Herriman Saturday

Friday, June 21 1907 — The Naud Junction Pavilion in L.A. was a popular venue for professional boxing matches in the second half of the oughts. This Herriman cartoon chronicles an open call for wanna-be boxers, attracting all sorts who are convinced they are the next big thing in West Coast pugilism. With the Pavilion staging such frequent boxing matches there was a constant need for ‘down-card’ fighters, so these auditions were a regular event. Youngsters fresh from the farm or factory would get a chance to go a few rounds against local pros while the promoter looked on. Many found themselves kissing the canvas before they knew what (literally) hit them, others showed enough promise to be invited to train at the facility.

Here’s a contemporary picture of the Naud Junction Pavilion in all its windowless, dreary glory.

News of Yore 1968: Rib-Tickling War Protesters Star in Comic Strip

Protesting cartoonist offers maverick strip
By Don Maley (E&P, 12/7/1968)

Can a cartoonist who has some 3,000 contemporary greeting card designs to his credit find happiness on the comic pages of a newspaper? Can he even eke out a living drawing comics?

Ted Sherman, the ‘T’ of the newly – formed T/M/F Syndicate (1404 Stotesbury, Philadelphia, Pa. 19118) will soon find out. Sherman’s combined 15-years of cartooning experience with another solid six-month stretch at his drawing board to develop “Uptight,” a six-a-week strip slated to make its national debut on January 6.

“The transition isn’t difficult,” Sherman declares. “Each greeting card I do starts with a cartoon and ends with a punch line, the same as with most strips and single panels. I figure I’ve drawn the equivalent of 10 years worth of cartoon strips in creating those thousands of cards I’ve drawn.

But why the switch from cards to comics?

“Other than the obvious financial possibilities,” Sherman admits, “I was motivated by the same kind of anger I felt 15 years ago when I started peddling my card ideas. At the time, the typical greeting card pictured bunny rabbits or angels, with insipid copy to match. There hadn’t been an original idea in 30 years. Then studio cards came along and changed all that, and I’m proud of the role I played in the breakthrough.

“In ‘Uptight’ I tried to come up with something new and I think I’ve succeeded. The characters in the strip are certainly contemporary — although the protest marchers I use in the strip may invoke some editorial ire — and the reader will see that the strip covers the whole spectrum of today’s humor. ‘Uptight’ isn’t a social or political crusade, nor an attempt to put anyone down. If there is a message it’s ‘let’s have fun,’ and I want the strip’s enjoyment to be shared by readers of all age levels.”

[Allan’s note: I’ve never found this strip running anywhere. If anyone knows where it appeared or has samples I’d love to hear from you! I’ve tried to find Ted Sherman online and sent queries to a few likely suspects with no luck so far.]

Obscurity of the Day: What You Lafin’ At?

Here’s an interesting local strip I discovered while gathering my L.A. Examiner Herriman material. What You Lafin’ At? is by A.C. Fera, the gent who later created the long-running Hearst feature Just Boy (which was retitled Elmer after Fera’s death).

Unlike most cartoonists who hone and sharpen their style over the years, Fera seems to have gone the opposite direction. This little strip is reasonably well-drawn, whereas Just Boy had a flat primitive quality that many find downright repellant.

What You Lafin’ At? ran a handful of times in the Examiner from August 2 to August 13 1909.

Obsccurity of the Day: Free For All

In a familiar tale of the comic strip business in the last quarter of the 20th century, Free For All was yet another college paper strip that hit the bigtime because syndicate execs were trying to duplicate the past successes of Doonesbury and Bloom County.

Brett Merhar’s Free For All debuted in 1992 in The Collegian, the paper of Colorado State University. In 1995 it was picked up by the Greeley (CO) Tribune where it apparently ran until 1998. King Features picked it up and began syndicating the strip on April 27 1998.

Free For All featured a cast of arrested development X-generation kids, originally in a college setting, and later in the syndicated version trying to make their way in the great big world. The strip was intended to be a bit on the raunchy side and closely emulated the hip tone of Bloom County if not the level of humor.

The strip fell flat and seems to have been canceled sometime right around its one year anniversary in 1999. But Merhar had bigger fish to fry — he moved to L.A. and by 2003 had talked the premium TV cable channel Showtime into signing Free For All as an animated cartoon. In promoting the TV series he avoided mentioning the fact that the strip had been a flop, carefully choosing his words in interviews to leave the impression that it was a big success and still in syndication.

I haven’t seen the cartoon but apparently the raunchy factor was turned way up, characterized by one writer as “South Park without the bleeping.” Seven episodes were produced for the first season, but Showtime didn’t pick up the option for any more. If you saw the show and liked it, you can purchase episodes online at Amazon.com.

