Dec 17, 2009

THE BARKER Part Two: The First Spider-Man

Story this post:
”Colonel Lane’s Mammoth Circus”
Story by Joe Millard, Art by
Jack Cole
National Comics #43
(August 1944 – Quality Comics)

The cover of National Comics 43 is shown in this rare back issue comic book Cover art by Jack Cole

Jack Cole and writer Joe Millard really stepped up the plate with their second and last BARKER story. (For more information on Millard and the first Cole Barker story, see here)

This story has more of what I’d expect a in series set in a carnival mileau. Millard did his research. The carnies in this story talk more realistically, using carnie slang, such as “gaff,” “rube,” and even “freak” (as in sideshow attraction). There’s an advance PR man, and even a toned-down snake dancer makes an appearance.

The story’s set-up is classic carnie lore, with the show coming into in a town that can barely tolerate them and on guard for any robbery or foul-play. This story conflict was beautifully depicted in the little-known movie Carny (1980) starring Gary Busey and Robbie Robertson (former member of The Band and an ex-carnie himself). Carnival fans might enjoy seeking this obscure gem out.

Millard cleverly opens the story with The Barker enticing his audience into the sideshow for the price of “one thin dime,” but also luring the reader into the comic book, which also cost only a dime.

Cole’s splash page, while a little visually confusing, clearly represents a step up in effort from the previous story, and is an extraordinary opening page, by any standard:

1_cartoon 1944 carnival midway   2 back issue comic National 43 3 comic book carnival cartoons 1944 4 back issue comic book rare National 43 5 cartoon circus freak 1944 6 vintage comic book National Comics 7 vintage cartoon carny girl dancer 8 comic book hero The Barker 1944 9 cartoon of 1940s carnival tents rides 10 rare old back issue comic National 43 11 comic book first spider-man 1944

As far as I know, this may well be the first appearance of the Spider-Man concept, albeit in a radically different conception. I wonder how Joe Millard felt in the 1960’s when the Ditko/Lee version became a smash hit. The Barker’s Spider-Man, Clarence Twiddle, became a regular in the cast after this story.

It is interesting to note that the character of the rival carnival’s PR man, Press Hardt, resembles a slicker, more evil Woozy Winks.

Cole’s artwork in this story is rich with Americana details. In this respect, the work reminds me of his later Angles O’Day series, as well as his Augie Moore and The Teen Terrors one-shot.

While Cole’s wild, imaginative bent is “hobbled,” as one reader commented on the first Barker story, the art also feels more disciplined, and is evidence that Jack Cole was working hard to harness his immense talent toward the end of creating a quality (no pun intended) product that represents something other than his sole vision.

During this same period, Cole was ghosting on Will Eisner’s Spirit (for examples of this, see here), yet another instance of the inspired artist re-shaping his style and approach to fit into a different mold.

1944 was indeed the year Cole graduated from being a wunderkind tyro cartoonist to a true industry pro. It was the mid-point of his 16-year career in comics. While so many of his peers were away at war, Jack Cole stayed behind somehow, taking on large amounts of the extra available work to build up a savings in case his number was called for military service (it never was).

Shortly after this period, the restless, ever-shifting Cole would develop a second career selling sexy gag cartoons to men’s magazines which would eventually lead to his famed work as Playboy Magazine’s premier cartoonist in the 1950’s and a whole new level of income and lifestyle for him and his wife. His work on Plastic Man would be diluted with the hands of others, although Cole would occasionally surface with a brilliant new Plastic Man story.

Starting with the next issue of National Comics, Klaus Nordling took over the writing and art duties and made The Barker into his own, wonderful, offbeat series. In my next posting, The Barker Part Three,  I’ll look at a Nordling Barker story, ponder the similarities in his and Cole’s styles, and analyze a story from The Barker #15, that appears to be a possible collaboration between Cole and Nordling!

Though he didn’t draw any more Barker stories, Cole contributed several more covers for the series. I’ll leave you with a gallery of these fine Jack Cole covers.

Nat46_01

Nat47_01National 49-01

national5001-cov

national5101-cov

Dec 12, 2009

THE BARKER (1944) – Step Right Up! SEE a Man’s Comic Book Career at the Turning Point! LEARN the Joe Millard Connection! (Part 1)

Story this post:
“The Barker”
Story by Joe Millard, art by Jack Cole
National Comics #42 (May, 1944 – Quality Comics)

Cartoon of carnival barker in front of freak sideshow banners golden age comic book.

