The Comics Journal

The Comics Journal, often abbreviated TCJ, is a US magazine of news and criticism pertaining to comic books and strips. It is known for lengthy interviews with comic creators and for sometimes scathing editorials and reviews, particularly with regard to the "mainstream" comics industry and its superhero-heavy products. The magazine promotes the view that comics are a fine art deserving of broader cultural respect, and thus should be evaluated with higher critical standards.

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Collier's Illustrated Weekly

Peter Collier founded the periodical, Collier's Once a Week in April 1888. It was advertised as a magazine of "fiction, fact, sensation, wit, humour, news". By 1892 it had a circulation of over 250,000 and was one of largest selling magazines in the United States. In 1895 its name was changed to Collier's Weekly: An Illustrated Journal. The magazine now concentrating on news and became a leading exponent of the half-tone news picture. To fully exploit this new technology, Peter Collier recruited James H. Hare, one of the pioneers of photo-journalism. Norman Hapgood became editor of Collier's Weekly in 1903. He developed a reputation of employing the country's leading writers. In May, 1906, he commissioned Jack London to report on the San Francisco earthquake. As well as London's account there were sixteen pages of pictures. Under Hapgood's guidance, Collier's Weekly became involved in what became known as muckraking journalism. The most important of these writers who contributed to the journal during this period included Ida Tarbell, C. P. Connolly, Samuel Hopkins Adams and Ray Stannard Baker. Campaigns instigated by Norman Hapgood involved the direct election of senators, reform of the child labour laws, slum clearance and votes for women. In April 1905, an article by Upton Sinclair, Is Chicago Meat Clean, helped to persuade the Senate to pass the Pure Food and Drugs Act (1906) and the Meat Inspection Act (1906). In October, 1905, Samuel Hopkins Adams began a series of eleven articles The Great American Fraud in Collier's Weekly. Adams analyzed the contents of some of the country's most popular medicines. He argued that many of the companies producing these medicines were making false claims about their products. Adams went on to point out that is some cases, these medicines were actually damaging the health of those people using them. The Great American Fraud had a tremendous impact on public opinion and resulted in the passing of the Pure Food and Drugs Act (1906). The passing of the the Pure Food and Drugs Act (1906) and the Meat Inspection Act (1906) helped to establish Collier's Weekly as an agency of social reform. When attempts by various companies to sue Peter Collier ended in failure, other magazines became involved in what Theodore Roosevelt unkindly described as muckraking journalism. Norman Hapgood left for Harper's Weekly in 1912. Robert Collier, son of the founder, became the new editor. Circulation continued to grow and by 1917 circulation had reached a million. During this period Collier's Weekley began to employ top illustrators such as Will Bradley, Sam Berman, Joseph Leyendecker and Maxfield Parrish.By the late 1920s Collier's Weekly began to concentrate on the serialization of novels. Produced in about ten parts, the magazine ran two novels at a time. Non-fiction was also serialized, including an account of the First World War by Winston Churchill. In the 1930s Churchill was a regular contributor to Collier's but this came to an end in 1938 when he became a minister in the British government. During the Second World War the circulation of Collier's had reached 2,500,000. One of the reasons for the magazine's increased popularity was the art work of Arthur Szyk. The magazine also employed the services of outstanding writers such as Martha Gellhorn and Ernest Hemingway. Circulation of Collier's began to fall after the war and in August 1953 it changed from a weekly to a fortnightly magazine. Collier's continued to lose money and in January, 1957, the Crowell-Collier Publishing Company decided to close the magazine down.

