America! All we knew was that the primeval creature was trying to force his way into the most cherished monument in our land! Inside the statue, the alien spy�s fear � his panic � drove him higher and higher up the winding stairway�But Gorgilla had no intention of letting the evil human escape! If the giant couldn�t reach his prey one way, he would try ANOTHER way! Just as Gorgilla reached the top of the statue, he saw his victim! Before the alien spy could turn and flee, Gorgilla reached out and grabbed him!! And at that very moment the bazooka below was fired!
SFX:
BAM!

Just as King Kong fell from the Empire State Building, [pic8]poor Gorgilla[pic8] topples from the top of the Statue Of Liberty, the Communist spy still clutched in his three-digit paw, crashing to the ground of Liberty Island. (Gee, wotta coincidence!)

NARRATIVE CAPTION (Scotty):
Seconds later, it was all over! The incredible ape-giant would be hounded nevermore! Then, when it was too late, we received the report! The injured spies had been found in the tunnel�The confessed to everything�Now the truth was known!
POLICEMAN:
We thought he was a menace � when he was only trying to HELP us!
SCOTTY:
Even as he fell, he held the spy so as not to injure him! How ironic that the wrong one survived the fall!
POLICEMAN:
You were right about the ape-creature! We should have listened to you!
SCOTTY:
Yes, I was right�But maybe it�s best that you DIDN�T listen to me! Gorgilla meant us no harm but he was still a savage! He was too savage to live among humans�and too human to live like a hunted beast! I don�t know where he is now, but wherever it is, I pray that Gorgilla has at last found peace�A better peace than he ever would have known here on Earth!

Also included in this issue of TALES TO ASTONISH are the following stories, features and advertisements:

�Draw The Lone Ranger!�, a black-and-white, inside-front-cover advertisement for a special scholarship contest (apparently co-sponsored by Jack Wrather Productions, corporate owners of [pic9]the Lone Ranger[pic9]) promoted by �Art Instruction, Inc.�, a noted correspondence school specializing in �advertising art, magazine illustrating, cartooning, or landscape or portrait painting.�

�The Stranger�, a two-page text-story featuring an illustration by Joe Maneely. (This feature was originally printed in Marvel�s ASTONISHING No. 39, June 1955.)

�Boys, Girls, Men, Women � If You Know Just 20 People�You Can Make At Least $50.00 � More Likely $100.00 To $200.00 In Your Spare Time!�, an ad soliciting for greeting cards salespeople to represent �Wallace Brown, Inc.�

A page consisting of two ads: �A Real Mobile Tank� that�s supposedly �large enough for two kids but can be handled by one�, available through mail-order from �Honor House Products Corp.�; and an �Amazing Wrist Radio� that �plays for years without electricity or batteries�, available via mail-order from �Honor House Prod. Corp.�

A page consisting of two unrelated ads: [pic10]�Juke Box Bank[pic10] Actually Plays Real Music�, the �swingingest� way to save!�, available through mail-order from �MedFord Products�; and �Powerful Microscope� with �no end to its uses�, available via mail-order from �Imperial Sales�.

[pic11]�Monsteroso!�[pic11], drawn by Steve Ditko. -- Essentially the same story as Lee and Ditko�s "The Terror of Tim Boo Ba!" in Marvel�s AMAZING ADULT FANTASY (No. 9, February, 1962), this story opens on [pic12]a strange, spotted-shell egg[pic12] that�s about to hatch; from it emerges a shaggy, red, saw-toothed monster that calls himself �Monsteroso�. [pic13]The shambling creature quickly grows so huge[pic13] that, within four pages he dwarfs his own world. With a single stride, Monsteroso crosses an entire continent. As he continues to grow, Monsteroso�s three-toed feet cause [pic14]the land he stands upon to crumble[pic14] under his massive weight. No matter how big Monsteroso grows, it seems his ego grows even bigger. But when torrents of water begin to fall from the sky, Monsteroso is helpless to stop it! Soon, it completely inundates the colossal creature, which drowns while thinking, �All � is � lost!! Lost!!!� Suddenly it�s revealed that [pic15]Monsteroso�s �world�[pic15] was actually a petrie dish, one that was just washed clean by a research scientist who needed to wash the dish clean of �unimportant microbes� for a new microscopic experiment! (This story was reprinted in Marvel�s FANTASY MASTERPIECES No. 9, June, 1967.)

A page consisting of two unrelated ads: �Look! Boys Wanted To Sell GRIT�, an ad soliciting for boys (specifically!) to earn �spending money� and prizes by selling copies of the popular �good news� publication from �GRIT Publishing Co.�; and �204 Revolutionary War Soldiers Only $1.98� for �two complete armies� made of �pure molded plastic�, available through mail-order from �Revolutionary War Soldiers�.

�Statement Required By The Act Of August 24, 1912, as Amended By The Acts Of March 3, 1933, July 2, 1946 and June 11, 1960 (74 Stat. 208) showing The Ownership, Management, And Circulation Of TALES TO ASTONISH��, a statement of ownership that lists this comic�s average monthly circulation from October 1959 to September 1960 as 163,156 copies.

�Shop By Mail�, a page of small, classified-style ads for collectible stamps, magic tricks, collectible coins, a blackhead removal gimmick, �Super Ju Jitsu� and other goofy goodies available from a variety of mail-order companies,

[pic16]�Robot On The Rampage!�[pic16], drawn by Steve Ditko. � �A few years in the future�, in �a lonely lighthouse in a desolate sea�, the lighthouse-keeper�s robot assistant declares that it�s �through taking orders� and attempts to extinguish the lighthouse�s beacon, even though the lighthouse �has saved many a ship from crashing on those rocks.� Defending himself, the lighthouse-keeper tosses a blanket over the robot�s head (to prevent its sensors from �seeing�) and shoves it out the door, hoping to stall it until the luxury liner �Superba� safely passes by during the next week. When the robot discovers that it�s unable to break down the door or scale the lighthouse, it decides to wait until the lighthouse-keeper runs out of stored food. Finally, the lighthouse-keeper emerges from the lighthouse; seeing this, the robot starts to make a move to enter the lighthouse � and realizes it can�t move! Between the salty water and the moisture in the air, it has rusted solid! All it can do is watch as the lighthouse-keeper summons help while refusing to abandon his post. (This story was reprinted from Marvel�s JOURNEY INTO MYSTERY No. 51, March, 1959.)

�You, Too Can Be Tough!�, a one-page ad that describes a variety of books, including FUN FOR BOYS, DRAWING FOR FUN, LEARN TO DANCE and THE KEY TO SPACE TRAVEL, all available through mail-order from the �Padell Book Co.�

�How To �Take Charge� Of A Highly-Paid Job In Air Conditioning & Refrigeration�, an ad for a correspondence school specializing in air conditioning and refrigeration technology, the �Commercial Trades Institute�.

�Learn Radio-Television Electronics By Practicing At Home In Your Spare Time�, a black-and-white, inside-back-cover ad for correspondence courses from �The National Radio Institute�.

�Are The Best Things In Life Passing You By?�, [pic17]a back-cover advertisement[pic17] for bodybuilding courses -- applying �dynamic tension� �secret formula� from �Charles Atlas�.

ODDBALL FACTOID � Although Gorgilla is referred to as an �ape� and �the missing link� � and his name strongly implies that he�s a giant gorilla � Jack Kirby designed the monster with a huge prehensile tail, indicating that Gorgilla is actually some sort of huge monkey-creature!

Bonus ODDBALL FACTOID � It�s certainly possible that Monsteroso�s name was inspired by the name of one of Steve Ditko�s fellow freelancers, prolific cartoonist Rocco Mastroserio!

New Next Week: ODDBALL COMIC No. 1,293 -- Which Oddball Comic published a character called �Zappy The Hippy� in the late 1960s? Not only wasn�t it one of those �underground comix�; would you believe it was published by Archie Comics? Well, here�s proof, an issue of ARCHIE�S MADHOUSE that also features one of the publisher�s only Silver Age superheroes that�s never been re-launched, Captain Sprocket! (But what is this funnybook�s artistic connection to the early �Marvel Age Of Comics�?

Animal Adventures, No. 1

Tue, 09 Feb 2010 02:41:29 -0700

There have been a lot of funny animal heroes over the years, from �Mighty Mouse� to the �Teenage Mutant Ninja Turtles� -- and beyond! Now, here�s the first issue of 1953�s ANIMAL ADVENTURES, which brings us such ODDBALL critter-crusaders as �King Karrot, The Royal Rabbit�, �Tobias Turtle�, �Soopermutt� and �Orsen Buggy, The Mad Genius�! Plus, the super-scientific secrets of �Dry-Tabs� and the �Vacutex� device revealed! What can we say, but �Woof!�? [fieldinserts][issuetitle]Title: [subissuetitle]Animal Adventures[subissuetitle]
[issuetitle][issue]Issue: [subissue]N0. 1[subissue]
[issue][publicationdate]Date: [subpublicationdate]December, 1953[subpublicationdate]
[publicationdate][publisher]Publisher: [subpublisher]Timor Publications, Inc.[subpublisher]
[publisher][coverartists]Cover Artist(s): [subcoverartists]Unknown[subcoverartists]

[coverartists][introtext]There have been a lot of funny animal heroes over the years, from �Mighty Mouse� to the �Teenage Mutant Ninja Turtles� -- and beyond! Now, here�s the first issue of 1953�s ANIMAL ADVENTURES, which brings us such ODDBALL critter-crusaders as �King Karrot, The Royal Rabbit�, �Tobias Turtle�, �Soopermutt� and �Orsen Buggy, The Mad Genius�! Plus, the super-scientific secrets of �Dry-Tabs� and the �Vacutex� device revealed! What can we say, but �Woof!�?[introtext]

[fieldinserts]The first funny animal hero was Kin Platt�s �Super Mouse�, who first appeared in the pages of Standard�s COO COO COMICS No. 1 (October, 1942). The same month and year, Terrytoon�s similar character of the same name first starred in his own animated cartoon, but was quickly re-named the much more familiar �Mighty Mouse�. Since then, pop culture has been populated by a number of animal heroes, animal adventurers and/or superheroes, including Super Rabbit, the Terrific Whatsit, Hoppy The Marvel Bunny, Bee-29 The Bombardier, Willie The Wonder Worm, Atomic Rabbit, Atomic Cat, Atomic Mouse, Super Turtle, Crusader Rabbit, Ruff and Reddy, Rocky and Bullwinkle, Courageous Cat and Minute Mouse, El Kabong, Secret Squirrel, Underdog, Atom Ant, Batfink, Fearless Fly, Touch� Turtle, Super Chicken, Dynomutt, Usagi Yojimbo, Space Usagi, the Wraith, Thunderbunny, Super Goof, Hong Kong Phooey, Duck Dodgers, the �Mazing Man-Spider, Spider-Ham, Captain Carrot and the Zoo Crew, Super-Squirrel and the Just�a Lotta Animals, the Teenage Mutant Ninja Turtles, Space Beaver, Cerebus the Aardvark, the Pre-Teen Dirty-Gene Kung Fu Kangaroos, Bucky O�Hare, Danger Mouse, Rocket Raccoon, Adolescent Radioactive Black Belt Hamsters, the Samurai Pizza Cats, Battletoads, Starfox, the Biker Mice From Mars, Super Ted, Street Sharks, the Mighty Mutanimals, the Conservation Corps, the Rescue Rangers, Sonic the Hedgehog, Captain Simian and the Space Monkeys, the SWAT Kats, the Road Rovers, Darkwing Duck, the Loonatics, Perry the Platypus, Radioactive Rabbit and many others�with inevitably more to come!

Timor Publications published three issues of ANIMAL ADVENTURES; the first issue was cover-dated December, 1953 and the final issue was cover-dated May, 1954.

This issue�s 10-page �King Karrot, The Royal Rabbit� cover-story is �Snaggin� A Dragon�. It begins with [pic2]a splash-page[pic2] that seems more like a gag cartoon than an introduction to its featured character. (Remember, this is the first time the readers ever saw �King Karrot�.) But on the second page, a series of captions clue us in regarding [pic3]King Karrot�s back-story[pic3]:

NARRATIVE CAPTION:
Long long ago in a castle on a high mountain there lived a royal rabbit named King Karrott. (sp.) All was peace and contentment! Flowers bloomed on the surrounding hills and the air was filled with the happy chattering and chirping of animals and birds. Yes, it was an idyllic kingdom and King Karrott (sp.) didn�t have a care in the world. Except for one thing�No, TWO things! FIDDLE AND FADDLE!

We�re shown that Fiddle and Faddle are the King�s mischievous twin nephews, who are playing with �invisible arrows� and �invisible armor�, while simultaneously driving their uncle crazy with distraction. Finally, King Karrot gets what he hopes will be a break:

FIDDLE/FADDLE:
Will ya tell us a story, Unk, yer MAJESTY?
KING KARROT:
Mm�That�s a little better! Okay,? what do you want to hear? �Little Red Riding��?
FIDDLE/FADDLE:
Naw! That�s SISSY stuff!
FIDDLE:
Tell us about the time you captured the purple dragon!
FADDLE:
Didja REALLY capture him, Unk?
KING KARROT:
Uh�So the story GOES, boys�
FADDLE:
Well then, t�heck with the STORY! We wanta see the DRAGON!
KING KARROT:
(Groan!) How do I get myself INTO these things?

King Karrot manages to stall Fiddle and Faddle until the next morning, when he promises to take them to the cave of the purple dragon. Unable to sleep due to worrying about his inability to produce �a mythical dragon�, he seeks out his court magician, Oodini. Despite Oodini�s excuses, the king orders the foxy wizard to obey him�or else:

KING KARROT:
OODINI!...Either you have a purple dragon at the old cave at dawn�er�a HARMLESS one...or I�LL HAVE YOUR HEAD!
OODINI:
In THAT case�(Ulp!), consider it DONE�yer Majesty!

As the sun rises, King Karrot (in medieval armor and on horseback) and Fiddle and Faddle (riding cute little donkeys) head out for the dragon�s cave. Meanwhile, unknown to them, Oodini can�t convince his team of five villagers -- King Karrot, he hired them to operate [pic4]a mechanical purple dragon[pic4] -- to enter the dragon�s cave. Just as he disposes of his clockwork monster, King Karrot and his nephews show up. Assuming that Oodini has done as ordered, King Karrot enters the darkened cave, only to come face-to-face with [pic5]the real, fire-breathing purple dragon[pic5]:

KING KARROT:
Oh, there it is! You scared me for a minute! Now look, all you have to do is let me chase you out, and YIIIII! FIRE!

The dragon chases King Karrot all over the landscape, but once he locates his horse, he eagerly leaps onto the steed�s back, only for the old nag to collapse spread-eagled on the ground! Once again chased by the fiery monster, King Karrot ducks into a smaller cave; once he�s inside, the ruler rabbit is rocked by a massive shock wave that shakes the whole cave. After a long silence, he hears:

FIDDLE/FADDLE:
HOORAY FOR UNK, THE DRAGON KILLER!