A special thank you to reader Constantine for his donation and support of my work on this blog! Much appreciated!

Jack Cole’s two BARKER stories represent a major turning point in his career from being the solo artiste genius who wrote, lettered, penciled, and inked his own stories to an accomplished professional working with collaborators.

Prior to 1944, Jack Cole’s comic book work is purely his. After 1944, mainly due to the popularity of his Plastic Man series and the demand for more pages than Cole could single-handedly produce, his stories are sometimes collaborations with other writers and artists.

It’s sometimes recounted that, when Quality publisher Everett “Busy” Arnold told Cole Plastic Man would be written and drawn by others, Cole burst into tears.

Prior to that, however, Cole’s first collaboration was with writer Joe Millard on the first two stories of The Barker (National Comics 42 and 43). The stories are very conspicuously signed and credited to both men. Were the publisher and editors at Quality easing Cole into the idea of collaboration?

This first story introduced the lively world of Carnie Callahan and his unusual friends. Callahan’s job as a carnival barker was to shout at passers-by and lure them into the sideshow, where they would see the fat lady, the strong man, and so on.

This was a rather unusual concept for comic books at the time, and represented, I think, the start of a shift in comics to light-hearted adventure stories as WWII wound down and comics were no longer driven by the vast propaganda efforts of 1942-43.

This story may well be the first time Cole drew a story he did not write. His art in this story is very tight and polished. He may well have poured the energy he usually reserved for writing into the art. His staging is rich with detail and unusual camera angles. Cole’s lively art style perfectly suits the world of the carnival sideshow.

It may well be that writer Joe Millard presented Quality comics with a Barker concept or even a script as a way of breaking into Quality. It’s easy to imagine an editor deciding that Jack Cole was the ideal artist to draw a comic book story featuring bizarre characters in a colorful setting.

In any case, this story is fascinating for a Jack Cole fan to read because it’s kind of a “lite beer” version of a typical Jack Cole story. This story shows just how much magic the organic combination of BOTH Jack Cole’s writing and drawing brought to the printed page. Here, with just Cole’s drawing, the story is pleasantly entertaining, but lacks Cole’s weirdness and his driven need to explore certain darkly compelling themes.

I’m happy to present to you now the debut story of The Barker, with additional notes on author Joe Millard following:

  2_Cartoon of sideshow strongman 3_ National Comics 42 4_carnie midget cartoon 5_carnie fat lady cartoon 6_back issue comic 1944 7_The Barker comic book 8_cartoon old car 9_vintage comic book 1940s 10_cartoon carnival fortune teller 11_collecor back issue national comics 12_fat lady carnibal cartoon

You’ll notice that, in the last panel, Millard and Cole cannot resist throwing in a sly in-joke reference to Plastic Man, who was originally going to be called “The India Rubber Man.”

Joe Millard’s writing career spanned from the 1940’s to the mid-60’s, and possibly beyond. Born in 1908, Millard wrote for comics and magazines alike. His writing credits in the Grand Comics Database (71 as of this writing, but very likely he wrote far more comic book stories) include work in the early forties at Fawcett, including stories in Captain Marvel Adventures, Mary Marvel, and Captain Marvel Jr.

Master33_1 Millard also contributed some fairly entertaining text pieces Master33_2for Fawcett in the early 1940’s. In Master Comics, he appears to have had an unusual serialized adventure story featuring a wartime pilot named HOODOO HANNIGAN. The text pieces ran for several issues, each appearance being a chapter in what was likely a long, pulpish novel. The HOODOO HANNIGAN  stories were Master33_3also unusual in that they ran three pages, instead of the customary two pages, the minimum amount of text required by the post office to grant a bulk mailing license (the sole reason pre-1970 American  comic books included two pages of text, in later years usually a letters column or at Marvel, Stan Lee’s shamelessly promotional Soap Box).