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The Raccoon Kids

DC Comics, like most of the comic book industry, owed a great deal of its early success to superheroes. But the long underwear guys were falling out of public favor by the mid-1940s, and DC, which had pioneered in that genre, was, like most other comics publishers, trying various types of comics, hoping for something to replace the costumed characters with. They brought out two new funny animal anthologies in the early part of 1946. Nutsy Squirrel starred in one of them. The other, Animal Antics (first issue dated March-April of that year) introduced The Raccoon Kids.The kids started out in the back pages, with the cover and lead story featuring a rabbit prestidigitator named Presto Pete. The Raccoons replaced Pete for one issue in #3 (July), then took over the cover and lead spot permanently, starting with #6 (January, 1947). The artist who handled them, not just at first but almost exclusively throughout their run, was Otto Feuer (The Dodo & the Frog). The writing credit is less certain, but they're believed to have been co-created by Sy Reit (Casper the Friendly Ghost). The same team (definitely Feuer on the art, probably Reit on the script) was also responsible for Peter Porkchops.Rudy and Rollo Raccoon were typical boys, only raccoons instead of humans, about 8 years old. They were twins, like Heckle & Jeckle or Dover & Clover, but few if any story points were made of their twinhood. They didn't even dress alike. In early stories, their nemesis was Uncle Percy, who frequently played mean tricks on them — but of course, they always managed to avenge themselves with even meaner tricks of their own. Tho supposedly related, Percy didn't look like a raccoon. Maybe he was a short-haired weasel. Later, Percy was dropped from the cast, and the stars were played against a guy closer to their own age, named Muggsy Mole.From the late 1940s to the mid '50s, the DC funny animal anthologies all seemed to follow a similar arc. First, most modified their titles to suggest (without outright claiming) a connection to theatrical animation. Animal Antics became Movietown's Animal Antics with its 24th issue (February, 1950). Then all were re-titled after their lead features. Movietown's Animal Antics became Raccoon Kids with its 52nd issue (October, 1954).Then they all began faltering. Raccoon Kids was published only a couple of times in 1957. Then they all ended. The last issue was #64 (November of that year).After that, it's been as close to oblivion for them as most DC characters ever get. Like the majority of DC's funny animals, the Raccoon Kids appeared in the Funny Stuff Stocking Stuffer special (1985). That, and sporadic reprints are about the extent of their post-series existence.

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Coronet Magazine Illustrations

Coronet was published from October 13, 1936 to March 1971 and ran for 299 issues. The magazine was owned by Esquire magazine and published by David A. Smart from 1936 to 1961.Coronet was published from October 13, 1936 to March 1971 and ran for 299 issues. The magazine was owned by Esquire magazine and published by David A. Smart from 1936 to 1961.

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Tales From the Crypt: The Official Archives

Fans of the original E. C. Comics series of comic books may be thrown off by the photograph on the cover of this Tales from the Crypt history, thinking that it deals only with the television show. Well, you're in for a frightfully good surprise, because more than half of the book centers on the comics series itself. There are four special sections of this book, each of which is worth the price of the whole book: there are biographies of 13 artists from the E. C. stable; glossy, full-color covers for all 105 E. C. horror comics; 4 beautifully reproduced, complete tales in their original form (on creamy white paper stock); and a never-before-seen "Picto-Fiction" story from E. C.'s heyday, illustrated by Jack Davis. All of this and more has been lovingly put together by literary correspondent and columnist, Digby Diehl.

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The American Magazine, July 1932

The American Magazine, July 1932

The American Magazine was a periodical publication founded in June of 1906, stemming from failed publications purchased a few years earlier from publishing mogul Miriam Leslie. It operated between 1904 and August 1905 as Leslie's Magazine; then until May 1906 as the American Illustrated Magazine; then subsequently as The American Magazine until publication ceased in August 1956. In June 1906, muckraking journalists Ray Stannard Baker, Lincoln Steffens and Ida M. Tarbell left McClure's to help create American Magazine. Ray Stannard Baker contributed articles under the pseudynom David Grayson. Under John S. Phillips, who served as editor until 1915, the monthly magazine departed somewhat from the muckraking style and focused on human interest stories, social issues and fiction. Initially published by his Phillips Publishing Company of Springfield, Ohio, it later was taken over by Crowell Publishing Company, which merged with Collier's. It was published by Crowell-Collier until the magazine folded in 1956. With the changes in 1915, the periodical's editor was John M. Siddall (1915-1923), and it expanded its market considerably by concentrating on female readership. The cover of the September 1917 issue announced: "This Magazine's Circulation Has Doubled in 20 Months." The September 1922 cover stated circulation had reached 1.8 million. Merle Crowell served as editor of American Magazine from 1923 until 1929 when Sumner Blossom took over. Blossom, who had been editor of Popular Science, was there for the last 27 years of the magazine's existence. Fictional serials and short stories were a popular feature, and the magazine published several winners of the O. Henry Awards. High-profile writers contributed articles on a variety of topics. During his editorship, Blossom adopted the unusual policy of hiding the author's name on all works of fiction during the selection process, as a way to encourage new fiction writers. The magazine's staff only learned the author's identity once they accepted or rejected a manuscript. The American Magazine ceased publishing in August of 1956.