Emerging from the small cave, King Karrot is astounded to see the purple dragon laying on the ground with its feet up in the air:

FIDDLE:
Done �im in at LAST, Unk, he�s dead!
FADDLE:
He bashed himself against the mountain!

Later, after sending the twins back to the castle, King Karrot spots Oodini watching from nearby:

KING KARROT:
Oodini! Are you all right?
OODINI:
Yes, thanks, Your Majesty! T-that was the bravest thing I ever saw!
KING KARROT:
You don�t have to carry on the gag! The kids are gone! I�d like to congratulate you! That dragon was really convincing!
OODINI:
It should be! It was the REAL THING! My dragon is over here, see?

Suddenly realizing that it was the real dragon he defeated, King Karrot has no choice but to faint:

KING KARROT:
H-huh? EEEEEE

As soon as King Karrot hits the ground, Oodini wrap up the story�s narration like a pro:

OODINI:
Tch! Imagine that! He fights the real thing like it was NOTHING, then faints when he sees MINE! Oh well, I guess I did a pretty good job at that!

Also included in this issue of ANIMAL ADVENTURES are the following stories, features and advertisements:

[pic6]�Stops Bed Wetting!�[pic6], a black-and-white, inside-front-cover advertisement for �Dry-Tabs�, a �Medical Tablet Discovery� available via mail-order from the �Gary Pharmacal (sp.) Co.�

[pic7]�Tobias Turtle�[pic7]. � Tobias is so eager to escape from hungry Carlos Crocodile who�s chasing him, they both nearly trample King Leo the lion, who�s been reading a book on the Knights Of The Round Table. To punish them, he orders them to compete in a medieval-style jousting tournament and even has a special arena designed and built for the public event. One of the king�s emissaries even recruits two suit-wearing, card-playing horses to serve as the jousters� mounts! As the day of the big tournament looms nearer, both Tobias and Carlos find themselves becoming increasingly nervous. [pic8]The event[pic8] draws all of the townspeople to the stadium, where the jousting tournament finally begins. At the last possible second, the contestant�s mounts decide not to participate, [pic9]throwing their riders from their saddles[pic9] as they both skid to a halt to watch the proceedings. Meanwhile, King Leo becomes so engrossed with the action that he falls out of his viewing box and lands on top of Tobias and Carlos, knocking them out! As the last person standing, the king is declared to be the �winner and champion�! A few minutes after King Leo is carried away by a cheering mob of admirers, Tobias and Carlos shake hands, vowing to forget their non-fight and become friends instead!

�Musical Whirling Wind Chimes�, an ad for an �authentic replica of original �Swedish Singing Angels� centerpiece�, available through mail-order from the �Illinois Merchandise Mart�.

�Complete Baffling Magic Outfit�, an ad for �20 First Class Illusions� to �fool and delight them with a full 2 hour mystery show�, available via mail-order from �Honor House Products, Corp.�

�What�s In A Name?�, an unsigned two-page text-story.

�Soopermutt, The Doggondest Dog In The World� in �The Corn Is Ripe�. � After an explosively spectacular [pic10]splash-page[pic10], Soopermutt reveals his secret identity to the reader. Back when he was just happy-go-lucky Muggsy Mutt, Soopermutt �was deathly afraid of cats�. Then, one day, he sees an advertisement that reads, �Are you a coward? Try Snodgrass INVINCIBLE INK � Scare Off Bill Collectors, Mother-In-Laws, Cats, Mice, Lice, etc.�. Ten days after mail-ordering for it, Muggsy receives a bottle of the inky elixir. Later yet, when a burly cat named �Tabby The Terrible� causes him to accidentally swallow an entire unstoppered bottle of the stuff; Muggsy is turned upside-animal adown, allowing the magic fluid drips into his brain, [pic11]instantly transforming him into Soopermutt![pic11] The canine superhero nearly beats the soup out of his feline opponent, but immediately before he can take Tabby to the police, the special serum wears off! Muggsy winds up being �locked up fer disturbin� the peace, clutterin� up the station house � an� breakin� up a checker game!�

�Orsen Buggy (The Mad Genius)� in �Bank Nite Tonite�. � �Produced by Orsen Buggy, Directed by Orsen Buggy and Starring Orsen Buggy�, this is obviously a parody of Orson (CITIZEN KANE) Welles. [pic12]While filming a cops-and-robbers film[pic12], Orsen soon learns that the bank heist sequence looks so real for a reason � the two new �actors� he hired are really bank-robbers! And not only did they steal the bank�s cash, they also stole Orsen�s film! The producer/director/star hops on a nearby motorcycle, but when he stops due to a roadblock in his way, Orsen�s lassoed and captured by one of the bad guys, [pic13]a big and buggy bruiser[pic13] named �Blackheart Louie�. After he smacks around Orsen, Blackheart Louie begins to film a movie of his own � a pirate movie with rope-bound Orsen walking the plank! When the tip of Blackheart Louie�s sword persuades him into the shark-filled water, Orsen assumes he�s doomed. That is, until one of the sharks � [pic14]apparently a film fan[pic14] -- chews through Orsen�s bonds, then asks the insectoid movie star for an autograph! Orsen gripes, �This happens everywhere I go!� Swimming back to dry land, Orsen is spotted by Blackheart Louie in his getaway car; the big bad bug intentionally runs over Orsen with his automobile, then he unintentionally plows right into a telephone pole! After the police arrive and proclaim Orsen to be a �hero�, his girlfriend wants to know how he still looks so good, even after getting run down. Orsen explains that it was his own stunt man who �took the knocks�! This makes Orsen�s girlfriend so angry that she takes a baseball bat to her buggy boyfriend! In the final panel, Orsen and his stand-in, both stuck in wheelchairs, dejectedly play checkers, with a nearby sign that reads, �Autographed Cast For Sale Soon!�

[pic15]A page[pic15] that consists two unrelated advertisements: �Reversible Auto Seat Covers�, in �Zebra-Snake� or �Leopard Cowhide� designs (!), available through mail-order from the �Mardo Sales Corporation�; and �Ugly Blackheads Out In Seconds With Vacutex�, a blackhead pimple-removing device available via mail-order from �Ballco Products Company�.

�Borrow Money By Mail!�, an advertisement for mail-order loans from the �State Finance Company�.

�Dance To Romance�, a black-and-white, inside-back-cover ad that promises �Learn To Dance In Only 1 Week� with mail-order courses of dance instruction from the �Pickwick Corp.�

�New Styles Demand Smooth, Flat Tummy�, [pic16]a back-cover advertisement[pic16] for an �amazing new French undergarment girdle� that �makes you look your best in new fashions� available through mail-order from �The S. J. Wegman Company�.

ODDBALL FACTOID � In 1953 and 1954, Accepted Publications/Key Publications published corresponding reprints of each Timor issue of ANIMAL ADVENTURES, perhaps for Canadian distribution!

New Next Week: ODDBALL COMIC #1,292 � MONDAY, FEBRUARY 15, 2010 � ODDBALL COMICS has already met Marvel�s mighty monkey-monster a few years back in an early issue of TALES TO ASTONISH! Now -- a few issues later and courtesy of Larry Lieber, Jack Kirby and Dick Ayers -- here comes �Gorgilla Strikes Again!� Yep, the big ape finally gets his very own sequel and winds up climbing the Statue Of Liberty! Plus, Steve Ditko�s �Monsteroso!� and �Robot On The Rampage!�

The Adventures of Dean Martin and Jerry Lewis, No. 19

Mon, 01 Feb 2010 09:33:15 -0700

Hey, LAAAAADY! Yesterday was National Gorilla Suit Day, so let�s continue celebrating the ODDBALL occasion with an issue of DC�s THE ADVENTURES OF DEAN MARTIN & JERRY LEWIS, cover-featuring yet another of DC�s infamous purple-skinned gorillas! Plus, learn the astonishing COMICS-related secret of one half of this classic comedy team! (And four, count �em, four strips by DC�s #1 most prolific cartoonist!)

[fieldinserts][issuetitle]Title: [subissuetitle]The Adventures of Dean Martin and Jerry Lewis (on cover; �&� in indicia)[subissuetitle]
[issuetitle][issue]Issue: [subissue]No. 19[subissue]
[issue][publicationdate]Date: [subpublicationdate]February, 1955[subpublicationdate]
[publicationdate][publisher]Publisher: [subpublisher]National Comics Publications, Inc. (DC Comics)[subpublisher]
[publisher][coverartists]Cover Artist(s): [subcoverartists]Bob Oksner[subcoverartists]

[coverartists][introtext]

[introtext]

[fieldinserts]National Gorilla Suit Day, usually celebrated every January 31st, is the creation of cartoonist Don Martin (5/18/1931 - 6/1/2000), who was once deservedly known as "MAD's maddest artist". The holiday first appeared in the pages of the 1963 Signet paperback original (Don�s second one), DON MARTIN BOUNCES BACK! in a story (with scripting assistance by E. Solomon Rosenblum) starring Fester Bestertester and his pal Karbuncle, called, fittingly enough, "National Gorilla Suit Day". One of the single funniest comic stories ever drawn (due to the "National Gorilla Suit Day" story's presence, the paperback went through eight printings) this story took clever advantage of its paperback format, with a brilliant new gag awaiting every turn of the page. (The humorous effect of "National Gorilla Suit Day" is the print equivalent of the best animated cartoons directed by the great Tex Avery.) To celebrate National Gorilla Suit Day, the tradition is to dress up in a gorilla suit and make a door-to-door trek around the neighborhood. But as Fester Bestertester noted, "Everybody knows it's just a ploy by the gorilla suit companies to sell their products!" In recent years, Don Martin�s widow, Norma, has attempted to curtail any mentions of "National Gorilla Suit Day", but frankly, that gorilla escaped from the barn a looong time ago!

Dean Martin (June 7, 1917 � December 25, 1995) -- born as �Dino Paul Crocetti� -- was an Italian-American singer, film actor and comedian who was nicknamed the "King of Cool". Born in Steubenville, Ohio to Italian immigrant parents, he dropped out of high school in 10th grade. After such jobs as a blackjack dealer, a steel mill worker and a welterweight boxer, the teenager began singing as �Dino Martini� with local Steubenville bands. He continued to develop his singing style and career until he was drafted in 1944; a year later, he was discharged after a surgery that reclassified him as 4-F. Resuming his career as a singer, Dean supposedly kept a polite relationship with the Mafia, that owned many of the nightclubs at which he performed. Actor/comedian/director/author Jerry Lewis was born (as �Joseph Levitch�) on March 16, 1926. His parents were both entertainers, and Jerry made his debut (as part of his parents' stage act) at the tender age of five, singing "Brother, Can You Spare A Dime?" on the Borscht Circuit in New York. By the time he was fifteen, he was performing an act lip-synching to records. He eventually got gigs at various Jewish hotels in the Catskill Mountains. On July 25, 1946, Jerry began a show business partnership with Dean Martin, an association that would soon elevate both of them to fame and fortune. At first they worked separately, but then ad-libbed together, improvising insults and jokes. Their nightclub act became a huge hit and attracted the attention of Hollywood movie producer Hal Wallis. He signed the duo to a contract with Paramount Pictures, where they made a number of feature films:

MY FRIEND IRMA (9/1949)
MY FRIEND IRMA GOES WEST (8/1950)
AT WAR WITH THE ARMY (1/1951)
THAT'S MY BOY (8/1951)
HOLLYWOOD AT PLAY (Columbia newsreel, 9/1951)
SAILOR BEWARE (2/1952)
JUMPING JACKS (7/1952)
THE ROAD TO BALI (cameo appearance, 1/1953)
THE STOOGE (2/1953)
SCARED STIFF (7/1953)
THE CADDY (9/1953)
MONEY FROM HOME (2/1954)
LIVING IT UP (7/1954)
YOU'RE NEVER TOO YOUNG (8/1955)
ARTISTS AND MODELS (12/1955)
PARDNERS (7/1956)
HOLLYWOOD OR BUST (12/1956)

Wildly successful, they also continued to divide their time between nightclub engagements, personal appearances, recording sessions, radio shows, and television bookings. But exactly ten years after they became a team, Martin and Lewis broke up, never to perform together again. Jerry continued as a solo act, recording records ("Rock-A-Bye Your Baby With A Dixie Melody" sold four million copies) and starring in more Paramount films, expanding his participation to writing, producing and directing. It was during this time that he invented the "video play-back" method still used in film and television. By the mid-1960s, Jerry was making films for Colombia and Warner Bros.; he even wrote a book, THE TOTAL FILM-MAKER, based on his lectures at USC. After their split, Dean Martin, unfairly regarded by much of the public and the motion picture industry as something of a spare tire, found the going hard. His first solo film, TEN THOUSAND BEDROOMS (1957), was a box office failure. He was still popular as a singer, but with rock and roll surging to the fore, the era of the pop crooner was waning. It looked like Martin's fate was to be limited to nightclubs and to be remembered as Jerry Lewis' former partner. Never totally comfortable in films, Martin wanted to be known as a real actor. Though offered a fraction of his former salary to co-star in a war drama, THE YOUNG LIONS (1957), he agreed so he could learn from Marlon Brando and Montgomery Clift. Tony Randall already had the part, but talent agency MCA realized that with this movie, Martin would become a triple threat: they could make money from his work in night clubs, movies, and records. Martin replaced Randall and the film turned out to be the beginning of Martin's spectacular comeback. By the mid '60s, Dean Martin was a top movie, recording, and nightclub star.

Dean Martin�s enjoyment of comic books was repeatedly mentioned in DEAN & ME (A LOVE STORY) by Jerry Lewis with James Kaplan (Doubleday, 2005). So why didn�t poor ol� Dino get a funnybook series of his own when he and Jerry dissolved their partnership, especially considering that he was the member of the team who was an avid comic book reader?