You can see a similarity between Millard’s imagination and Jack Cole’s in this striking “Red Skye” one-page text feature from Captain Midnight #23 (Fawcett, August 1944):

CaptMidnightTextSTory

The idea of a bomber blowing up a Buddhist temple caught my attention. The last two lines, “Lucky it wasn’t a real Vishnu temple. We sure defiled it with plenty of corpses that last run.” were so similar to Jack Cole’s writing that I briefly entertained the idea that Millard might actually be a pen name for Cole. As it turns out, Millard continued to produce past 1958, so he was definitely NOT Cole!

Millard scripted stories at Quality for BLACKHAWK, KID ETERNITY, and PLASTIC MAN, among others. In fact, I was quite surprised to read in the Grand Comics Database (which is not necessarily always correct) that Millard is credited with scripting some of the most memorable later Plastic Man stories, including some you, dear Cole fans, will very likely recognize:

The Case of the Ancient Clues
(Police Comics #75 – Feb. 1948)

The Killing of Snoopy Hawks
(Plastic Man #3 - Spring, 1946)

Plastic Man Products
(Plastic Man #17 - May, 1949)

Sadly Sadly
(Plastic Man #20 – Nov. 1949)

All of the above stories were reprinted in DC comics in the early 1970’s, and I suspect have been widely regarded as some of Jack Cole’s best stories. It’s kind of a shock to consider that they may have been written by someone else.

The above stories with their themes of suicide and shape-changing seem to me to be products of Jack Cole’s mind, but perhaps I am wrong.

Considering the rest of Millard’s output, these superb Plastic Man stories he may have written (I’m not ready to fully agree that he wrote them) may well represent a high point in his career.

mansionofevil What IS known  and can be validated about Millard’s work is that he was the author of what is now considered to be one of the earliest, if not the first graphic novel, a 4x7 inch standard paperback called Mansion of Evil (Fawcett, 1950). Modern day comics master Seth, in his wonderful little volume Forty Cartoon Books of Interest, calls the book “dreadful,” “dull,” and “hackneyed.”

After writing several SIERRA SMITH (Millard loved catchy names) stories drawn by Alex Toth that appeared in DC’s Dale Evans Comics, Millard turned from western to science fiction and wrote a number of stories for DC’s 1950’s science fiction titles, including Strange Adventures and Mystery In Space.

IGodsKansasn 1964, Millard published a real live science fiction paperback original with what has to be one of the best or worst titles ever, depending on your viewpoint, The Gods Hate Kansas. I haven’t read the book, so I cannot attest to its quality. It was made into a reportedly terrible (Seth again) movie called They Came From Beyond Space. I much prefer the original title!

In the 1960’s, Millard returned to the Western genre and wrote a handful of paperback novels based on the popular “Dollar” movies of the times made by master Italian filmmaker Sergio Leone and starring Clint Eastwood. The books, which include one called A Coffin Full of Dollars, are reportedly “absurd” by one Internet poster.

That’s what I know about Joe Millard, except that he may have scripted the DICK TRACY newspaper comic strip, as well. See also Jerry Bail’s Who’s Who in Comics entry for Millard here.

The idea that Joe Millard may have written some of the best later Plastic Man stories is certainly intriguing, and a question that I hope can be resolved with certainty one day.

Next post, we’ll look at the second Millard/Cole BARKER story, and take another glance at how Jack Cole and Klaus Nordling’s careers, and styles intersected.

Dec 8, 2009

A Tear Sheet And Two Snapshots - Jack Cole’s 1932 Bike Trip Across America and Back

1932 - Snapshot One:

Comic book artist Jack Cole and his bicycle in 1932 With a stomach full of ice cream, the gangly, sunburned kid had pedaled his beat-to-heck bicycle across two-hundred and fifty miles of barren Arizona desert, headed for Los Angeles. He had managed thirty torturous miles, during the blistering summer heat, and finally had to park under a shade tree in Needles, California, where he sat, panting and exhausted.

Now, a half-day later, he was trying the trek across once again, in the cooler night hours.

The desert at night is as silent as death itself. No cars have passed for him hours. There’s nothing out here. No gas stations or stores. No homes where he might beg for some water. Just the thin, dusty ribbon of asphalt and the flat desert, as far as the eye could see in any direction.

He has to keep going. If he doesn’t make it across in the cool of the night, he might not make it all. Like a drawing in one of his rough-edged cartoons, the circle of the full moon silhouettes Jack Cole’s comically tall and skinny frame as he resolutely moves towards his goal.

