Feb 1, 2012

SCREWBALL! A New Tumey Blog!

Announcing: The Masters of SCREWBALL Comics - a new blog by Paul Tumey!


My study of Jack Cole's work and exploration of what I like about it has led me to a parallel exploration of the sub-genre of old comics known as "screwball comics." Cole started out zealously creating wacky SCREWBALL comics and it informed much of his work in the years to follow, including his Plastic Man stories.



My interest in SCREWBALL comics has become so keen that I've decided to start a new blog. Just as with Cole's Comics, I hope that maybe this new blog will help me develop some genuine scholarship and critical structures that will lead to a deeper understanding and appreciation of this fascinating form of comics.

But mainly I hope it leads to getting some publisher to pay me money to make them a book! Gawrsh!

Here's a taste of what you'll find there:

The Squirrel Cage by Gene(eeyus) Ahern, 1945

Anyway, I thought the readers of Cole's Comics might like to know about this new blog of mine. You can visit it at www.screwballcomics.blogspot.com. Thanks in advance for visiting, and please let me know what you think!

- Paul Tumey


Jan 28, 2012

Jack Cole Playboy Cartoon Rejects Appear in Hefner's College Humor Mag

From 1946 to 1949, Jack Cole's friend and publisher, Hugh Hefner attended the University of Illinois in Champaign/Urbana. 


Incredibly, Hef earned his Bachelor's degree in just two- and-a-half years by doubling up on his classes. 


Somehow, he also found the time to start a new magazine, rather boldly named Shaft, which became the U of Illinois' humor magazine. An ambitious cartoonist at the time, Hefner published many of his own cartoons in Shaft.  Here's a cover he drew for the January, 1948 issue (courtesy of the University of Illinois archives):



Here's a Hugh Hefner cartoon not from Shaft, but from the college newspaper, the Daily Illini. This example, with its comment on the modern woman, is a primitive form of the sexual cartoon Hefner would develop into its own art form with Jack Cole and others:


During the time he edited Shaft, Hefner introduced a (clothed) Co-Ed of the Month feature, the first version of the famous Playmate of the Month centerfold that would become a staple (or, more accurately, embrace the staples) of Hefner's Playboy magazine.

Hefner graduated in 1949 and went on to create Playboy in 1953 where he quickly attracted Jack Cole's cartoon submissions. As we've recently discovered, in 1954-55, Jack Cole created a number of  magazine cartoons and comic strips that have been mostly forgotten and overlooked. He was in transition from a 16-year career in comic books towards being a star magazine cartoonist and then syndicated comic strip creator. 1954-55 was a period of renewal, and rebirth for Jack Cole.

Sam Henderson wrote a while back that he had a Jack Cole cartoon from the April 1954 issue of  Shaft. Here then, is yet another "lost" Jack Cole cartoon, thanks to Sam Henderson:



In his Magic Whistle blog, which has several covers and cartoons from 1954 issues of Shaft, Henderson speculates that the Jack Cole cartoon may have been a Playboy reject that Hefner passed on to his alma mater. That seems a reasonable assumption. The cartoon, which is funny enough, doesn't seem in the same league as Cole's Playboy work... and of course, it has nothing to do with women or sex. Maybe someday I'll get up the gumption to attempt to contact Mr. Hefner and find out for sure.



Our friend and fellow comics historian, Ger Apeldoorn recently purchased some issues of Charley Jones' Laugh Book Magazine, a bottom-of-the-barrel cartoon/humor magazine. Ger was delighted to discover, nestled among various minor work by unknown and forgotten cartoonists in the July 1955 issue, a terrific full-page Jack Cole cartoon! Many thanks to Ger for kindly sharing this new discovery with this blog. Be sure to check out his amazing blog, The Fabuleous Fifties which is a treasure-trove of comics and information.



Note the tagline at the bottom right of the page, "Jack Cole in Shaft":



This seems to indicate that this cartoon is a reprint from an issue of Shaft, where it originally appeared. At this time, I have no access to the 1954-55 run of Shaft, so I cannot identify the issue in which this cartoon appeared.

Again, the theory that this cartoon is actually a Playboy reject makes sense. Hefner may have purchased it from Cole and then donated it to the University of Illinois, helping both his alma mater and Jack Cole  (who had just lost his house and most of his possessions in a flood). It could even have been a tax write-off! Here's the cartoon, cleaned up:


It's sexual humor, and sophisticated enough for Playboy. But there is a different approach. This is the period that Cole was experimenting and fine-tuning what would become a successful new formula. The cartoon here is very much in the same vein as the dozen Jack Cole cartoons recently discovered in a 1955 issue of Mirth (see my post here).