Cartoonist Bob Oksner (10/14/1916 - 2/19/07) was born in Paterson, New Jersey, Bob originally planned to become a lawyer, but while editing the New York University�s humor magazine, he realized that he had a natural aptitude for cartooning. Changing his major, he enrolled in the Art Students League, and eventually received an MA at Columbia University. Bob taught high school art and history courses until he was able to break into the comic books industry in 1939, working for Funnies, Inc., a comic art �shop� and supplier of features to a variety of publishers. One of these clients was Timely, and by 1942, Oksner was working directly for the company on �The Destroyer� and �Marvel Boy�, as well as for other publishers. In 1945, he began a two-year stint on a syndicated newspaper comic strip, MISS CAIRO JONES (which was reprinted that same year in comic book form by Croyden Publishers). Although the strip soon went under, DC editor Sheldon Mayer was sufficiently impressed with Bob Oksner�s work on it � Bob was particularly adept at drawing pretty girls -- to hire him to draw �The Black Canary� and other features in ALL STAR COMICS, GREEN LANTERN and THE FLASH. This assignment segued into a lifelong job working for DC, illustrating a variety of teenage comics (LEAVE IT TO BINKY, A DATE WITH JUDY, MISS BEVERLY HILLS OF HOLLYWOOD, etc.) and humor series based on licensed properties. These included THE ADVENTURES OF DEAN MARTIN & JERRY LEWIS, THE ADVENTURES OF JERRY LEWIS, SGT. BILKO, PVT. DOBERMAN, THE MANY LOVES OF DOBIE GILLIS (and therefore, WINDY AND WILLY), WELCOME BACK, KOTTER (with Mark Evanier) and, following the great Owen Fitzgerald and Mort Drucker, THE ADVENTURES OF BOB HOPE. (Since Bob Hope appeared in the pages of MISS BEVERLY HILLS OF HOLLYWOOD No. 5, and Lucille Ball was in No. 6, this was Oksner�s second stab at drawing the comedians!) From 1952 to 1955, Bob drew a syndicated newspaper comic strip adapting the popular I LOVE LUCY TV series starring Lucille Ball and Desi Arnaz, and from 1967 to 1968, Bob wrote and drew SOOZIE, a strip starring another of his cute and sexy girl characters. Oksner also co-created �Stanley And His Monster� (with writer Arnold Drake) in FOX & CROW COMICS and ANGEL AND THE APE (with E. Nelson Bridwell). He also drew stories for GIRL�S LOVE STORIES, MYSTERY IN SPACE, WONDER WOMAN, SUPERGIRL, SUPERMAN�S GIRL FRIEND LOIS LANE, SHAZAM (on a memorable version of �Mary Marvel�) and SUPERMAN, as well as inking many �Superman� stories over Curt Swan�s pencil art. Bob also collaborated with his old friend Irwin Hasen by plotting the DONDI strip from 1969 to 1986, when the classic newspaper feature finally ended. Retiring from drawing with a surprising finality (he even gave away his desk and all of his art supplies), Bob Oksner received the National Cartoonists Society�s Reuben Division Award for Comic Books for 1960 and 1961, won the Shazam Award in 1970 for Best Pencil Artist (Humor Division) and was given the Inkpot Award at the 2002 San Diego Comic-Con International.

Cartoonist Henry Boltinoff (February 19, 1914 � April 19, 2001) was born in New York City. Henry, who sometimes signed his work �Bolty�, was already a professional cartoonist when he was still a teen, drawing for the theatre section of THE NEW YORK AMERICAN newspaper. He studied at New York�s Art Students League and the National Academy of Design. Beginning in 1937, Henry freelanced as a cartoonist for numerous magazines. In 1940, he worked for Bert Whitman Associates, a �shop� that packaged comics. That same year, Henry became DC Comics� regular �filler� artist, writing and drawing an astounding number of gag-strips for their line of comic books. These included: �Abdul The Fire Eater�; �Backstage Bits�; �Bebe�; �Betty�; �Billy�, �Binky�; �Binky�s Buddies�; �Buck Skinner�; �Buzzy�; �Cap's Hobby Center�; �Cap's Hobby Hints�; �Car-Toons�; �Casey The Cop�; �Charlie Cannonball�, �Chief Hot Foot�, �Clancy The Cop�; �Cora The Carhop�; �Curios�; �A Date With Debbie�; �A Date With Judy�; �Dexter�; �Dinky�; �Dolly And The Professor�; �Doctor Floogle�; �Doctor Rocket�; �Dover And Clover�; �Elvin�; �Facts�; �Flip�; �Funnies�; �Freddie The Frogman�; �Gags�; ��Hamid The Hypnotist�; �Hang-Ups�; �Homer�; �Honey Of Hollywood�; �Hy The Spy�; �Hy Wire�; �In Hollywood�; �It�s The Scene�; �Jail Jests�; �Jerry�; �Jerry The Jitterbug�; �Jokes�; �Khai-Yaks�; �King Kale�; �Laffs�; �Leave It To Binky�; �Lefty Looie�; �Lem 'N' Lime�; �Li�l Brontosaurus�; �Lionel And His Lions�; �Little Pete�; �Little Pocahontas�; �Lucky�; �The Magic Genie�; �Mal�; �Mom �N� Pop�; �Moolah The Mystic�; �No-Chance Charley�, �Oddities�; �Og From The Planet Gog�; �Ollie�; �On the Set�; �Peg�; �Penniless Palmer�; �Peter Puptent, Explorer�: �Planet Quiz�; �Planet Pals�; �Preacher�; �Prehistoric Fun�; �Private Pete�; �Professor Eureka�; �Quiz�; �Sagebrush Sam�; �Scooter�; �Shorty�; �Silly Willy�; �Smiles�; �Stan�; �Strange Ads�; �Strange Laws�; �Super-Turtle�; �Swing With Scooter�; �Tarius The Planet�; �This Ain�t The Army�; �Travel Talk�; �Tricksy, World�s Greatest Stunt Man�; �True Crime Laffs�; �True-isms�; �Varsity Vic�; �Warden Willis�; �Willy And Dilly�; and �Young Doc Davis�. Nearly every comic book DC published for over thirty years contained work by Henry Boltinoff, most of which were lettered by Gaspar Saladino. In 1940, Henry wrote and drew �Bruce Barlow� for Holyoke Publications and in 1943, he also produced filler strips for Fawcett Comics. Henry also did work for Harvey Comics� RICHIE RICH and Major Magazine�s CRACKED. He also drew gag-strips for Archie Comics (�Jane Of The Jungle� and �Little Ha Ha�) and Renegade Press (�Flora The Explorer� and �The Planet Zog�). In the late 1950s and early 1960s, he edited, wrote and drew such �graphic albums� as HOWLS OF IVY (1955), SEX IS BETTER IN COLLEGE (Pyramid, 1957), BED AND BOARD (Pyramid, 1958), CARTOONS FOR MEN ONLY (Pyramid, 1958) and JUST MARRIED (Pyramid, 1962). Henry also wrote and drew a number of syndicated newspaper comic strips: AD LIBS (1942); THIS AND THAT (1946); WOODY FORREST (1960); STOKER THE BROKER (1960 � 1985); NUBBIN (King Features, 1971 � 1987); TINY (1987); and HOCUS- FOCUS (2001). A member of the National Cartoonists Society, Henry also worked as an advertising artist, a gag cartoonist for such magazines as BOYS� LIFE, ESQUIRE, LOOK, COLLIER�S and THE SATURDAY EVENING POST and a teacher at the Joe Kubert School of Cartooning and Graphic Arts (1976 � 1977). In 1970, Henry Boltinoff received the National Cartoonists Society�s Reuben �Best Humor Comic Book� Division Award and in 1982, he won their Reuben �Best Syndicated Newspaper Panel Cartoon� Division Award for his work on the strip STOKER THE BROKER. His brother, Murray Boltinoff, was an editor for DC Comics for many years.

Dean Martin and Jerry Lewis first appeared in comic book form in Famous Funnies� MOVIE LOVE No. 12 (December, 1951). The first issue of DC�s THE ADVENTURES OF DEAN MARTIN & JERRY LEWIS was cover-dated July � August, 1952. But when the team of Dean and Jerry finally broke up, DC opted to drop Dino from their line-up; the final issue, No. 40, was cover-dated October, 1957. The publisher continued the series as [pic15]THE ADVENTURES OF JERRY LEWIS[pic15] from issue No. 41 (November, 1957, featuring a purple gorilla on its cover!) through No. 124 (May - June, 1971). In fact, by his time late in the run of "America's Funniest Comic Mag", DC's time-honored tradition (reportedly enforced by DC Creative Director Irwin Donnenfeld) of using a cover-gorilla to "spike" sales apparently provided much more of a "draw" than Jerry himself! (And this wasn't the last time THE ADVENTURES OF JERRY LEWIS featured a gorilla on its cover, either!)

This issue�s untitled three-part, 25-page �The Adventures Of Dean Martin & Jerry Lewis� cover-story was drawn by Bob Oksner. (Certain dialog and visual clues lead me to believe that this story may have been written and laid-out by Sheldon Mayer.) The first part begins with [pic2]a splash-panel[pic2] that visually implies that Dean Martin and Jerry Lewis are on a boat in the middle of the ocean:

JERRY LEWIS:
AHOY! AVAST! Also WHAT-HO! MIZZEN THE MAST and STOW THE HATCH! POOP THE ANCHOR and BATTEN DOWN THE QUARTERDECK RIGGING! Reporting all ship-shape and ready to sail, sir!
DEAN MARTIN:
Okay, Commodore! You may put out to sea!
JERRY LEWIS:
There she goes, Dean! Pretty keen, huh?

At this point we�re shown that Dean and Jerry are on a pier and that the boat they�re talking about is a toy boat:

JERRY LEWIS:
There she goes, Dean! Pretty keen, huh?
DEAN MARTIN:
Yes, Jer! You�re a good sailor, even if you DO get seasick when you take a bath!
JERRY LEWIS:
Here, now! Where do you get that SEASICK stuff? You know PERFECTLY WELL the legs on our bathtub are WOBBLY! FURTHERMORE --
DEAN MARTIN:
Jerry! Your BOAT is sailing away!
JERRY LEWIS:
Oh-oh! It�s beginning to SINK � and I just paid 98� for it! SHIP IN DISTRESS! SHIP IN DISTRESS! MAN THE PUMPS! LOWER THE BOATS! WOMAN AND PEOPLE FIRST! HO-HO! LET�S GO!

With Jerry making such a fuss about the toy �good ship �Pride Of East Flatbush��, it�s impossible for the old sea captain of the freighter -- the �S. S. Tin Can� -- to ignore his cries for help. Of course, the ancient mariner assumes that it�s a real boat that�s sinking:

OLD SEA CAPTAIN:
HOIST THE ANCHOR! FULL SPEED AHEAD! WE�RE GOIN� ON A RESCUE MISSION!

Meanwhile, Dean tries to warn the freighter�s crew:

DEAN MARTIN:
That noodlehead has �em thinking there�s a REAL ship in trouble! I�d better straighten this out!

But when Dean discovers that the S. S. Tin Can�s crew is entirely made up as beautiful young women, his only reaction is a typical one:

DEAN MARTIN:
VOOM! VOOM!

Meanwhile, the old sea captain launches his freighter to rescue Jerry�s sinking boat, desperately peering through a spyglass:

OLD SEA CAPTAIN:
Where�s the sinking ship, matey? I can�t seem to locate it!
JERRY LEWIS:
Keep looking! It�s kind of small! After all, kid, it only cost me 98�!
OLD SEA CAPTAIN:
You mean it�s a TOY?? I thought it was a REAL boat!
JERRY LEWIS:
A REAL boat! Well, now, the joke�s on YOU, dad!

Instead of reacting as expected, the wacky old coot reacts with delight, hugging Jerry:

OLD SEA CAPTAIN:
AH! AH! AH! Shiver me timbers! That sure is a hot one!

The captain�s laughter arouses Dean�s curiosity:

DEAN MARTIN:
What�s the big yok, chaps?
JERRY LEWIS:
Dean boy! I didn�t know YOU were on board! Why didn�t you SAY something?!
DEAN MARTIN:
I was busy pitchin� woo at the crew!

That�s the old salt�s cue to introduce the ship�s crew, composed of his [pic3]five gorgeous granddaughters[pic3]:

OLD SEA CAPTAIN:
You must mean my FIVE GRANDDAUGHTERS!
DEAN MARTIN:
THESE DOLLS are your GRAND-CHILDREN? You�re a lucky sea dog!
OLD SEA CAPTAIN:
Permit me to introduce ONE, TWO, THREE, FOUR and HENRIETTA!
DEAN MARTIN:
A crew to crow about, Grandpop! Now I know what they mean by �THE CALL OF THE SEA�! It�s a WOLF WHISTLE!

But before they turn back to port, the old salt receives a radio message:

OLD SEA CAPTAIN:
Batten me hatches! It�s a JOB! We�re ordered to the GALAPAGOS ISLANDS to pick up a cargo of TURTLE SOUP! FULL STEAM AHEAD, GIRLS! We�re headin� for the GALAPAGOS ISLANDS!

Dean and Jerry aren�t particularly thrilled to hear this news:

JERRY LEWIS:
Hey! What about US! We wanna go HOME!
THREE:
We CAN�T turn back NOW! Grandfather will lose his contract!
TWO:
This is the first cargo job our ship has had in MONTHS!
JERRY LEWIS:
But �
OLD SHIP CAPTAIN:
Sorry, matey! It�s YOUR OWN FAULT that you�re aboard! You lads will have to come along, as members of the crew!

Eyeballing the freighter�s shapely crew, Dean isn�t complaining -- but Jerry sure is:

DEAN MARTIN:
Oh, well�Things COULD be a LOT worse!
JERRY LEWIS:
I DON�T LIKE IT! If I had the fare, I�d ride home by TAXI-CAB!
THREE:
Here we go!

And �go� they do � all over the Pacific Ocean, without ever coming close to the Galapagos Islands! Along the way, Jerry goes fishing and catches a pink-and-purple sea serpent. Then, the S. S. Tin Can heads into the thick of a tropical hurricane so powerful it nearly hurls the ship right off the edge of the comic book page! The storm tosses the freighter onto a coral reef, which rips a huge hole in the ship�s hull. Fortunately, Dean, Jerry, the old sea captain and his five granddaughters survive the mishap and make to the shore of a nearby island that�s covered with jungle and even has its own [pic4]active volcano![pic4]

DEAN MARTIN:
BOY-OH-BOY! A BEAUTIFUL TROPICAL ISLE! And ME without my UKULELE!
JERRY LEWIS:
LOOK, DEAN! It�s even got a BUILT-IN BARBECUE PIT!

The second part of this untitled book-length �The Adventures Of Dean Martin & Jerry Lewis� story opens with [pic5]another splash-page[pic5] as the old sea captain searches the ocean�s horizon with his spyglass while Dean relaxes in a hammock and tended by three of the all-girl crew:

OLD SHIP CAPTAIN:
Well, mateys � I radioed for help just before the ship sank! Here�s hoping somebody comes to our rescue!
DEAN MARTIN:
Who wants to be rescued, Pops? This setup is the MOST! To quote my buddy, J. Lewis � I LIKE IT! I LIKE IT! Speaking of Jerry, I wonder what ol� �Arsenic And Lunacy� is up to now�?

That�s when his partner-in-comedy dashes in, covered entirely in green leaves:

JERRY LEWIS:
HO, HO! HEY, HEY! Dig the dandy duds! Catch the CRAZY COSTUME!
DEAN MARTIN:
What are YOU supposed to be? A HEAD OF LETTUCE?
JERRY LEWIS:
Of COURSE not! I�m makin� like ROBINSON CRUSOE!
DEAN MARTIN:
ROBINSON CRUSOE??
JERRY LEWIS:
Sure! HE was marooned on an island just like THIS one! I�M gonna do the same things HE did � that�s what I�M gonna do! YES, SIRREE!
DEAN MARTIN:
But, Jer! CRUSOE is a STORYBOOK character! You can�t REALLY be like him!
JERRY LEWIS:
That�s what YOU think! I�ve been makin� some DANDY THINGS outta the wreckage from the boat!
DEAN MARTIN:
THIS I gotta SEE!

Jerry shows Dean his new �juke box� (a singing parrot in a crate) and [pic6]a bowling alley[pic6] complete a monkey pin-boy (years before THE FLINTSTONES!)