++++

Snapshot Two:

Sometime later, the kid is back at home in New Castle, Pennsylvania. Sweaty and tired, he comes home one afternoon from his job at the local can factory. “Letter for you,” his mother musically chimes, and a thrill shoots through him. His slender fingers tear open the envelope and extract a letter informing Jack Cole he has sold an article.

(As of this date, the publication information on this article is missing. Is is not, as has been previously attributed, his famous first sale to Boy’s Life magazine. Very likely this was an article published in Cole’s hometown newspaper, probably in the Sunday rotogravure magazine section.)

It was an article he had written and illustrated about his 7,000 mile trek, mostly by bicycle, across the United States . In the article, he had breezily glossed over his injuries, extreme poverty, periods of starvation, and near-death experiences. The brief article was stuffed with little jokes, puns, and vivid comical portraits. It almost read as a script for a Fleischer Brothers cartoon. He took what had been at times a dark, frightening journey and made it seem like a wildly imaginative, grand comical quest.

The article was a sort of innocent, condensed preview of Jack Kerouac’s On The Road, a novel that would come along about twenty years later and define not just a generation, but a quality of American life. Cole writes: “There came to me an irresistible desire to go somewhere – anywhere.”

In the years to come, the kid with severe wanderlust would mature into a great storyteller and find an outlet for his restlessness in becoming a trailblazing innovator of a brand new art form that combined words and images in an entirely new way. His stories, like his first publication, would often make light of some of humanity’s darkest moments. Here is that momentous first publication and Jack Cole’s own account of an amazing, Quixotic and desperate search for his destiny.

Tear Sheet: “A Boy and His Bike” text and illustrations by Jack Cole

Jack_Cole_boyslife0 It was spring; the calendar read a quarter past 1932. Grass grew green. Birds warbled as they watched our old maple tree slowly unclench her fist-like buds into countless emerald leaves. And along with the resurrection of vegetation there came to me an irresistible desire to go somewhere – anywhere.

I had hoped to see the Olympic Games being held that summer at Los Angeles, California. In fact, Dick – likewise suffering from wanderlust – and myself were already rounding out plans for making the journey via Model T; then Dick’s family moved from town. I could not afford to buy and operate an automobile alone, so I had to find a cheaper mode of transportation.

“Can I hitchhike out, Dad?” I asked.

His answer was emphatically no.

Finally, as a last hope, I sought permission to go by bicycle, and mirabile dictu, the necessary permission was granted.

By July 11, all was in readiness: bicycle overhauled, route mapped out, equipment gathered, clothing packed. The following morning, at dawn, my journey began, and, glancing back over my shoulder, I said good-by to the old homestead, to New Castle, and later in the day, to Pennsylvania itself. Like all greenhorns, I was sure that the more the equipment, the better the trip. In addition to the clothing I wore, my outfit consisted of: two blankets, a pup tent, raincoat, three pairs of socks, underclothing, bathing suit, sweater, bicycle tools, medicine kit, sewing kit, canteen, cooking utensils, food, Bible, flashlight, paper, pencils, towels, soap, and a mouth organ [harmonica].

Jack_Cole_boyslife3Fourteen hours of continuous pedaling, that first day, caused severe cramps in both legs. This was my first time on a bike in two years. I crawled off and set up camp beside a cemetery. Then, after preparing a slipshod meal, I fell into undisturbed sleep. The first hundred miles proved to be by far the most trying. Each succeeding day became less and less tedious, and correspondingly more enjoyable.

Near Indianapolis, Bessy, my trusty steed, began to wheeze and buckle slightly at the knees, protesting such an excess in luggage; so I gathered all unnecessary articles, including the raincoat, and shipped them home C.O.D.

Up at daybreak each morning, I would cook breakfast, pack up, and set out, stopping only for an occasional snack, or perhaps to fill my radiator at some wayside pump. I was often able to buy from a farmer a quart of milk for two cents, or half a dozen eggs for a nickel. Thus living was inexpensive. My greatest extravagance was a quart of ice cream a day. Old Sol sang daily to the tune of ninety degrees in the shade. To find camping sites was no problem; fields were plentiful, or sometimes a considerate farmer would permit the use of his hayloft. The most preferable spot, though, was to be found near tourist camps, where I stood the chance of getting a refreshing shower bath if the proprietor happened to be in a congenial mood.