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The Deadliest Heroes of Kung-Fu (Curtis 1975)

The Deadliest Heroes of Kung-Fu (Curtis 1975)
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Not Brand Echh #1

Superhero satire had appeared previously in comic books, notably in occasional stories in EC's 1950s Mad comic book, prior to its becoming a black-and-white magazine. Later issues would parody films and TV shows (including Bonnie and Clyde and the 1960s The Green Hornet) as well as comics. Typical stories and name transpositions included Ironed Man (Iron Man) vs. Magnut, Robot Biter (Gold Key Comics' Magnus, Robot Fighter); "Best Side Story", with Dr. Deranged (Dr. Strange in West Side Story pastiche); "The Origin of...Stuporman", a Superman takeoff recalling Wally Wood's influential "Superduperman" in Mad #4 (April-May 1952); The Ecchs-Men in "If Magneat-O Should Clobber Us", parodying not only the X-Men and Magneto but also the high melodrama of 1960s Marvel titles; and Marvel characters visually standing-in for the baseball-player protagonists of the otherwise faithfully rendered famous poem "Casey at the Bat". In a more topical reference of the time, Gary Friedrich, writer of Sgt. Fury and his Howling Commandos, and cartoonist/Marvel production manager John Verpoorten contributed a Marvel-character version of the Beatles' famed Sgt. Pepper's Lonely Hearts Club Band record album art. Events took place in the "Marble Universe", a play on the Marvel Universe. Not Brand Echh gave rein to creators not normally associated with humor, and offered rare teams of penciler and inker. Cartoony artist Tom Sutton — who along with Marie Severin was the series' most ubiquitous illustrator — might ink the grand, polar-opposite pencils of Jack Kirby, over even Marie Severin pencils over Kirby layouts, a combination seen nowhere else. Writer Friedrich did layouts completed by artist Herb Trimpe. Warren Publishing editor Bill DuBay drew and co-wrote one story in his only Marvel appearance.

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Not Brand Echh # 2

Not Brand Echh was a satiric comic-book series from Marvel Comics that parodied its own superhero stories as well as those of other comics publishers. Running 13 issues (Aug. 1967 to May 1969), it included among its contributors such notable writers and artists as Stan Lee, Jack Kirby, Gene Colan, Bill Everett, John and Marie Severin, and Roy Thomas. With issue #9, it became a 25¢ "giant", relative to the typical 12¢ comics of the times. Its mascot, Forbush Man, introduced in the first issue, was a superhero wannabe with no superpowers and a costume comprised of red long johns emblazoned with the letter F and a cooking pot, with eye-holes, covering his never-revealed head. His secret identity was eventually revealed in issue #5 (Dec. 1967) as Irving Forbush, Marvel's fictitious office gofer. The name was a play on an advertising convention of the time, in which a competitor's product was not referred to by name but simply as "Brand X"; DC was sometimes playfully called "Brand Echh" in Marvel "Bullpen Bulletins" and letters pages, hence this comic was "Not Brand Echh". The official title in its postal indicia was Brand Echh for its first four issues, and afterward Not Brand Echh, the cover title from the start.

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remember - Joe Camel

Joe Camel was conceived in the 1950s by Billy Coulton, art director on Long Island working on a T-shirt promotion for the brand in Europe. The R. J. Reynolds U.S. marketing team, looking for an idea to promote Camel's 75th anniversary, re-discovered Joe in the company's archives in the late 1980s.

Quote from the New York Times:"Joe Camel was actually born in Europe. The caricatured camel was created in 1974 by a British artist, Nicholas Price, for a French advertising campaign that subsequently ran in other countries in the 1970's. Indeed, Mr. O'Toole recalled a visit to France many years ago during which he glimpsed Joe Camel wearing a Foreign Legion cap. The inspiration behind Mr. Price's cartoon was the camel, named Old Joe, that has appeared on all Camel packages since the brand's initial appearance in 1913.

Joe Camel first appeared in the U.S. in 1988, in materials created for the 75th anniversary of the Camel brand by Trone Advertising. Trone is a mid-size agency in Greensboro, N.C., that Reynolds used on various advertising and promotional projects.

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Red Meat

Begun in 1989, Max Cannon's Red Meat is a popular independent comic strip. It appears in over 75 alternative weeklies and college papers in the United States and in other countries. As of 1996, it has been available for reading on the web.Bizarre, often tasteless, twisted, cheerfully dark, but funny, the strip features a cast of characters who are at times lovable, at times repulsive, with personalities firmly set at an oblique angle to the canons of normality. A visual hallmark of the strip is the almost total lack of movement of the characters from panel to panel and a Featureless Void of no background.

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Happy Valentines Day - Jack Cole Style

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Tenggren Tell It Again Book 1942

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Felix Lorioux's Puss In Boots

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Mid 1930s Advertisements From Colliers

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Casey Strikes Out In Coronet Magazine

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Count Screwloose & Babbling Brooks Sunday Pages (1930)

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