DEAN MARTIN:
I�ve gotta hand it to you, Jer! You�re the EINSTEIN of the SOUTH PACIFIC!
JERRY LEWIS:
There�s just one more thing I need, Dean, boy!
DEAN MARTIN:
What�s that, Jer? A CLAMSHELL YO-YO?
JERRY LEWIS:
No! A MAN FRIDAY � like ROBINSON CRUSOE had! A guy who�ll be my SERVANT!
DEAN MARTIN:
Don�t be STUPID! There�s no one on the island like US!
JERRY LEWIS:
OH, YEAH! I�m gonna FIND somebody! They CAN�T GYP ME!
DEAN MARTIN:
Come back, Jer! You�ll get into TROUBLE! You won�t find a man, Friday NOW! It�s only TUESDAY!

Looking like a giant asparagus stalk, Jerry hikes into the jungle � past a �Times Square -- 6000 Miles� sign nailed to a palm tree � Jerry yells out for his nonexistent assistant, unaware that he�s being followed by an unfriendly-looking, spear-carrying islander:

JERRY LEWIS:
YOO �HOO! OH, FRIDAY!! Where ARE you, boy??
ISLANDER:
GRRR!!
JERRY LEWIS:
HO, HO! LET�S GO, KIDDO! TIME�S A WASTIN�! >Chop Chop!<

When Jerry bends over to examine a footprint on the ground, he narrowly (and obliviously) avoids having his cranium pierced by the islander�s flung spear. He turns to see the loincloth-and-jewelry-wearing, orange-skinned man charging straight at him:

ISLANDER:
>SNORT!<
JERRY LEWIS:
Ah, THERE you are, Friday! Please draw my bath! You�ll find a pencil and drawing paper back at the camp! After that you can � HEY!
ISLANDER:
ME SQUASH-UM!
JERRY LEWIS:
HERE, now! You�re not catching the SPIRIT of this thing, kiddo! Haven�t you read the book?
ISLANDER:
ME CRUSH-UM!
JERRY LEWIS:
You�re supposed to be my FAITHFUL MAN FRIDAY! If you don�t behave, I�ll demote you to THURSDAY!
ISLANDER:
ME CLOBBER-UM!

(Hey, no wonder that guy�s orange � he threatens people like the Thing does!) With that, Jerry runs up a coconut tree so fast, [pic7]his word balloon turns sideways[pic7]:

JERRY LEWIS:
I SURE AM DISAPPOINTED IN YOUR ATTITUDE!

While monkeys dive for safety out of the tree, Jerry calls out for help:

JERRY LEWIS:
HELP! DEAN! SAVE ME! CALL OUT THE MARINES! GET MY LAWYER!

Dean and the old sea captain (why isn�t his name ever mentioned � is he in the Witness Protection Program?) hear this and come a-running, scaring away Jerry�s attacker:

ISLANDER:
UGH! Him get-um REINFORCEMENTS! Time for me to take-um on the lam-um!
DEAN MARTIN:
THE COAST IS CLEAR! You can come down now, STUPORMAN!
JERRY LEWIS:
I�m gonna SUE that guy for BREACH OF CONTRACT!
DEAN MARTIN:
BIG chap, wasn�t he?
JERRY LEWIS:
Not too big for ME to handle! NO, SIRREE! If he ever shows up again, I�ll make CHOPPED LIVER out of him! He doesn�t scare THIS kid! Much!
OLD SEA CAPTAIN:
Well, here�s your chance to get him, matey! He�s COMING BACK and bringing his FAMILY!
JERRY LEWIS:
TAKE TO THE HILLS! RUN FOR YOUR LIVES! Ho, ho! Let�s get ROLLIN�!
DEAN MARTIN:
Relax, Jer! I can handle those kids EASILY with this WATCH! It�s all a matter of PRIMITIVE PSYCHOLOGY! LOOK, BOYS! PRETTY TICK-TOCK! You-um and we-um be FRIENDS! Okay-um? Give-um pretty TICK-TOCK, and --

Suddenly, a spear zips into the panel, [pic8]neatly piercing Dean�s dangling pocket watch![pic8]

DEAN MARTIN:
ANOTHER theory shot to pieces!
ISLANDER:
No can fool US with CHEAP DOLLAR WATCH! GET-UM, MEN!

Hiding in the depths of the jungle, Dean, Jerry, the old sea captain and his five granddaughters discuss how to evade the armed islanders:

JERRY LEWIS:
If you ask me, this island isn�t BIG enough for all of us! Either THEY GO � or WE STAY!
DEAN MARTIN:
There�s one chance left, kids! We�ll climb the volcano! I think the local yokels will be TOO SCARED to follow us!
JERRY LEWIS:
I think I�M too scared to follow us, now that you mention it!

Meanwhile, at a nearby naval base, a radio-transmitted S.O.S. from the freighter S. S. Tin Can, and in reply, a rescue plane is sent searching for the castaways. Back on the island, the ship�s crew are desperately climbing the volcano (which sports a sign that reads, �Caution! Volcano Dangerous When Lit!�)

JERRY LEWIS:
I DON�T LIKE THIS, DEAN! I DON�T LIKE THIS! I�m liable to scrape my KNEE! I might even dislocate an EAR LOBE! I could even get MOUNTAIN CLIMBER�S HANGNAIL!

As they climb past a second sign that reads, �No Smoking Beyond This Point�, Dean remarks:

DEAN MARTIN:
I wonder how HIGH we are, Jer�?
JERRY LEWIS:
I don�t know, but that WHITE stuff we just went through was the MILKY WAY!

Meanwhile, when the Navy�s rescue plane sees no sign of any survivors on the surface of the ocean, it heads toward �Volcano Atoll�. Speaking of which, that�s where the survivors have finally reached the top of the still-active volcano:

DEAN MARTIN:
It was a tough climb, but we�re safe now! Those characters will NEVER follow us up here!
THREE:
Dean, YOU�RE WONDERFUL!
OLD SEA CAPTAIN:
OH-oh! Wrong again, matey! They�re comin� up and NOW WE�RE TRAPPED!
NARRATIVE CAPTION:
Will our heroes escape? Will they be captured by the fierce natives? Will the rescue plane arrive in time? Will John and Mary find happiness together? Stop pestering us with questions and get on with the story! (continued)

As [pic9]the third part of this story[pic9] opens, Dean, Jerry, the old sea captain and his five granddaughters find themselves trapped between the fiery crater of the volcano and the attacking islanders:

DEAN MARTIN:
OH-oh! The picture doesn�t look very rosy, kids! We can�t GO DOWN and we can�t GO BACK!
JERRY LEWIS:
How about STRAIGHT UP, Dean boy? THAT would throw �em off the trail! Yes, indeedy! We can hide in the BIG DIPPER and --

Dean gets an idea and asks the old sea captain for his half-smoked cigar, then gives it to Jerry to hold. Making a stand, Dean confronts the irate islanders, halting them in their tracks:

DEAN MARTIN:
WAIT! HOLD IT! WHOA! COME-UM ANY CLOSER AND YOU�LL BE BEHIND-UM EIGHT BALL!
ISLANDER:
OH, YEAH-UM? WHY-UM?

Dean gestures to Jerry, who�s still wearing his ridiculous-looking leaf-suit:

DEAN MARTIN:
This is HEAP BIG WHEEL! IMPORTANT TYPE CHIEF! You BOTHER us and he�ll make-um BIG TROUBLE!
JERRY LEWIS:
Dean boy � what are you SAYING? This is ME! Plain, old, ever-lovin� JERRY!
ISLANDER NO. 1:
We NO BELIEVE-UM you! We call-um your bluff!
ISLANDERS:
PUT UP-um or SHUT UP-um!

Dean instructs Jerry to flip the cigar into the volcano�s crater where it immediately explodes, filling with air with acrid smoke:

SFX:
BOOM!
JERRY LEWIS:
WHERE AM I ? >COFF!< CALL OUT THE FOG PATROL! HO-HO! LET�S GO! WHAT A WAY TO RUN A VOLCANO!

As the smoke clears, we see [pic10]the mob of islanders bowing to the �Big Wheel� � Jerry![pic10]

ISLANDER NO. 1:
HAIL! HAIL!
ISLANDER NO. 2:
HAIL!
ISLANDER NO. 3
HAIL!
ISLANDER NO. 4:
HAIL, O MIGHTY CHIEF!
JERRY LEWIS:
NEVER MIND THE DOUBLE TALK! WHO SET OFF THAT EXPLOSION? SPEAK UP, NOW! CHOP, CHOP, KIDS!
DEAN MARTIN:
YOU set it off, Jer. When you tossed that cigar butt into the volcano! These characters think you�re some kind of MEDICINE MAN! YOU�RE THEIR CHIEF NOW!
JERRY LEWIS:
Well, fancy that! And me without a prepared speech! >Ahem!< FELLOW COUNTRYMEN � It gives me GREAT PLEASURE � in fact, it even BEHOOVES me�not to mention AND SO FORTH�and if I�m elected, I say to you�in ALL FAIRNESS to my WORTHY OPPONENT�OF the people�BY the people�and FOR the people! I THANK YOU!
ISLANDER NO. 3:
HURRAY FOR OUR CHIEF!
ISLANDER NO. 4:
Him win-um by LANDSLIDE!

Meanwhile, the rescue plane approaches Volcano Atoll:

PLANE PILOT:
That explosion may have been an S.O.S. SIGNAL! We�d better land and explore this island!
PLANE CO-PILOT:
Aye, aye, sir!

Seeing the rescue plane landing, the castaways prepare to leave. The islanders present Jerry with a farewell gift:

ISLANDER No. 5:
Heap-Big-Wheel-Important-Chief, please accept-um souvenir of visit to our island.
JERRY LEWIS:
Oh, ginger-peachy! What is it, fellows? Gumdrops? Licorice whips? Marbles? Pistachio nuts?

Jerry takes a look into the bag the islanders give to him:

JERRY LEWIS:
Aw � PHOOEY!
DEAN MARTIN:
What did they give you, Jer? Something VALUABLE?
JERRY LEWIS:
No! Just a bunch of ROTTEN OLD GENUINE PEARLS!

But as the survivors prepare to leave on the rescue seaplane, an unexpected situation arises:

ISLANDER No. 1:
Me go, too!
DEAN MARTIN:
Oh, no, Friday! You�d better stay here and stoke the volcano!
ISLANDER No. 1:
ME GO WITH-UM CHIEF AND BE HIS SERVANT!
DEAN MARTIN:
But you won�t LIKE civilization! It�s VERY NOISY! The traffic in our neighborhood is TERRIBLE!
ISLANDER No. 1:
ME GO WITH-UM BIG CHIEF! BAWWW!!
DEAN MARTIN:
Listen, kid! Our apartment is kinda cramped � and there isn�t a SINGLE COCONUT TREE in it! NOT ONE!
ISLANDER No. 1:
YOU TAKE-UM FRIDAY WITH YOU, OR FRIDAY TOSS YOU INTO VOLCANO RIGHT NOW!
DEAN MARTIN:
Well�if you put it THAT way! Er � go pack your spare spears! We�re getting ready to shove off!
ISLANDER No. 1:
HOORAY-UM!

But as soon as the islander leaves to pack for the trip, Dean grabs Jerry and dashes for the Navy seaplane:

DEAN MARTIN:
QUICK! Everybody � out to the plane before that walking H-bomb gets back!
JERRY LEWIS:
Dean, boy � THAT�S NOT CRICKET � NO, SIR!

Hurrying, the castaways manage to make their way to the rescue plane and take off without �Friday� tagging along. On the way back to New York City, Dean hands over Jerry�s �souvenir� to the old sea captain:

DEAN MARTIN:
Grandpop, here�s the bag of pearls! Use them to buy yourself a nice, shiny new cargo boat!
OLD SEA CAPTAIN:
Thanks, mateys! Very generous of you!

Finally home, the five female crew members are all eager to kiss Dean goodbye.

JERRY LEWIS:
Here, now! What about ME? Don�t I get a goodbye kiss?
OLD SEA CAPTAIN:
Well, sure, matey --
JERRY LEWIS:
DEAN!!

Back in NYC, Dean and Jerry look back on their adventure:

DEAN MARTIN:
That was quite a trip! I had enough of the South Pacific to last me FOREVER!
JERRY LEWIS:
Personally, I�m gonna miss the Robinson Crusoe bit!

Later, in their apartment, Dean lounges on the couch while Jerry (finally clad in his own clothes) wears himself out doing housework:

DEAN MARTIN:
It sure is nice to be home!
JERRY LEWIS:
Ho, ho! What�s so NICE about it? I�M working like a DOG! I wish I had my man Friday here!
DEAN MARTIN:
Don�t be STUPID! The whole idea was RIDICULOUS!
JERRY LEWIS:
Oh, yeah! I STILL think we could have brought him and �

Jerry�s suddenly interrupted by a knock at the door. Answering it, he�s surprised to see [pic11]an unexpected visitor[pic11]:

JERRY LEWIS:
FRIDAY!
ISLANDER No. 1:
Me missed-um plane, so me SWAM-UM all the way!

Later, Jerry relaxes on the couch while Dean makes an urgent phone call:

ISLANDER No. 1:
Your cheeseburger is-um ready, oh great chief!
JERRY LEWIS:
Thank you, Friday! Now you can finish cleaning the apartment!
DEAN MARTIN:
Hello? Acme Steamship Line? When does the next boat leave for the south Pacific?

Also included in this issue of THE ADVENTURES OF DEAN MARTIN & JERRY LEWIS are the following stories, features and advertisements:

�Now More Than Ever � Look For This Famous Symbol!�, a black-and-white, [pic12]inside-back-cover house-ad[pic12] for DC Comics� SUPERBOY No. 38 (January, 1955), MUTT & JEFF No. 76 (January, 1955), MY GREATEST ADVENTURE No. 1 (January � February, 1955) and PETER PORKCHOPS No. 34 (January, 1955.)

�Ring Around A Tootsie Roll, What A Lovely Treat. With Santa Claus And Tootsie, Xmas Is Complete.�, a one-page advertisement for �Tootsie Roll�s� �chocolaty� candies.

�Peg�, a one-page gag-strip written and drawn by cartoonist Henry Boltinoff.

�Varsity Vic�, a half-page gag-strip written and drawn by cartoonist Henry Boltinoff.

�Hey Kids! See If You�re Smarter Than The Smith Brothers!�, a half-page advertisement for �Smith Brothers Wild Cherry Cough Drops�,

�On The Set�, a two-page gag-strip written and drawn by cartoonist Henry Boltinoff.

�Binky��s Special Christmas Quiz �Christmas In Many Lands!�, [pic13]a public-service page[pic13] written by Jack Schiff and drawn by Ruben Moreira.

�Honey In Hollywood�, a one-page [pic14]gag-strip[pic14] written and drawn by cartoonist Henry Boltinoff.

�Amazing Offer > Do You Need Money? $40.00 Is Yours�, a one-page advertisement soliciting for people to sell greeting cards and other stationary items from door-to-door for the �Cheerful Card Company�.