Perhaps it's simply that the thin, pinched, unhappy woman in this cartoon is much plainer than the typical Jack Cole Playboy women, who Art Spiegelman called "estrogen souuffles who mesmerized the ineffectual saps who lusted after them."

Spiegelman's observation is a terrific summary of the Jack Cole Playboy cartoon formula: bombshell women wielding extreme sexual power over impotent men. However, in this Shaft cartoon, the man has the power. The sexually frustrated woman has been waiting three days to have sex. The man in this cartoon is not ineffectual, he's just uninterested.  The cartoon has a sadness about it. Here's the cartoon re-organized in a vertical scrolling format:


Thanks again to Sam Henderson and to Ger Apeldoorn for more "lost" Jack Cole cartoons from the mid-fifties!



All text copyright 2012 Paul Tumey





Jan 20, 2012

Insane Comics: 3 Rare Jack Cole Stories From 1938

Presenting 7 pages of rare Jack Cole comics from late 1938!

Funny Pages Volume 2, issue 11 (November, 1938) featured a panoply of Jack Cole's screwball stories. At the time, Cole was working for the Harry "A" Chelser studio in New York. Sometime in 1936, Jack borrowed some money from various merchants in his home town of New Castle, PA and moved to New York to start a career as a cartoonist. After a year of near starvation, Cole connected with the Chesler studio, which was packaging original comic book content to meet the growing demand for comics.

Cole's work of this time is very much influenced by the "screwball" school of newspaper comics, most famously represented by Bill Holman (Smokey Stover), Dr. Seuss, and Gene Ahern (Nut BrothersSquirrel Cage). Here's a typical example of Ahern's Nut Brothers (written and drawn by someone other than Ahern who had left the NEA syndicate about three years earlier). This strip shows the screwball school in fine form around the time Jack Cole entered comics (note the Napoleon hat in panel 3) :



Jack Cole's determined screwball approach is certainly evident in his Nutty Fagin one-pager in Funny Pages Vol. 2, issue 11 (November, 1938):


Note that Jack Cole signs this page "Sassafrass." As far as I know, this is the single occurrence of this particular pen name. Other pen names Jack Cole used were: Richard Bruce, Ralph Johns, and Jake

One thing that strikes me about this page is the bold pattern of the crepe paper bunting that adorns the speaker's podium, and the pattern of polka dots on Fagin's boxer shorts. Over the course of his 16-year career creating hundreds of  comic book stories, Jack Cole would expertly use patterns to add visual appeal to his work over and over.

Another screwball artist that I suspect was a huge influence on Cole was Milt Gross. The energy and zaniness, as well as the sheer love of distorting the human figure that is so evident in Gross' comics must have inspired Jack Cole. Here's a couple of Milt Gross Sunday comics from 1931, when Jack Cole was 16 years old and starting to learn to cartoon.




Next we find a rare example  of Jack Cole drawing the extremely non-PC "Cheerio Minstrels" two-pager series that seems to have been quite popular at the time, judging by how many Centaur comics have it. I think the "cheerio" concept was probably a core idea for Chesler. Here's the cover to one of his earliest publications, a newspaper Sunday magazine insert called Cheerio from January, 1936:




Note that, among the listed comics inside, we have "Cheerio Hotel" (and also "King Kole's Kourt," appearing before Jack Cole joined the studio -- which confirms that Cole's later episodes of the strip were a happy coincidence, and that he was not the originator of the comic). The Cheerio Minstrels  format was always a trio of African Americans singing a song in a sort of comic book version of a vaudeville minstrel routine. Cole's treatment is a shifting filmstrip of insanity:



Observe, if you will, how, in the bottom of page one, Cole pneumatically propels the characters around the panel. This exaggerated movement is another element Cole would develop, particularly in his Plastic Man stories. In fact, Cole recycled the fourth panel on page 2, with the arm amputation with a saw, in his first Woozy Winks story (Police Comics 13):


Last, but far from least, is a zany 4-page story by Jack Cole, Smart Alec, in which the main character is resplendently adorned with reverse polka dot trousers. I particularly love the wonderful 2-panel spread at the bottom of page 3. I don't have a lot to say about this material, but just wanted to share it! Enjoy!





A big thank you to Digital Comics Museum and scanner "dsdaboss" for these marvelous scans!

All text copyright 2012 Paul C. Tumey

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