News of Yore 1968: How Newspaper Cartoonists Really Get Rich

Super Roads to Riches are Paved with Comics
By Don Maley (E&P, 11/30/1968)

A cross-country auto ride along the secondary roads that often parallel the 70 mph Interstate System offers a visual potpourri of billboards, junk yards, motels, hamburger stands, gas stations and other blights on the fading landscape.

But now there is to be some comic relief from this optical vexation—compliments of the cartoonists and the syndicates that distribute their funny features to newspapers. Characters right out of the comics pages will adorn drive-in food stands and an assortment of other businesses for travelers.

A Sunday drive in the country might soon resemble a tour through the Sunday “funnies.” “Li’l Abner,” “Daisy Mae,” “Snuffy Smith” and “Loweezy” have been signed up to become a part of the “burgeoning franchised fast-food roadside restaurant business.”

The “Little King” restaurant chain has been in operation since last winter. Otto Soglow, who draws “Little King” for King Features Syndicate says the chain has about 20 units. And this is a royalty business.

Reggie Smythe, English creator of “Andy Capp,” syndicated by Publishers-Hall, is negotiating with a food franchise outfit to establish 500 “Andy Capp” fish ‘n’ chips shops across America.

To cite one example of the profit involved in the food business, Al Capp, creator of “Li’l Abner” (Chicago Tribune-New York News Syndicate), signed a million dollar contract with Longchamps Inc., the New York restaurant concern, for the use of characters, graphics and special features of his strip. Capp is to be paid the $1-million in advance against royalties over 10 years. It was not disclosed how much the syndicate would realize under the agreement.

Longchamps plans the first “Li’l Abner” within 50 miles of New York City and “one or two” in Florida. The restaurant’s facade will portray a typical structure in “Dogpatch” and will have an “endless string of frankfurters coming out of the kitchen.” “Hamus Alabamus” barbecued sandwiches and “Mammy Yokum” fried chicken will be featured. Food prices will range from 20 cents to $2.

Deeply Involved
King Features is deeply involved in the food franchise business as many of their contract artists’ characters are lending themselves to roadside munching. Fred Lasswell’s “Barney Google” was signed this year by a Columbus, Ga., franchiser which hopes to build a string of “Snuffy’s Shantys” across the country. A KFS spokesman said the builders’ plan is “grandiose,” as they hope to have 700 shops in operation by 1970. The simple menu includes “Loweezy’s Baked Beans” for 24 cents and “Hillbilly Chili” for 35 cents. Hot dogs will go for 19 cents.

Little King International Inc., a subsidiary of Spectrum Ltd., which is an affiliate of Transcontinental Investing Corp., is awarding bargain-price “Earldoms” ($7,995 “plus good credit and character”) to interested parties who want to venture into the fast-food business. The “Little King” structures resemble mini-English castles, but the bill of fare features moderately priced Italian hero sandwiches.

If the chain becomes successful, Otto Soglow will be kept barnstorming across America to draw cartoons of the customers when a new “Little King” restaurant opens.

Of all newspaper syndicates engaged in diversification, King might well be the most progressive as their complex international merchandising operation is in the multi-million dollar category. Their animated, live action Beatles film, “Yellow Submarine,” enjoyed rave reviews.

According to KFS president Frank C. McLearn, the Hearst syndicate “likes to make a little money,” and “Yellow Submarine” will do just that. “A gross,” says McLearn, “of from
$10 to $15-million would be very nice.” More than 200 “Yellow Submarine” merchandising items are being marketed internationally in conjunction with the film.

Other Projects
McLearn said editors have no reason to be alarmed by new syndicate enterprise. “Our main function is to serve newspapers” he said. Separate departments at KFS handle diversification projects. Jerome Berger is King’s director of business affairs and Al Brodax oversees production of motion pictures. For the last four years, John Wright, an 11-year King veteran, has headed the Special Services Department, and has handled “thousands of properties” on a world-wide basis. Wright’s department licenses King’s titles and receives royalties on a 50-50 basis. Products include such items as ‘Popeye Popcorn” and “Beetle Bailey” toys. Foreign language children’s books are a big seller. It was learned that King’s Special Services grossed a measly $35,000 in 1935, mostly from toys — ”but has come a long way since then.” “We’re a separate department,” said Wright when queried about costs, “we pay our own rent, light and heating bills.”

New films (live-action animated) will be based on “Prince Valiant” and “Mandrake the Magician.” These two will have the “for kids from eight-to-eighty” appeal that McLearn feels characterizes both the syndicated comics and “Yellow Submarine.”