�Come On, Buddy, Quit Being A Bag Of Bones Weakling Like I Was � In 10 Minutes Of Fun A Day YOU Can Do ALL I Did!�, a black-and-white, inside-back-cover advertisement for mail-order bodybuilding lessons from the �Jowett Institute Of Physical Training�.

�If You Get A Stunning $10.98 Dress Without Paying 1��Will You Wear And Show It In Your Community?�, a back-page ad soliciting for women and girls to sell dresses for �Fashion Frocks, Inc.�

ODDBALL FACTOID � This is the second cover of THE ADVENTURES OF DEAN MARTIN & JERRY LEWIS to feature a gorilla; the first one appeared on issue No. 5!

BONUS ODDBALL FACTOID � The plot of 1956�s Martin-and-Lewis film ARTISTS AND MODELS took place in the comic book industry!

DOUBLE-BONUS ODDBALL FACTOID � It�s generally accepted that the despicable �Buddy Love� character in Jerry Lewis� THE NUTTY PROFESSOR (1963) was based on Dean Martin!

TRIPLE-BONUS ODDBALL FACTOID � Jerry Lewis refers to the silly, child-like characters he once played as �The Chimp�!

New Next Week: ODDBALL COMIC #1,291 � MONDAY, FEBRUARY 8, 2010 � There have been a lot of funny animal heroes over the years � �Usagi Yojimbo�, �Super Turtle�, �The Wraith� and �The �Mazing Man-Spider�, among many others! Now, here�s the first issue of 1953�s ANIMAL ADVENTURES, which brings us such ODDBALL critter-crusaders as �King Karrot, The Royal Rabbit�, �Tobias Turtle�, �Soopermutt� and �Orsen Buggy, The Mad Genius�! What can we say but �Woof!�?

Judy Joins the WAVES

Mon, 25 Jan 2010 10:10:00 -0700

Here�s a lavish �giveaway� ODDBALL COMIC that promises �a career, security, travel, romance, a full life�� in the U.S. Navy! Meet Judy Watson, a teenage girl who goes fromworking at a department store ribbon counter to rescuing her friendfrom a desolate island that�s about to be bombed! Let�s all wave �hello� to JUDY JOINS THE WAVES! [fieldinserts][issuetitle]Title: [subissuetitle]Judy Joins the WAVES[subissuetitle]
[issuetitle][issue]Issue: [subissue]NAVPERS 35985 7-15-51�500M[subissue]
[issue][publicationdate]Date: [subpublicationdate]1951[subpublicationdate]
[publicationdate][publisher]Publisher: [subpublisher]Toby Press, Inc. (produced for the U.S. Navy)[subpublisher]
[publisher][coverartists]Cover Artist(s): [subcoverartists]Unknown[subcoverartists]

[coverartists][introtext]Here�s a lavish �giveaway� ODDBALL COMIC that promises �a career, security, travel, romance, a full life� � in the U.S. Navy! Meet Judy Watson, a teenage girl who goes from working at a department store ribbon counter to rescuing her friend from a desolate island that�s about to be bombed! Let�s all wave �hello� to JUDY JOINS THE WAVES![introtext]

[fieldinserts]According to Wikipedia: �The WAVES were a World War II-era division of the U.S. Navy that consisted entirely of women. The name of this group is an acronym for "Women Accepted for Volunteer Emergency Service" (as well as an allusion to ocean waves); the word "emergency" implied that the acceptance of women was due to the unusual circumstances of the war and that at the end of the war the women would not be allowed to continue in Navy careers. The WAVES began in August 1942, when Mildred H. McAfee was sworn in as a Naval Reserve Lieutenant Commander, the first female commissioned officer in U.S. Navy history, and the first director of the WAVES. This occurred two months after the WAAC (Women's Auxiliary Army Corps) was established and Eleanor Roosevelt convinced Congress to authorize a women's component of the Navy- the WAVES. An important distinction between the WAAC and the WAVES was the fact that the WAAC was an "auxiliary" organization, serving with the Army, not in it. From the very beginning, the WAVES were an official part of the Navy, and its members held the same rank and ratings as male personnel. They also received the same pay and were subject to military discipline. In contrast, the WAAC became the Women's Army Corps (WAC) in July, 1943, giving its members military status similar to that of the WAVES. WAVES could not serve aboard combat ships or aircraft, and initially were restricted to duty in the continental United States. Late in World War II, WAVES were authorized to serve in certain overseas U.S. possessions, and a number were sent to Hawaii. The war ended before any could be sent to other locations. Within their first year the WAVES were 27,000 strong. A large proportion of the WAVES did clerical work but some took positions in the aviation community, Judge Advocate General's Corps, medical professions, communications, intelligence, storekeeper, science and technology. The WAVES did not accept African-American women into the division until late 1944, at which point they trained one black woman for every 36 white women enlisted in the WAVES. With the passage of the Women's Armed Services Integration Act (Public Law 625) on June 12, 1948, women gained permanent status in the armed services. Although the WAVES officially ceased to exist, the acronym was in common use well into the 1970s. The first six enlisted women to be sworn into the regular Navy on July 7, 1948 were Kay Langdon, Wilma Marchal, Edna Young, Frances Devaney, Doris Robertson and Ruth Flora. On October 15, 1948, the first eight women to be commissioned in the regular Navy, Joy Bright Hancock, Winifred Quick Collins, Ann King, Frances Willoughby, Ellen Ford, Doris Cranmore, Doris Defenderfer, and Betty Rae Tennant took their oaths as naval officers. The WAVES kept the homefront affairs of the US Navy going while the men were assigned to ships serving around the globe. While the official song of the US Navy men was Anchors Aweigh, the WAVES official song was sung in counterpoint to the men:

WAVES OF THE NAVY
WAVES of the Navy,
There's a ship sailing down the bay.
And she won't slip into port again
Until that Victory Day.
Carry on for that gallant ship
And for every hero brave
Who will find ashore, his man-sized chore
Was done by a Navy WAVE�

Part teenage comic, part romance comic, part adventure comic, part war comic and all upbeat military propaganda, the multi-genre JUDY JOINS THE WAVES comic book was created to be an effective recruiting tool aimed at impressionable teenage girls -- �impressionable� because, let�s face it, how many relatively sophisticated teenage girls are going to be influenced in their life-choices by a mere comic book?

Toby Press was an American comic-book company that published from 1949 to 1955. Elliot A. Caplin -- the brother of cartoonist Al Capp and also an established comic-strip writer -- had entered the comic book field as editor of TRUE COMICS for the Parents Magazine Institute. Some years later, he founded Toby Press; the company was specifically created to publish reprints of Capp's LI�L ABNER syndicated newspaper comic strip, a satire populated by a cast of memorably outrageous hillbilly characters. As publisher Elliot Caplin continued to add titles based on his famous brother�s comic strip, he also widened Toby Press� line of comics, including licensed-character comics starring Hollywood�s John Wayne and animated cartoon property Felix the Cat, as well as familiar comic book genres such as romance, Western, and adventure comics. Some of its comics were published under the imprint Minoan. The first Toby comics series was AL CAPP�S LI�L ABNER, which began with issue No. 70 (May 1949), picking up the numbering from Harvey Publications' LI�L ABNER COMICS. which ultimately published these various newsstand titles: AL CAPP�S DOGPATCH (1949); AL CAPP�S LI�L ABNER (1949); AL CAPP�S SHMOO (1949);; AL CAPP�S WOLF GAL (1951); BARNEY GOOGLE AND SNUFFY SMITH (1951); BIG TEX (1953); THE BIG TOP (1951); BILLY THE KID ADVENTURE MAGAZINE (1950); THE BLACK KNIGHT (1953); BUCK ROGERS (1951);; CAPTAIN TOOTSIE (1950); DANGER IS MY BUSINESS! (1953); DICK WINGATE OF THE UNITED STATES NAVY (1951); DICK WINGATE OF THE UNITED STATES NAVY (�giveaway� edition for US Navy recruiting) (1951); FELIX AND HIS FRIEND (1953); FELIX THE CAT (1951); FELIX THE CAT 3-D COMIC BOOK (1953); FELIX THE CAT AND HIS FRIENDS (1954); FELIX THE CAT SUMMER ANNUAL (1953); FELIX THE CAT WINTER ANNUAL (1954); FIGHTING LEATHERNECKS (1952); GABBY HAYES WESTERN (1953); GREAT LOVER ROMANCES (1951); HE-MAN (1954); JOHN WAYNE ADVENTURE COMICS (1949); JOHNNY DANGER (1954); JON JUAN (1950); JUDY JOINS THE WAVES (1951); KOKEY KOALA (1952); LI�L ABNER (1951); MEET MERTON (1953); MONTY HALL OF THE U.S. MARINES (1951); PAT SULLIVAN�S FELIX THE CAT SPECIAL (1952); PIN-UP PETE (1952); THE PURPLE CLAW (1953); RAMAR OF THE JUNGLE (1954); SANDS OF THE SOUTH PACIFIC (1953); SORORITY SECRETS (1954); SUPER-BRAT (1954): TALES OF TERROR (1953); TELL IT TO THE MARINES(1952); TRUE MOVIE AND TELEVISION (1950); TWO BIT THE WACKY WOODPECKER (1951); UNITED STATES MARINES (1953); WASHABLE JONES AND SHMOO (1953); WITH THE MARINES ON THE BATTLEFRONTS OF THE WORLD (1953); and YOUNG LOVER ROMANCES (1952). In 1950, the company also published six digest-size (6.75 x 3.5-inch) �giveaway� premium comics for Oxydol and Dreft detergents: AL CAPP�S DAISY MAE IN HAM SANGWIDGES, (AKA COUSIN WEAKEYES); AL CAPP�S LI�L ABNER IN THE MYSTERY O� THE CAVE!!; AL CAPP�S SHMOO IN WASHABLE JONES� TRAVELS; JOHN WAYNE: THE COWBOY TROUBLE-SHOOTER!; ARCHIE IN MASK ME NO QUESTIONS; and PAUL TERRY�S TERRY-TOON COMICS. Some covers bore the logo ANC, standing for American News Company, at the time the country's largest newsstand distributor. Under Toby�s �Minoan� imprint -- which featured a minotaur head as the company logo -- they published DR. ANTHONY KING, HOLLYWOOD LOVE DOCTOR (1952); RETURN OF THE OUTLAW(1953); and TALES OF HORROR (1952): Minoan/Toby also published BUST OUT LAFFIN� (1954), a digest-size collection of single-panel gag cartoons.

This particular copy of JUDY JOINS THE WAVES was distributed from the �U.S. Navy Recruiting Substation, Post Office Building, 705-1st Avenue North, Fargo, North Dakota�.

All 32 pages of �Judy Joins The Waves� were written by Charles Spain Verral (1904 � 1990), according to Will Murray (in COMIC BOOK MARKETPLACE No. 119); the book�s artist remains unknown. It begins with this caption from its [pic2]splash-panel[pic2] (which re-uses and adapts the comic�s cover-art):

INTRODUCTORY NARRATIVE CAPTION:
All her young life, Judy had dreamed of a wonderful future. After high school, there�d be college, where she�d study journalism. She�d become a newspaper woman, perhaps a foreign correspondent. She�d travel, have adventures, a glamorous career. But, suddenly, college was denied her. Judy�s dreams collapsed and she was forced to settle down to a humdrum existence. Then a chance came � a choice to have everything she wanted � a career, security, travel, romance, a full life. She didn�t hesitate � JUDY JOINED THE WAVES!

Working at the ribbon counter at the �Halbe Department Store�, Judy Watson has a depressing daydream:

JUDY WATSON (thinking):
Twenty years from now, I�ll probably still be here. Me and my big ideas of a career. If poor Daddy hadn�t had that accident, maybe I could�ve gone to college�Oh, well, I�m lucky to have this job!

After punching out at the store�s time clock, Judy pops in to a nearby drug store for a soda before taking the bus back home. There, she runs into her high school friend, Hank Williams; initially, she doesn�t recognize Hank, because he�s wearing a familiar white uniform:

JUDY WATSON:
Why�why you�re a � SAILOR!!
HANK WILLIAMS:
Yes, ma�am. One of Uncle Sam�s best! Don�t come any finer.
JUDY WATSON:
But I thought you went to New York to take a job.
HANK WILLIAMS:
I did and then I got hep to what the Navy offered, Judy. It�s real. It�s terrif, believe me. What a set-up! They�re teaching me a trade and PAYING ME! And everything�s free � food, clothing, lodging.
JUDY WATSON:
You look wonderful, Hank. Better than I�ve ever seen you!
HANK WILLIAMS:
I feel wonderful. I�m due to ship out soon. Maybe we�ll go to the Orient�or to the Mediterranean � almost anywhere. You know my yen for traveling.
JUDY WATSON:
Boys have all the fun. It isn�t fair. I wish I had the chance YOU have. But what a hope!
HANK WILLIAMS:
Are you kiddin�?
JUDY WATSON:
Kidding? Look, ever since we all graduated from Clarkson High, what have I been doing � clerking at Halbe�s. It might be all right for some girls, but I�d hoped for something a little more exciting.
HANK WILLIAMS:
Good grief! Then you haven�t heard of the WAVES!
JUDY WATSON:
Of course! I�ve heard of �em�during the last war.
HANK WILLIAMS:
Last war nothing! The WAVES are going stronger than ever. They�ve a whole new program in operation�Wait a minute. I�ve got a booklet here. I was taking it to my sister. This will give you a picture, Judy. Keep it. I can get another one�You were envying me. Heck, the Navy offers you gals the same advantages.
JUDY WATSON:
It does!
HANK WILLIAMS:
Read it for yourself�Hey! I�ve got to push off! Be seein� you, Judy.
JUDY WATSON:
Sure, Hank. And thanks�thanks for this.

Before you know it, Judy is absorbed in reading U.S. NAVY CAREER WOMAN, so distracted by the text-packed booklet that [pic3]she fails to notice the disasters[pic3] she�s unconsciously (but comically) avoiding -- and causing:

JUDY WATSON (reading):
�Naval bases in the United States, famous naval bases abroad, like Pearl Harbor, Hawaii � You may see them all. Your Navy life is an adventure, in which you travel by air, always on official orders and at naval expense. If you seek travel, education, a chance to develop your capacities to the fullest, the Navy can provide these benefit. As a WAVE recruit, you receive $75.00 a month. base pay, with your major living costs absorbed by the Navy. As a Chief Petty Officer, you may earn as much as $294.00 a month, plus allowances. Your pay in the Navy allows you to feel independent, for, from the day you join, you realize that the Navy places you in the position of being entirely self-supporting!�

Arriving back home, Judy excitedly shows her copy of U.S. NAVY CAREER WOMAN to her parents:

MR. WATSON:
Hmm. This booklet certainly is an eye-opener.
MRS. WATSON:
Goodness, yes. I never realized�
JUDY WATSON:
Let me see if they�ll take me�PLEASE!! It would be the answer to everything. I�d be able to get a good education and I�d be serving my country. Tomorrow�s my day off. I could go over to the Navy recruiting office in Westmount and get more information. Please let me try it.
MR. WATSON:
Well, I suppose it won�t do any harm to investigate, Sis!