One week on the road took me to St. Louis, Missouri. Two days later, while stopping for the night near a swamp, I was awakened from sleep to find my face a mass of stinging, swelling welts. Mosquitoes – hundreds of them – were attacking me savagely from every angle, and I was forced to spend the remainder of the night with a wet towel over my face, leaving only my nose protruding.

Mother and dad had promised to write often, so the first thing I did, upon reaching Kansas City the next day, was to make a bee line for the post office – which was closed. This meant an overnight stay. A fifty-cent hotel furnished sleeping accommodations. Here I received the first glimpse of myself in a mirror since starting. I could hardly recognize myself! The mirror reflected a six-foot lad whose 150 pounds had Jack_Cole_boyslife4 diminished to 135 pounds in ten days (this explained the sudden slack in his trousers). His face was swollen abnormally – one eye completely closed – from mosquito bites; broiling sun had chipped off most of the top soil from his nose, leaving it a brilliant crimson hue; his head, which a friend had graciously shaved just before the trip, was sunburned to the peeling point.

I had left a loaf of bread on the bicycle that night, wrapped in my swimming suit (you’d be surprised how a damp suit maintains the freshness of bread), and in the morning when I went to get it, I discovered that rats had completely demolished both bread and water togs. But rivers were becoming scarce, so the loss was not tragic.

Kansas plains offer a veritable paradise for cyclists. With an assisting breeze, it was not at all impossible to cover 150 miles a day. Dodge City, Kansas, proved to be – to me at least – the doorway to the romantic West. Here I saw with wonder my first cactus plant, rattlesnake, horned toad, and prairie dog. But soon these sights became commonplace.

Although most of the roads were in good condition, there were some whose construction plainly vetoed bicycle traveling, those of gravel or sand. Pedalling through sand is like tramping through deep snow sans snowshoes.

About Bessy: she was the height of inconsideration and indiscretion. While descending a precipitous maintain pass in Colorado, I naturally applied the brakes. Instantly everything collapsed. The repair job that followed bit so mercilessly into my pocketbook that a request for currency was promptly rushed eastward.

On this same day, near sundown, I was idling along at a leisurely pace, when all at once a loud report sounded, and simultaneously a bullet whistled directly over my head. About one hundred feet away stood an intoxicated Mexican, gun in hand, evidently enjoying the time of his life, but my sense of humor was not keen enough to appreciate such a joke. Bessy certainly could cover ground with the proper incentive – those succeeding twenty miles passed in a blur.

Nights in New Mexico’s highlands are filled with enchantment. The bright moon shines down upon white mountain peaks; the air is cool and refreshing. Occasionally a distant coyote interrupts the stillness with an unearthly howl. To counter-balance the beauty, though, were steep and snake-like roads, opposing my efforts of shin with all the forces of gravity. Travel was consequently slowed down.

Flat tires? By the good grace of Lady Luck, only once did this happen. Four miles west of Flagstaff, Arizona, a sharp piece of gravel accomplished the deed. Instead of back-tracking four miles, I plunged on ahead, hoping to buy a new tired at the next town. To my chagrin, I straggled 150 miles – walking fifty and receiving a lift for the remainder to Kingman, Arizona, before finally locating a place where tires were sold.

Between Kingman and Los Angeles lie 250 miles of continuous desert, and the next day, when I reached Needles, California, situated in the very heart of it all, the temperature registered 120 degrees in the shade. After dining on ice cream, I rode out into the sweltering heat. Ten-miles up-grade I pumped. Not a house, tree, nor even a signboard. My head began to reel and it seemed difficult to breathe, so, pouring the entire contents of my canteen over my body, I turned about and scurried back to Needles. I started out again after dark.

All through that night and the following day I rode, and reached Los Angeles about sundown. Forty hours without sleep! I went to bed at once.

The 3,000 mile journey had been covered in 23 days, averaging from 100 t0 150 miles a day. Bessy was so utterly fatigued from such an ordeal, that, like the one hoss shay, she simply went to pieces. There was nothing to do but abandon her, close friends though we had been. (Jim Steranko notes that Cole actually threw Bessy in the Pacific Ocean).