Some other upcoming King films are far removed from the comic strips, McLearn mentioned as examples: two stories from the classics: “The Bluebird,” by Maurice Maeterlinck and “Don Quixote.”

Just as King had more than three years of negotiating to recover picture rights to “Blondie” from Columbia Pictures in order to syndicate the package of old films as well as shoot its current CBS TV series, so the firm has acquired film rights on “Valiant” back from 20th Century-Fox which made a live-action feature of the pageboy-bobbed cartoon-strip hero 14 years ago.

The fact that these three features all have comic-strip origins or influences is only coincidental, Jerry Berger said. “Right now we have access to five of the best-selling adult novels of the past few years, which we’re working on making into films” but final rights are still being negotiated, according to Berger.

King’s entrance into feature production was conceived two years ago, but full-scale operation was not really implemented until Berger came to the shop early this year.

Another comic character to become a movie star is “Good Ole’ Charlie Brown.” Cinema Center Films—a part of CBS — negotiated to do a “Peanuts” movie. According to Harry Gilburt, vice president of United Features Syndicate, which handles “Peanuts” for Charles M. Schulz, the film will be released “in late ‘69 or early ‘70.”

‘Peanuts’ Makes Millions
According to the top-selling syndicated cartoonist around today, ‘Peanuts’ pulls in $20-million per year.” One writer has said that taking a look at the “Peanuts”—Charles M. Schulz industry, is “pretty much like taking a look at the U.S. Treasury on a clear day, say April 16.”

The latest “Peanuts” product is a hard-cover collection of cartoons about “Charlie Brown,” called the “Peanuts Treasury.” The publishers, Holt, Rinehart & Winston have printed—as a starter—100,000 copies of the book, which is selling for $4.95 — and, no doubt, will last no longer than halfway through tomorrow.

Sticking just to “Peanuts” books and disregarding the millions who follow the strip in newspapers or have seen “You’re a Good Man Charlie Brown” on stage, the figures are astronomical. Holt began publishing the books in 1952 and has sold 8 million copies. Fawcett Publications, also Peanuts vendors, have sold 33 million copies. The New American Library, which has a few “Peanuts” titles of its own, has sold 3,670,000 of these. In California, Determined Publications, which actually was founded with a “Peanuts” book — “Happiness Is a Warm Puppy” — has had sales of 3 million-plus copies over the several titles it commands.

Last but not least, the Presbyterian publishing house of John Knox Press in Richmond, Va., has had one title, “The Gospel According to Peanuts.” To date paperback sales have exceeded 820,000 and hardcover sales, 14,000. Bantam paperback sales of the same, 800,000. And as a postscript to this, Harper & Row recently brought out a new book by the man who did “The Gospel” — Robert L. Short. It is called “The Parables of Peanuts.” Reporting sales of other “Peanuts” properties (dolls, greeting cards, sweatshirts, stationary, pillows, etc.) would fill one entire magazine, if the figures were available — which they aren’t.

United Features has “over 1500 clients and syndicates about 50 features.” “Our licensing program,” said Gilburt, “is one that we have developed over a period of years and is an integral part of our syndicate operation.” James S. Hennessy, United’s business manager, is in charge of the merchandising department.

Round-up Enlightening
In an E&P round-up query of newspaper syndicates regarding their merchandising operations a great deal of pertinent information was gleaned.

“We have always been interested in merchandising our properties and will continue to explore every possibility to do so,” said Henry Raduta, manager of Chicago Tribune-New York News Syndicate, which services “approximately 1400 newspapers” and offers “approximately 150 different features.”

“We have,” said Raduta, “no formal merchandising department as such, and there are no specific budget allocations for this phase of our operation. When an idea for a commercial application occurs to us we follow through and spend whatever time and money is necessary in an attempt to bring it to realization. And, of course, we are sought out by those wishing a licensing arrangement or option.

“Generally speaking, we license specialists, under a royalty arrangement, to represent us, but in some cases we’ve approached manufacturers, agents or publishers directly and worked out contracts or options on a percentage basis.”

“We’ve always been diversified,” added Raduta, “to the extent that we’ve sold movie, tv, radio, comic book and merchandising rights to our features providing we hold these rights, no direct endorsement was involved, it did not violate good taste and was not detrimental in any way to the property in question.

“In the last two or three years, however, there seems to have been increased activity in the merchandising area and we suspect this is due, in no small part, to the tv and merchandising success of ‘Batman.’ Many inquiries were made about the availability of our properties shortly after ‘Batman’ zoomed into the ratings.”

CT-NYNS offers a 50-50 royalty split to authors as do many of the syndicates’ and has “no set budget for the exploration and development of merchandising rights.”