The next morning, Judy has a long chat with the navy recruiter and bolstered by her reception, returns home to get her parents� permission.

MR. WATSON:
All right, Sis. I�m sold. If they�ll take you, you have my consent.
MRS. WATSON:
And mine, too�Only oh dear, you�ve never been away from home before�
JUDY WATSON:
I have to start sometime, Mom.

After her application is approved Judy receives �a thorough physical examination�, which determines she�s in �tip �top shape�. After waiting �on pins and needles�, she finally receives the news she�s been hoping for:

JUDY WATSON:
Mom! Dad! They�re taking me! I�m to leave for the training center next week! I�ll�I�ll have to tell them at the store. Oh golly! GOLLY!!

Soon, the day finally comes for Judy to leave. Her parents bid a tearful �goodbye� at the �Silver Hound� bus station:

JUDY WATSON:
Don�t cry, Mom. This is the biggest break I could have.
MRS. WATSON:
I know�it�s only that all of a sudden you�re grown up.
MR. WATSON:
Goodbye, Sis. Smooth sailing, sailor!

Hours later, Judy arrives at the Navy recruiting station, where she meets a friendly (and rather butch-looking) girl named Hilly Patterson, who�s also nervous about joining the WAVES. They also meet [pic4]a beautiful-but-snobbish girl[pic4] named Sheila Barrert, who arrives in a limousine and instructs her chauffeur George to carry her bags inside.

HILLY PATTERSON:
Brrr, I felt a distinct chill.
JUDY WATSON:
Probably just her manner. Let�s go! I don�t know if you realize it, Hilly, but the last moments of your civilian life are fast drawing to a close.
NARRATIVE CAPTION:
Judy was always to remember the drama or the events that followed�The room crowded with other recruits�The spine-tingling moment when she raised her right hand and was sworn in as a member of the Naval service�The serious talk by the procurement officer. What was ahead. What they could expect�They are to leave immediately for the training center. They are all now members of the U.S. Navy and should conduct themselves accordingly�

Before the recruits board a train bound for their training location, a WAVE lieutenant appoints Judy to take charge of her group, a development that surprises her. It also irritates Sheila the wealthy recruit, to Hilly�s amusement:

HILLY PATTERSON:
You should have seen Park Avenue�s face when the lieutenant picked you for the job, Judy! Brother, that gas was primed to take over.
JUDY WATSON:
I wish she�d got it. I�m scared!
HILLY PATTERSON:
Ah, nobody�s going to get out of line�unless it�s Park Avenue. Have you noticed that every man under the age of eighty who comes through gets a coy look?...

As if to prove Hilly�s words, a �cute� young sailor appears in their car, and it takes only seconds for Sheila to �accidentally� drop her clutch in his path, then uses the opportunity to flirt with the seaman. After Judy and Hilly pay a visit to the dining car, Judy spies Sheila openly defying the WAVES� order, �no train flirtations�, by chatting up the sailor who retrieved her purse earlier:

JUDY WATSON (thinking):
I might have known!
JUDY WATSON:
Come along, Sheila.
SHEILA BARRERT:
In a few minutes. I�m just getting some information about the Navy.
JUDY WATSON:
I was made leader of this group. I didn�t ask for it, Don�t make it tough for me, Sheila.
SHEILA BARRERT:
Very well�But of all the stupid nonsense. After all, we aren�t in prep school�
CORPSMAN JEFF KING:
Take it easy, girls. Orders are orders.
SHEILA BARRERT:
If this is the way the Navy is going to be�Miss Nobodies throwing their weight around�

While Sheila returns to her seat, Judy accidentally trips and twists her ankle. The sailor, who introduces himself as Jeff King, offers to put a bandage on Judy�s ankle, but she�s obviously worried about violating that �no train flirtations� order too. Having seen the whole thing, Sheila is eager to criticize Judy:

SHEILA BARRERT:
That was a fine trick! Is that how you get your men?
JUDY WATSON:
But I did twist my ankle, really�
HILLY PATTERSON:
Judy, my girl. Methinks you�re in for a spot of trouble with that Sheila character.
JUDY WATSON:
Don�t be silly. Sheila knows I couldn�t help it. She�ll forget all about it!
HILLY PATTERSON:
That�s what you think. Her type�s had everything and the can�t stand anybody getting ahead of �em. You�ll see!

Finally arriving at the naval base, Judy, Hilly, Sheila and the rest of the would-be WAVES leave the train:

NARRATIVE CAPTION:
From the moment they pass through the gates, Judy and her fellow recruits are immediately meshed into a smoothly-functioning machine�They are broken up into groups of four and assigned to cubicles in the barracks�

Judy and Hilly are assigned two female roommates, Sammy Kohl (who �seems like a good gal�) and Sheila, AKA �Park Avenue�. Sammy�s motives are similar to Judy�s:

SAMMY KOHL:
I�m thrilled to have a chance to be a WAVE. Just think what�s ahead � travel, education, everything. And doing a job for Uncle Sam.

But Sheila has reasons of her own to become a WAVE:

SHEILA BARRERT:
I was bored with parties and traveling. I wanted a change, something new. You wouldn�t understand.
JUDY WATSON:
Maybe not. But we�re all in the service � and we�re roommates. It�s a case o share and share alike.
SHEILA BARRERT:
Even to MEN? I don�t play that way�By the way, darling, how IS your poor ankle? I notice you�ve forgotten to limp.

Later, Hilly and Judy compare notes about Sheila:

HILLY PATTERSON:
That babe�s got a knife out for you. I saw it glitter and it was this long!
JUDY WATSON:
I think you�d LIKE to see something start between us, Hilly. But if you ask me, we won�t have time for it. We�re going to be kept so darn busy being made into WAVES.
NARRATIVE CAPTION:
[pic5]And they are kept busy.[pic5] Scarcely before the recruit class has caught its breath, the girls are mustered for lunch and marched to the mess hall�Later, uniforms are issues�Civilian clothes packed away to be mailed home�Classes begin�And without a lost moment, life in the Navy proceeds full steam ahead�

One night, Judy writes a letter to her parents:

JUDY�S LETTER:
�Dear Mom and Dad,
Well, here I am in uniform and proud as punch to be a WAVE. I�ve met a swell bunch of gals � all except one and she got in my hair a little. Nothing serious (I hope)�The director of the school gave us a welcoming talk tonight�by the way, the food�s tops�I�m dog tired. Lights out here at 9:30. Or, as we say in the Navy, 21:30. Can�t come soon enough for me. Miss you both.
Love, Judy�
NARRATIVE CAPTION:
Other letters are sent, many letters as the boots drive forward in the well-ordered pattern countless WAVES have followed before them�
JUDY�S LETTERS:
�Your WAVE reporting again. We�re really in full swing. Up at six. Breakfast at 6:30. Then morning quarters, classes. We have a full line-up of subjects to cover � history, personnel, jobs and training, ships and aircraft�Had our shots today. So far, feeling fine. Nobody passed out, although Hilly, the huskiest girl in the lot, claimed she was going to�We�re learning a whole new language. Stairs are ladders. Floors are decks, beds are bunks, quarters are billets and walls are bulkheads�You should have seen me today. It was my turn to be platoon leader. And you know my trouble with right and left�Seems impossible that I�ve been here already two weeks. I�m loving it. I feel a drive I�ve never known before and a purpose. Had our aptitude tests run off. The results will help determine where I go from here. I hope I end up with a journalist�s rating�but that�s looking way ahead. They have a grand pool here�We had a company show the other night. I was picked for the leading lady. Sheila � she�s the one who doesn�t seem to exactly like me � was burned up that she didn�t get the part. [pic6]Here�s a picture of me kissing the leading man[pic6] (only, alas, he was a she)�We�re getting off-the-school-area liberty tomorrow. Can�t wait to see what the world looks lie. This is a huge station with several service schools and a Navy boot camp. So things may prove interesting. I�m going with Hilly, so I�m sure they will�Love, Judy�

Finally on liberty leave, Judy and Hilly spot Sheila with a familiar-looking man:

JUDY WATSON:
Now that we�re free, where do we go, Hilly?
HILLY PATTERSON:
Park Avenue seemed to have ideas. She was the first one out. She�s latched on to a man already! And hang me from a yard arm if it isn�t the sailor boy who was on the train!

That �sailor boy�, Jeff King, immediately recognizes Judy from her mishap on the train. Before Sheila can drag him away, Jeff invites Judy and her friends to an upcoming social event:

JEFF KING:
Look, Judy, the scuttlebutt has it that your gang�s getting late permission next Saturday night. There�s a dance at the Servicemen�s Club. See you then?
JUDY WATSON:
That would be fine, Jeff.

While Sheila jealously hustles Jeff on their way, Hilly offers her personal observations to Judy (while offering an example of scripter Charles Spain Verral�s genuinely snappy dialogue):

HILLY PATTERSON:
She might as well have a half-nelson on him�What a cute guy. And he likes you a lot, Judy. A WHOLE lot...Well, let�s pick up our safari and head into the interior�HEY!! Snap out of it!
JUDY WATSON:
Um�What�s that?
HILLY PATTERSON:
The glazed look�The faint flush. Oh, Poppa, she�s got it. But at the moment, Sheila�s got HIM! How will the great romance come out? Tune in same time, same station for the next pulsing episode when WAVE battles WAVE on the dance floor.
JUDY WATSON:
Hilly! You�re impossible!

As Saturday night rolls around, it seems that Jeff�s �scuttlebutt� was correct, so Judy and her roommates prepare for the big dance. Hilly cheerfully dispenses dancing advice:

HILLY PATTERSON:
Now lemme see. When the music starts, you put one arm around the fellow�s neck. He holds your other hand. Your heart beats faster. Then you say, �GET OFF MY FEET, YOU CLOWN!�

At the dance, the WAVES are delighted (�YIPES! Men!�) and the sailors are equally glad to see them. (The sailors are visually represented by generic black silhouettes, [pic7]an extreme case of �art-hacking�[pic7].) Jeff King rushes ahead of his shipmates in getting to Judy, who he immediately asks to dance:

JUDY WATSON:
Hello, Jeff.
JEFF KING:
Hello, Judy. Like it?
JUDY WATSON:
They certainly keep us busy, but I like it fine.
JEFF KING:
I didn�t mean that � I meant dancing with me.
JUDY WATSON:
Yes, Jeff. I like that, too --

Suddenly, the couple Is bumped into by Sheila, who�s dancing with another sailor�and before Judy is completely aware of it, Sheila cuts in on them and winds up dancing with Jeff! But when the song is over, Jeff leaves Sheila stranded at the bar while the friendly sailor takes Judy out on the veranda, supposedly to show her where he hangs out. A few days later, Judy writes another letter to her parents:

JUDY�S LETTER:
�We had liberty last Saturday night to got to a dance at the Servicemen�s Club. It was wonderful. The company�s morale was given a boost. Mine, too! I met Jeff King there. He�s the hospitalman I told you about. He�s nice. Trouble is Sheila thinks she has a prior claim and has been acting huffy�but enough of that. We�ve all got our noses to the grindstone what with exams and everything. Love, Judy
P.S. Don�t worry. I�m not too serious about Jeff � yet. But he is attractive.�

Weeks pass and Judy writes yet another letter:

JUDY�S LETTER:
�It won�t be long now until I see you. We�ve have (sic.) our personal classification interviews. I�m still hoping I�ll be sent to a journalist school. Haven�t seen Jeff in ages. His hours have been shifted and our liberties don�t jibe (cruel fate!)�Sheila has almost been civil. Maybe she�s at last caught the WAVE spirit��

When Judy and Jeff�s liberty times coincide, they plan to meet at the Enlisted Men�s Club for a movie and refreshments, something that Sheila overhears when Judy and Hilly discuss it. But the morning of their date, Sheila sabotages Judy�s locker before an important inspection. As a result, Judy is confined to quarters for the nigh:

HILLY PATTERSON:
I�ll bet Sheila did it. To keep you from seeing Jeff.
JUDY WATSON:
She WAS the last one out, but I�ve got no proof, Hilly!
HILLY PATTERSON:
I knew that dame would sink the knife in sooner or later, Judy. And she�s waited until it hurt most�Your only chance to see Jeff before we take off from here.
JUDY WATSON:
Well, there�s nothing I can do about it now, Hilly.

After midnight, Hilly and Sheila return to their billet:

JUDY WATSON:
Have a good time, Hilly?
HILLY PATTERSON:
Yeah, but that Sheila. She was with Jeff all evening. I dunno what she told him about you � but if must�ve been good�Here she comes.
SHEILA BARRERT:
Sorry you missed the party. But it was really pretty dull. Except that I met Jeff. He was so sweet. You remember him, of course.
JUDY WATSON:
I remember a lot of things, Sheila.

Eventually, Judy�s parents receive another letter from their daughter:

JUDY�S LETTER:
�By the tine you get this, our training will just about be wound up�Eureka! I�ve been notified I�m to go on to another school to study JOURNALISM! But first I�ll be home on recruit leave for ten days. I�ll let you know the time of my arrival�Hilly is striking for a store-keeper rating and Sheila for photographer�s mate. Very appropriate as far a Sheila is concerned. She�s strictly a double exposure. Catty, huh? But I have reasons. Can�t wait to see you��

Meanwhile, Judy and her fellow WAVES are at their graduation ceremony, listening to a speech by one of their superior officers:

SUPERIOR WAVE OFFICER:
�And when you leave here, always bear in mind that you carry the honor and the dignity of the greatest navy on Earth with you�It�s been nice having you all aboard. Now, goodbye � and smooth sailing, seamen.

Following graduation, Judy and Hilly bid each other farewell:

HILLY PATTERSON:
Golly, Judy, why aren�t we being sent to the same school? Maybe we�ll never see each other again.
JUDY WATSON:
Our paths will cross some day.

Then Jeff King makes a surprise appearance, having �wangled� some time off to say goodbye:

JUDY WATSON:
I was sorry about the other night. I couldn�t help it.

JEFF KING:
Sheila told me about your tough break�Judy, will you write to me if I write?
JUDY WATSON:
Yes�I�I�ll write. Here�s my home address. Goodbye, Jeff � goodbye!

Arriving back home, Judy enjoys [pic8]a whirlwind schedule[pic8], but she finds time to have a heart-to-heart conversation with her father:

MR. WATSON:
Sort of interested in this young man who�s been writing you, aren�t you, Sis?
JUDY WATSON:
I�m getting that way, Dad. You�d like Jeff. I know you would. But I guess I won�t be seeing him for a long time. That�s the Navy.

When her leave is over, Judy reports to the advance training school:

NARRATIVE CAPTION:
At the school, Judy meets new surroundings�a new lot of girls�She pitches into an intensified course � learning the techniques of running a newspaper, writing news stories, bulletins, releases and radio scripts from veterans of the journalistic field�Judy finds it a wonderful life with plenty of time off for sports and recreation�And always there are letters from Jeff. Swell, newsy letters�

But two weeks later:

NARRATIVE CAPTION:
Suddenly the letters stop coming!