No story is complete without a certain degree of pathos. The sad part of my story is that after coming this far for the express purpose of seeing the Olympics, I did not have enough money to gain admittance. I remained in Los Angeles a week in a cheap hotel.

When my clothes from home arrived, I hitchhiked to Long Beach and spent a most enjoyable week at the home of friends. Early one morning we drove up into the San Bernadino mountains, to try our luck at gold mining, and we did manage to pan out about twenty-five cents worth of the metal.

I had relatives living near San Francisco, so I decided to pay them a visit next. To be suddenly catapulted from the role of poor vagabond to feted guest is bewildering. Tennis, theaters, motoring trips, operas, swimming, boat rides, field clubs – al wedged tightly into two weeks, left me nearly breathless.

In spite of the hospitality showered upon me, I began now to want to go home. When I disclosed my intention of hitchhiking the distance, my uncle thrust two ominous thumbs downward and offered – or rather insisted upon – a bus ride home at his expense. When an irresistible force meets an immovable object, the only satisfactory solution is a compromise, which, in this instance, took the form of a new bicycle.

Late Bessy’s many faults were impressed upon me anew on that seventh day of September as I rode away from San Francisco on my fine new bike. In a day and half I reached Yosemite National Park.

Jack_Cole_boyslife2 One afternoon, as I tramped along a mountain, 8,000 feet high, I came directly upon a grand-daddy rattlesnake. Rattlers are not usually found in so high an altitude, but I wasted no time in argument with the malicious-looking creature about his right to be there.

Another hazardous experience presented itself as I was coasting down a steep, winding road one day. In the middle of the hill, my brake refused to function, and immediately the bicycle lurched ahead at breakneck speed. Forty miles an hour I tore around sharp, blind curves which automobiles were required to descend in second gear. I attempted to drag my feet along the ground, but this was useless and only ruined my shoes. At the bottom, the road changed from asphalt to one of rough gravel, and, when the gravel was reached, the jolting and bucking nearly threw me. I finally came to a stop, smoke pouring from the brake, and handlebars bent noticeably out of line.

Reno, Nevada, loomed ahead three days later. Inventory disclosed the disheartening fact that a dollar and fifty cents constituted my entire capital standing. Taking the bitter with the sweet, I continued on. Two days later, another such victim of nomoneyitis happened along in an automobile, and offered me a lift in return for the price of some imminently necessary gasoline. I offered that last dollar without hesitation.

Nothing but a faintly perceptible odor of gasoline remained in the tank when we found Salt Lake City the following morning. One partly filled box of griddle flour stood between us and starvation, and even this barrier vanished as we prepared puny flapjacks from it.

But luck again smiled, and no sooner had I passed from Salt Lake City than a shoemaker and his wife picked me up. They were en route to Chicago with a truck load of shoe heels which they peddled in each town. Nineteen long hours a day I worked at driving the truck, and at night, finishing ladie’s high heels. It took a whole week to reach Cheyenne, Wyoming, a distance of 500 miles. Here money from home awaited, so I promptly returned to cycling.

Nights grew colder and I was forced to patronize tourist homes. At Omaha, Nebraska, the thermometer crept so low that a pair of gloves became necessary.

Spurred on by the cold, I established a trip record of one hundred and forty miles in none hours, the day I reached Chicago.

But the most memorable day was October 11 – the end of three exciting months away from home. I had traveled 7,000 miles, to return weighing five pounds heavier than ever before. The trip had been one long succession of enjoyable experiences, but none could match the happiness within me that night as I peered in through a window at my family gathered about the supper table.

+++++

Note: In his excellent chapter on Jack Cole that appears in The History of Comics Volume Two, Jim Steranko recounts how, a few hours before arriving home, Cole had phoned home. He knew his family and a lot of the town would turn out to welcome him back. He circled around the back way, slipped into his house, where a crowd had gathered in his front yard. Jack Cole about gave his father a heart attack when he came in to find his son casually sitting in the living room, reading the newspaper as if it were an ordinary day and he had not been away on the trip of a lifetime for the last three months. As Steranko writes, “as usual, Jack Cole had the last laugh.”

All text copyright 2011 Paul Tumey

Related Posts Plugin for WordPress, Blogger...