But even after writing to him twice, Jeff fails to respond. A letter from Hilly provides the unfortunate reason:

HILLY�S LETTER:
�Here I am in a new school. And guess what � I ran into Sheila and your old boy-friend, Jeff! They�re both stationed here. They both looked thick as thieves. What happened you let her beat you out? Hilly�

Upset by the news, Judy tries to forget Jeff by throwing herself into her studies and quickly achieves a journalist rating. But one morning a new WAVE reports for duty � Sheila Barrert! Unfortunately, she�s her same old bitchy self, a quality that Judy�s new friends can�t help but notice:

JUDY WATSON:
How�s Jeff?
SHEILA BARRERT:
I wouldn�t know�Now if you�ll excuse me.

But one day, Judy and Sheila are summoned to the lieutenant�s office:

LIEUTENANT:
A very important person is scheduled to inspect the base and harbor installations today, A defense official. You two will go along with me to help cover the inspection. Watson, you�ll do the story. Barrert, the camera work.
JUDY WATSON/SHEILA BARRERT:
Aye, aye, sir.
LIEUTENANT:
He�s due in an hour. There�ll be a review of the base personnel this morning. In the afternoon, a cruiser will take his party out to a San Clemente island to watch a target practice demonstration�secure your gear and stand by.
JUDY WATSON/SHEILA BARRERT:
Aye, aye, sir.

But all through the inspection and tour, Sheila constantly interrupts Judy, creating her own photo opportunities while Judy�s interview questions go unanswered. Finally, as they approach San Clemente Island, the V.I.P. makes a special request:

LIEUTENANT:
Our visitor has asked to go ashore and inspect the target area before the shelling. We will accompany his party. There�s nothing much to see except battered rock�but get everything down, Watson. And look for the human interest angle.
SHEILA BARRERT:
I should be able to get some good shots, sir.
NARRATIVE CAPTION:
In a matter of minutes, the party is ashore on a rocky, desolate island. The terrain is riddled with huge holes, mute evidence of previous direct hits�

With only twenty minutes before the shelling is scheduled to start, the party prepares to leave the island immediately. But just as they�re about to cast off, it�s realized that a WAVE is missing � Sheila Barrert! With only ten minutes left, Judy insists that she look for her old rival:

JUDY WATSON:
Sheila! SHEILA! Answer me!
JUDY WATSON (thinking):
She must be here somewhere. I�ve got to find her!
NARRATIVE CAPTION:
Above the swish of the surf, Judy hears a low moaning sound, then�

Judy discovers Sheila laying prone among the island�s sea-battered rocks. (It�s no wonder Sheila fell down, though � [pic9]she�s wearing high-heeled shoes![pic9]) After Judy�s shout bring �instant assistance� to carry Sheila back aboard their boat and launch away from San Clemente Island, Judy is given an unexpected compliment:

LIEUTENANT:
We�ll have her checked over soon as we get aboard�I�ll see that you�re commended for this, Watson. You�re real Navy!

As �the big guns� start to pound the island, Sheila recovers:

DOCTOR:
No concussion. She�ll be all right after a rest.
SHEILA BARRERT:
I�I was trying to get a special shot�when I stepped back into that hole and�
LIEUTENANT:
You can thank your friend here for being alive, Barrert. Only Watson�s persistence saved you.
SHEILA BARRERT:
My friend? FRIEND? Why did you do it, Judy? You must hate me. I�ve given you every reason to.
JUDY WATSON:
We�re both WAVES, Sheila. And�well, I�ve learned a lot of things since I�ve been in the Navy. Sometimes personal grudges have to be forgotten. Call it espirit de corps.
SHEILA BARRERT:
Judy�
JUDY WATSON:
Yes?
SHEILA BARRERT:
I told him you were engaged to someone else�I told him you weren�t serious about him. To prove it, I showed you a picture of you kissing another man.
JUDY WATSON:
But I don�t understand. What picture?
SHEILA BARRERT:
Hand me my bag, will you?...Remember that picture you had taken as leading lady in that recruit play at school�
JUDY WATSON:
Yes�
SHEILA BARRERT:
I doctored it. I got a picture of a handsome young fellow and made a composite�That�s my business � photography. It turned out well. So well that Jeff believed it, Judy.

Sheila shows Judy the phony photo:

JUDY WATSON:
That�s�that�s why Jeff stopped writing! That�s why he started going around with you!
SHEILA BARRERT:
I got nowhere with him. A few dates � that was all. The last time I saw Jeff, he was carrying a torch for you, Judy. I�ve been a heel. I know it now. The Navy has taught me something, too, Judy�I�ve never really belonged to the WAVES � I mean deep down And I won�t until I can somehow make up for what I�ve done.

A week later, Sheila and Judy�s relationship with each other is vastly different:

SHEILA BARRERT:
Judy, I want to tell you something. I wrote to Jeff�I explained everything.
JUDY WATSON:
What did he say?
SHEILA BARRERT:
I don�t know. But maybe you can find out for yourself. I just picked up your mail. Here�s a letter for you � from him.

Judy quickly opens and reads the letter from Jeff:

SHEILA BARRERT:
Everything O.K. with you two?
JUDY WATSON:
Yes. Oh, yes.
SHEILA BARRERT:
That makes everything O.K. with me, then. Very much O.K�.Come on, Petty Officer Watson!
JUDY WATSON:
Aye, aye, Petty Officer Barrert.

Suddenly, with arms locked together, [pic10]the two young WAVES burst into song![pic10] Oddly enough, it isn�t the official theme song of the "Women Accepted For Volunteer Emergency Service" that they�re warbling, either:

JUDY WATSON/ SHEILA BARRERT (singing):
WAVES of the Navy
We are still marching proudly on
Now that victory�s won.
Carry on, girls in Navy blue
We all have our work to do
With a merry song, we�ll swing along �
We still love the Navy way!

Also included in this newsstand-quality issue of JUDY JOINS THE WAVES are the following features:

�WAVE Enlistment Requirements�, a black-and-white, [pic11]inside-front-cover checklist[pic11] of the first, second and third requirements necessary to become a WAVE.

�WAVE Enlistment Requirements�, a black-and-white, [pic12]inside-back-cover checklist[pic12] of the fourth, fifth and sixth requirements necessary to become a WAVE.

�Navy Training Qualifies You For Important Navy Jobs��, [pic13]a back-cover photo-feature[pic13] showing various functions that WAVES perform in the U.S. Navy.

ODDBALL FACTOID � Famous fantasy artist Frank Frazetta not only once worked as an art assistant to cartoonist Al Capp (specializing in the depiction f female characters in LI�L ABNER), he also illustrated a handful of stories for Toby Press� JOHN WAYNE ADVENTURE COMICS!

BONUS ODDBALL FACTOID � Syndicated newspaper comic strip cartoonist Mell (MISS PEACH, MOMMA) Lazarus wrote the novel THE BOSS IS CRAZY TOO (1962) -- �the story of a boy and his dog of a boss� -- based on his experiences as an editor at Toby Press!

New Next Week: ODDBALL COMIC #1,290 � MONDAY, FEBRUARY 1, 2010 � Hey, LAAAAADY! Yesterday was National Gorilla Suit Day, so let�s continue celebrating the ODDBALL occasion with an issue of DC�s THE ADVENTURES OF DEAN MARTIN & JERRY LEWIS, cover-featuring yet another of DC�s infamous purple-skinned gorillas! Plus, learn the astonishing COMICS-related secret of one half of this classic comedy team!

Hee Haw, Vol. 1, No. 2

Mon, 18 Jan 2010 18:05:18 -0700

Yee-haw, it�s HEE HAW, an �eggs-ceptional� funnybook that attempts to adapt the classic country western musical comedy television of the 1970s! See cartoon versions of Buck Owens, Roy Clark, Junior Samples, Grandpa Jones, Lulu Roman and all the other hillbilly stars of America�s corniest cornpone TV series�with artwork by everyone�s favorite ODDBALL COMICS cartoonist, Tony Tallarico! But what is HEE HAW�s mysterious connection to Alvin And The Chipmunks and the Lone Ranger? [fieldinserts][issuetitle]Title: [subissuetitle]Hee Haw[subissuetitle]
[issuetitle][issue]Issue: [subissue]Vol. 1, No. 2[subissue]
[issue][publicationdate]Date: [subpublicationdate]October, 1970[subpublicationdate]
[publicationdate][publisher]Publisher: [subpublisher]Charlton Press[subpublisher]
[publisher][coverartists]Cover Artist(s): [subcoverartists]Frank Roberge (signed)[subcoverartists]

[coverartists][introtext]Yee-haw, it�s HEE HAW, an �eggs-ceptional� funnybook that attempts to adapt the classic country western musical comedy television of the 1970s! See cartoon versions of Buck Owens, Roy Clark, Junior Samples, Grandpa Jones, Lulu Roman and all the other hillbilly stars of America�s corniest cornpone TV series�with artwork by everyone�s favorite ODDBALL COMICS cartoonist, Tony Tallarico! But what is HEE HAW�s mysterious connection to Alvin And The Chipmunks and the Lone Ranger?[introtext]

[fieldinserts]The HEE HAW comic book was based on a television series that could best be described as a country-western version of ROWAN AND MARTIN�S LAUGH-IN, with short, goofy black-out gags interspersed by musical interludes. Originally broadcast on CBS from 1969 through 1971 and syndicated from 1971 through 1992, the all-American HEE HAW was actually conceived by two Canadians! Incredibly successful (it was the nation's number-one-rated non-network show by 1977), HEE HAW was a fast-paced mixture of songs, skits, blackouts and corny jokes, all enacted by a large stable of regular performers, including country co-hosts Buck Owens and Roy Clark. Over the years, the show's regulars included such down-home luminaries as Louis "Grandpa" Jones, Junior Samples, Jeannine Riley, Lulu Roman, David "Stringbean" Akeman, Sherry Miles, Lisa Todd, Minnie Pearl, Gordie Tapp, Diana Scott, Cathy Baker, unicyclist Zella Lehr, The Hagers, Barbi Benton (PLAYBOY magazine creator Hugh Hefner's onetime centerfold-model-girlfriend), Archie Campbell, Roni Stoneham, George "Goober" Lindsey, Gunilla Hutton, Harry Cole, Don Harron, Misty Rowe, Gailard Sartain, Mackenzie Colt, Irlene Mandrell, Dub Taylor and Jeff Smith. HEE HAW even begat a short-lived spin-off series, THE HEE HAW HONEYS (1978 -1979)!

Cartoonist Frank Roberge (1918 � 1976) primarily worked on syndicated newspaper comic strips, but he drew quite a few comic books as well. Starting in 1953, he drew all five issues of Comic Media�s NOODNIK, starring an Inuit kid (who greatly resembled DONDI wearing a fur parka.) In addition to contributing to HEE HAW, he drew a number of comics starring Hanna-Barbera Productions� stable of characters from 1971 through 1977. These included; BARNEY AND BETTY; DINO; THE FLINTSTONES; �Hokey Wolf�; HONG KONG PHOOEY; THE JETSONS; PEBBLES AND BAMM-BAMM; QUICK DRAW McGRAW; �Snagglepuss�; TOP CAT; WHEELIE AND THE CHOPPER BUNCH; and YOGI BEAR. He also contributed to a series of promotional �Career Awareness Program� POPEYE comics co-published by Charlton and King Features Syndicate. In comic strips, Frank worked as an assistant to Dale Messick on the Chicago Tribune/New York News Syndicate�s BRENDA STARR from 1949 through 1953, then assisted Mort Walker on King Feature�s BEETLE BAILEY from 1954 through 1956. (He also worked on many of the BEETLE BAILEY comic books published by Dell, Gold Key and Charlton.) He finally created his own strip for King Features, MRS. FITZ�S FLATS, which ran from 1958 through 1973. Frank Roberge was a member and past president of the National Cartoonists Society. In 1974, Frank was nominated for the �Best Penciler� (Humor Division) -- Marie Severin was the winner -- and �Best Inker� (Humor Division) -- Ralph Reese was the winner -- awards by the Academy Of Comic Book Arts. Frank Roberge served as the President of the National Cartoonists Society.

Cartoonist Alfred Anthony �Tony� Tallarico was born in 1933 in Brooklyn, New York. His pen-names include �Alfred Payan�, �Alfred Tallarico�, �Tony Williams�, �Tony Williamson� (working with Bill Warren), Tony Williamsune (working with Bill Fraccio) and �Anthony Williamson� (again working with Bill Warren). Attending New York City�s High School Of Industrial Arts, the Brooklyn Museum Of Art Show and the School Of Visual Arts, Tony�s artistic influences included Frank Robbins, Ken Bald, Roy Doty, Stan Drake and Milton Caniff. Tony�s first gig was from 1950 through 1951, assisting cartoonist Frank (MIGHTY MOUSE, LITTLE JACK FROST) Carin; after that, he did some work for Avon, assisting editor Sol Cohen (1951 � 1952) and transforming painted paperback cover-art into line-art to be used in their line of comic books (1953 � 1954) as well as at least one story which appeared in KIT CARSON (1953). From 1950 to 1952, Tony did work for Youthful Magazine�s MASKED MARVEL, STAMPS and various horror comics. During the first half of the 1950s, he also drew for Story Comics (DARK MYSTERIES and horror and western stories) and Trojan Comics (BEWARE and war stories). Around the same time, Tony started a long relationship with Charlton Comics, illustrating the text �filler� feature, �Hot Rod Talk� in the publisher�s automotive comics. Up through 1977, Tony worked on such Charlton titles and features as: 1776; HANNA-BARBERA�S ABBOTT AND COSTELLO; ALL-AMERICAN SPORTS; ARMY ATTACK; ARMY WAR HEROES; ATTACK; BILLY THE KID; BLUE BEETLE; BATTLEFIELD ACTION; BLACK FURY; BLONDIE; BOBBY SHERMAN; BUGALOOS; �Charisma Kid�; CHEYENNE KID; �Cynthia Doyle�; D-DAY; DRAG N� WHEELS; FIGHTIN� ARMY; FIGHTIN� MARINES; FIGHTIN� NAVY; THE FLINTSTONES; GERONIMO JONES; GHOST MANOR; GHOSTLY TALES; GRAND PRIX; GUNMASTER; HAUNTED; HEE HAW; HOLLYWOOD ROMANCES; �Holt Wilson�; HOT ROD RACERS; HOT RODS AND RACING CARS; I LOVE YOU; �Jonnie Love�; JUNGLE JIM; JUNGLE TALES OF TARZAN; JUST MARRIED; �Ken King�; KID MONTANA; LAWBREAKERS SUSPENSE STORIES; LOVE DIARY; THE MANY GHOSTS OF DR. GRAVES; MARINE WAR HEROES; MYSTERIES OF UNEXPLORED WORLDS; OUTER SPACE; OUTLAWS OF THE WEST; POPEYE; RACKET SQUAD; ROCKY LANE; ROMANTIC SECRETS; SARGE STEEL; SIX-GUN HEROES; SON OF VULCAN; STRANGE SUSPENSE STORIES; SUBMARINE ATTACK; SURF �N� WHEELS; �Surf Kings�; SWEETHEARTS; TEEN CONFESSIONS; TEEN-AGE LOVE; TEXAS RANGERS; TEXAS RANGERS IN ACTION; THUNDERBOLT; TIME FOR LOVE; UNUSUAL TALES; WAR AT SEA; WAR HEROES; WILD BILL HICKOK; WORLD OF WHEELS; and WYATT EARP, FRONTIER MARSHAL. Through most of the 1960s, Tony drew stories for Dell Publications, including: ALI; BEWITCHED; BOZO THE CLOWN; CAR 54, WHERE ARE YOU?; DANGER MAN; DRACULA; F TROOP; FRANKENSTEIN; THE INCREDILE MR. LIMPET; THE LITTLEST SNOWMAN; LOBO (1965 � 1966, the first comic book to title-star an African-American hero), MOUSE ON THE MOON; RAGGEDY ANN AND ANDY; ROOM 222; SINBAD JR.; TALES FROM THE TOMB; THIRTEEN (GOING ON 17); WEREWOLF; and WOLFMAN. In the early 1960, Tony drew stories for Gilberton, on their CLASSICS ILLUSTRATED adaptations of �Bright Boots�, �Food Of The Gods�, �How Fire Came To The Indians� and various stories for their THE WORLD AROUND US series. For Parallax Comic Books, Tony (working with Bill Fraccio) drew THE ADVENTURES OF BOBMAN AND TEDDY and THE GREAT SOCIETY COMIC BOOK (both 1966); that same year, he did work for Feature Comics; SICK magazine. In 1966 and 1967, Tony worked on Harvey Comics� line of �Harvey Thrillers� such as �Dr. Yes�, �Jack Q. Frost�, �Jigsaw�, �Pirana�, �Spyman� and UNEARTHLY SPECTACULARS, all edited by Joe Simon. From 1968 to 1971, Tony drew horror stories for Warren Publications� CREEPY, EERIE and VAMPIRELLA. From 1968 to 1972, Tony drew history and science features for T. S. Denison & Co.�s TREASURE CHEST OF FUN AND FACTS. In 1970, Tony freelanced for Major Magazines on CRACKED and WEB OF HORROR, and from 1970 through 1972, Tony drew ALEXANDER PUSHKIN, BLACK INVENTORS, DRUGS � THE WAY IT IS and ROY WILKINS for Fitzgerald Periodicals. For Apag House Pubs, Tony drew articles for GRIN from 1972 � 1973. He also drew a line of comic books with a religious theme for Logos International. Tony�s final comic book story was for Charlton�s GHOST MANOR No. 15, October, 1973 (although he drew stories for Marvel Comics� black-and-white humor magazine CRAZY in 1978.) Along the way, Tony Tallarico drew a multitude of promotional �giveaway� comics; his client list included: Pan-Am; Ford; Ringling Bros.; Maco Toys; WILD BILL HICKOK for Blue Bird Comics; and POPEYE for the King Features Syndicate�s �Career Awareness Program�. For syndication, Tony �ghosted� three month�s worth of United Features Syndicate�s DAVY JONES in 1969. He�s also ghosted Ernie Bushmiller�s NANCY and drawn ZAP THE VIDEO CHAP for the McNaught Syndicate. With his wife of over 44 years, Elvira, Tony created a syndicated newspaper comic strip, TRIVIA-TREAT, that ran from the early 1980s to the later 1990s; their son, Tony Jr., also wrote syndicated features during the 1990s. He also created a supplement comics section for Sunday newspapers for the David C. Cook Publishing Company, SUNDAY PIX. In advertising, He worked for J. Walter Thompson�s advertising agency on their Xerox, Pan-Am and U.S. Government accounts. account. Tony has written and drawn over 1,000 different children�s books � including the �Where Are They?�, �I Can Draw�, �Fun-Filled�, �Ultimate Hidden Pictures� and �The How & Why Wonder Books� series -- for such publishers as Kidsbooks, Tuffy Books, Modern, Simon & Schuster, Price, Stern & Sloan, Treasure Books, Concordia Publishing House, Putnam, and Little Simon on such titles as: TEEN TALES; DRAWING AND CARTOONING MONSTERS; SOUPY SALES AND THE TALKING TURTLE; PUFF THE MAGIC DRAGON; and ASTRONUT AND THE FLYING BUS, among others. On May 19, 2006, Tony Tallarico was presented with the Pioneer Award for �Lifetime Achievement In The Comics And Books Industries� by the Temple University College of Arts and Sciences, especially in recognition of his work on LOBO. Tony Tallarico is a member of the National Cartoonists Society.

Charlton published a total of seven issues of the HEE HAW comic book. Edited by Sal Gentile, the first issue of this series was cover-dated July, 1970 and the final issue was cover-dated August, 1971.

This issue�s 5-page �Hee Haw� lead story features �Junior� in �Off To Nowhere!�, written and drawn by cartoonist Frank Roberge. It begins with [pic2]an unhappy-looking Junior Samples[pic2] -- sitting behind a tree with chickens and a pig for company � eavesdropping on Buck Owens as he chats with Grandpa Jones:

BUCK OWENS:
I�m goin� catfishin�! Junior says they�re biting like mad!
GRANDPA JONES:
Don�t you believe it! I heard they weren�t biting at all!
BUCK OWENS:
Why would he say they were biting then?
GRANDPA JONES:
Well�You know Junior�He�s always tellin� tall stories.
JUNIOR SAMPLES (thinking):
There�s a difference between tall stories and lying! I guess my friends think I�m lying all the time. I�ll show them, I�LL GO AWAY! I�ve haven�t enough money to go anywhere by bus. I�ll have to hop a freight car.

Junior hops aboard a �Ajax Tree Transit� box car labeled number �250�, unaware that the train has pulled to a stop so that a crew of men can load spruce trees onto the train. Curious as to what�s going on outside, Junior rolls the box car�s door open, only to see [pic3]a procession of spruce trees passing by[pic3]:

JUNIOR SAMPLES (thinking):
I�m sure we�ve stopped�I�ll just take a peek outside. We can�t be stopped! Look at those spruce trees zip by�We�re in the North Country already!

To prepare for the cold weather, Junior dons a heavy fur coat; meanwhile, up front, the tree-crew discovers that box car �300� is already full of palm trees! The foreman orders his men to haul the palm trees back to box car �2�. As they race past box car �250�, that�s when Junior decides to take another look outside:

JUNIOR SAMPLES:
I�d better check again�We�re probably in snow country, by now! GREAT BALLS OF FIRE! This train must be going a thousand miles an hour! We�re in the south now! Look at those palm trees zoom by!! Man, I�ve got to get off this crazy train!! But first I�ll change into some lighter clothes.

With that, Junior Samples removes his fur coat and changes his clothes to shorts, sandals and a Hawaiian shirt! [pic4](Now that�s a good-looking cartoon character!)[pic4] As the train begins to roll again, Junior hops off with his traveling bag:

JUNIOR SAMPLES (thinking):
Hot diggedy! She�s stopped�I can get out now! That�s strange�this almost looks like home! Well, I�ll be! That looks like Roy Clark, too!
ROY CLARK:
Hi, Junior! What are you doin� in those kooky duds?
JUNIOR SAMPLES:
Never mind! If I told you you�d say I was tellin� tall tales.

Also included in this issue of HEE HAW are the following stories, features and advertisements:

�Military Men � Your Credit Is Good! Any Item On This Page�Only $20 Monthly!�, a black-and-white, inside-front-cover ad for a variety of women�s and military rings, available via mail-order from �Military Diamond Sales�.

�Insure Your Future With An I.C.S. High School Diploma�, an advertisement for high school equivalency diplomas available through mail-order correspondence courses from �International Correspondence Schools�.

�Kingfish� in �Corn Struck�, a one-page gag-strip written and drawn by Frank Roberge. � Roy Clark is taking [pic5]his hound dog Kingfish[pic5] to the veterinarian because �He has corns��He won�t walk on his back feet�.

�A Hole In One With Buck Owens�, a one-page gag-strip written and drawn by Frank Roberge. � Buck Owens looks on as the son of his friend Lyndon tells his father, �Mommie took me to the dentist today and I only had one cavity!!� Buck tells him that he�d be proud of a son like that; Lyndon asks, �Only if he had one tooth?�

�Grandpa� in �The Poacher�, a one-page gag-strip written and drawn by Frank Roberge. -- [pic6]A young lady who looks like cartoonist Al (LI�L ABNER) Capp�s �Daisy-Mae Scruggs-Yokum�[pic6] as a fashion model (or prostitute, take your pick) is surprised to see Grandpa Jones coming back from picking mushrooms on private land! A sign reads, �INDIAN RESERVATION � KEEP OUT!�, but Grandpa can�t read it -- he claims he left his reading glasses at home, �But you betcha I�ll never go anywhere without them again!!�

�Roy And Gordie� in �Date Service�, a two-page gag-strip written and drawn by Frank Roberge. -- Roy Clark and Gordie Tapp encounter Elmo, a sad-looking hillbilly who needs a date for a charity dance. When he describes his idea of the perfect date � �one medium or short girl�, �one not so young girl� and �sweet, gentle, mild, a good cook and only have eyes for me�, Gordie brings forth Elmo�s mother as the perfect dance-date!

A page consisting of two advertisements: �Polaris Nuclear Sub�, for a �7 feet long� submarine-like novelty available through the mail from �Honor House, Prod. Co.�; and �Monster S-I-Z-E Monsters�, for extra-large posters of Frankenstein or a skeleton, available via mail-order from �Honor House�.

�Feather Power�, a one-page gag-strip written and drawn by Frank Roberge. � Buck Owens and Junior Samples react to their odd-looking friend [pic7](probably one of HEE HAW�s regular cast)[pic7] who wears giant wings on his arms because he hates to walk. The boys convince him to pay a visit to Doctor Phobia the psychiatrist. Surprisingly, he eagerly agrees, but he refuses to walk � and then flies away!

�Roy & Archie� in �The Big Bow Wow Swindle�, a one-page gag-strip written and drawn by Frank Roberge. � Archie Campbell sells [pic8]a small, furry poochie[pic8] to Roy Clark for only five dollars�but it doesn�t seem like such a bargain when the �cute little feller� says �meow�.

�Buck And Grandpa� in �Stampede�, a one-page gag-strip written and drawn by Frank Roberge. � Grandpa needs to hitch his donkey up to his wagon, but can�t catch it, so Buck volunteers by yelling, �C�MERE YOU STUPID JACKASS!� Of course, most of the neighborhood residents respond! Grandpa explains, �You�ve got to be more specific.�

�Quiet Somethin's Hatchin'�, [pic9]a two-page, center-spread �Hee Haw� poster[pic9], drawn by Frank Roberge, featuring rural critters from HEE HAW�s animated segments.

�Hee Haw Horoscope�, [pic10]a faux astrology chart/dart board[pic10] drawn and lettered by Tony Tallarico.

�Lulu and Archie� in �A Walk In The Lake�, a one-page gag-strip written and drawn by Frank Roberge. � Archie Campbell offers to take Lulu Roman a canoe ride (even though she calls him �Gordie�!) But when [pic11]the hefty hillbilly girl jumps into the fragile canoe[pic11], Archie�s plans are instantly scuttled.

�Giggles, Higgles And Wiggles�, a text-page of jokes.

A page of advertisements, including �Boys 12 Or Older Sell GRIT In Your Spare Time�, a half-page ad soliciting for door-to-door delivery boys for �GRIT, The Family Newspaper�; plus smaller ads for a mail-order squirrel monkey, �hawks and falcons for hunting�, �Pet Baby Raccoons�, a �star-studded vest with the leather look�, and mail-order bodybuilding courses.

�Hee-Haw Jigsaw Puzzle�, [pic12]a bizarre activity page[pic12] drawn and lettered by Tony Tallarico. � �You�ve all heard of that famous statue �The Discus Thrower�! Well, here is our answer to this�Just cut out the pieces and assemble.� However, judging by the unassembled puzzle, it looks like a nekkid Junior Samples holding a corn cob, with the label, �The Corn-Thrower�!

�Archie, Gordie and Grandpa� in �Doin' the Stingeroo�, a two-page gag-strip written and drawn by Frank Roberge. -- When Archie Campbell and Gordie Tapp see Grandpa Jones dancing like crazy, they try to get him to sit down, but he refuses. As he dances into the distance, Archie and Gordie sit down on a small mound�and realize that Grandpa wasn�t dancing�he�d just sat on the same ant hill that both of them are sitting on!

�Hee Haw Color Me Page� drawn and lettered by Tony Tallarico. � Archie Campbell and Gordie Tapp finally answer [pic13]the eternal question[pic13], �Why does the chicken cross the road?�

�Corn-Quiz�, a two-page feature using a variety of �Hee Haw� characters answering corny riddles, drawn and lettered by Tony Tallarico.

A page of advertisements, including a half-page ad for [pic14]a �Life Size Inflatable Doll� that�s �life-like in every detail�[pic14], available via mail-order from �Liverpool Sales�; plus smaller ads for model rockets, �Pete�s pets�, stamps, coins and a home-barbering device.

�Home Surgery With Buck Owens and Stringbean�, a one-page story written and drawn by Frank Roberge. -- David "Stringbean" Akeman feels like he�s wasted his entire life, one spent leaning on an old wooden fence and watch the world go by. When Buck Owens suggests, �Well, you must have learned SOMETHING leaning on this fence all these years!�, he inspires Stringbean to start a new business and puts up his sign: �DR. STRINGBEAN � SPLINTERS REMOVED�!

�Lulu's Date�, a one-page [pic15]maze/game[pic15] drawn and lettered by Tony Tallarico.

�The Old Philosopher's Parting Thoughts?�, a one-page feature drawn and lettered by Tony Tallarico. � [pic16]This collection of one-liners[pic16] ends with the �teaser�, �Come on now, gang! Don�t be stubborn as a you know what! Buy the next exciting next issue of�(continued next issue!)�

A one-page advertisement for over twenty practical jokes, gimcracks, gizmos and tricks, all available from �Honor House Prod. Corp.�

�3 Complete Fishing Outfits�, a black-and-white, inside-back-cover ad for 411 pieces of fishing equipment, including rods, reels, lures and a tackle box, available through mail-order from �Niresk Product Sales�.

�Finish High School At Home�, a back-cover advertisement for high school diploma equivalency lessons available via mail-order from the �Academy For Home Study�.

ODDBALL FACTOID � The animated main titles and other cartoon clips in HEE HAW were animated by Herb Klynn�s Format Films, the producer of THE ALVIN SHOW!, THE LONE RANGER and THE CURIOSITY SHOP!

New Next Week: ODDBALL COMIC #1,289 -- MONDAY, JANUARY 25, 2010 � Here�s a lavish �giveaway� ODDBALL COMIC that promises �a career, security, travel, romance, a full life� � in the U.S. Navy! Meet Judy Watson, a teenage girl who goes from working at a department store ribbon counter to rescuing her friend from a desolate island that�s about to be bombed! Let�s all wave �hello� to JUDY JOINS THE WAVES!