To cite a few examples of the features involved Raduta said: “In the case of ‘Little Orphan Annie,’ for instance, we have assigned movie, tv and book rights. There are also Annie dolls, posters, games, etc. On ‘Brenda Starr,’ we are negotiating for movie and tv rights; there is a wig deal and there have been dolls and comic books. A motion picture-tv option on ‘Terry and the Pirates’ has recently been completed. A drug company used Annie in a mailing campaign recently and Du Pont used Annie in a New York Times Magazine ad.”

One off-beat merchandising scheme sputtered this year. “A manufacturer of women’s apparel approached us with a plan to merchandise a ‘Little Orphan Annie’ paper dress,” said Raduta. “The female owner of the company called on us modeling a sample of what she had in mind—an exact replica of Annie’s bright red dress, trimmed in white . . . but made out of paper. As she sat down to outline her proposal there was the embarrassing sound of paper being torn. With her face as red as the dress she was wearing, she backed out of our office and that was the last we saw of her. We presume she is still trying to perfect her idea in an effort to save face—or at least provide us with a happier ‘ending’ to our story.”

Saying that “we expect to expand our merchandising operation,” Raduta added: “We are interested in this phase of our operation and have always been anxious to increase activity in this area. We will not compromise our high standards, however, in order to merchandise our various properties.”

E&P Story Helpful
William H. Thomas, president of Columbia Features, which offers 45 features to “approximately 1000 newspapers,” says candidly that “yes, we are diversifying into merchandising whenever possible.” His reasons “are pretty much the same as other syndicates: additional revenue.”

“Most of our merchandising,” said Thomas, “involves publication in book form of material initially released for newspapers—about one-fourth of our authors and/or artists having been published in this medium.”

Earlier this year Columbia entered into negotiations with a major network tv program for one of its new authors to appear as an authority in her field on the show. “Also,” added Thomas, “a major book publisher has requested an option on her material for a book to be developed
from the regular newspaper columns. Interestingly, both these developments began within a single week after announcement of the feature in E&P and as a direct result of that article.”

Thomas said Columbia “does most assuredly intend to expand its operations into the merchandising field, whenever possible and wherever applicable. We do not, however, intend to do so if there were the possibility that the quality and importance of the features as they affect newspapers would be compromised.”

Designed to Aid Papers

Newspaper Enterprise Association, which sells “75 regularly scheduled features (and at least one special or seasonal feature each week at no extra cost) to more than 750 daily newspapers, does not have an internal merchandising department, but it does have agents which represent the company in sale of comic characters for use on commercials such as toys, clothing and novelties. The activities of these agents are supervised by general manager Meade Monroe, who works with Boyd Lewis, the syndicate’s president and editor.

“We have not found it necessary,” said a syndicate spokesman, “to get into the food, toy or clothing business to maintain NEA’s profit picture.” Although the syndicate is “expanding efforts to increase revenue from longstanding merchandising and licensing programs, the bulk of NEA’s resources and talents are directed at producing new services and products especially designed to help newspapers.”

The syndicate is “constantly seeking and investigating new acquisitions which we believe would be strengthened under our management and through our access to the newspaper market.”

The acquisition by NEA in 1966 of The World Almanac and Book of Facts is probably the best example of NEA’s diversification policy. Since 1958 the Almanac had been sponsored in one city by one newspaper. The 1967 edition under NEA ownership was co-published for nine major market newspapers. For the 1968 centennial edition, the number was increased to 33, and next year 57 newspapers in the U.S. and Canada will be co-publishers of the Almanac.

Other publications are printed by the syndicate’s publications division which is headed by Richard W. Johnson and is mainly concerned with “creating exclusive Reader Service Books for newspapers to offer readers.”

“Emphasis,” says NEA, “is placed on producing books filled with information not readily available elsewhere. Thus newspapers can perform a true public service in offering them to readers.”

NEA titles which have thus far proven successful: The 1969 Guide to College Selection; What You’ve Got Coming From Medicare and Social Security (700,000 copies sold through newspapers and on newsstands); Cut Your Own Taxes (average sales of 100,000 copies annually since 1965) and some others, which are selling briskly.

NEA grants licenses, which “are selectively granted for the use of NEA comic characters after carefully screening to make sure that the interests of our newspaper clients are protected as well as promoted.”

Negotiations are underway for using several NEA comic characters in animated tv cartoons, including “The Born Loser,” “Alley Oop,” “Major Hoople” and “Freckles.”

“Alley Oop” is under option for a Broadway musical production.

Robert C. Dille’s National Newspaper Syndicate, Chicago, offers “about 35 features,” and services “about 650 client newspapers.” Dille said his syndicate is diversifying “in a very minimal way. Increased top management time is being devoted to the development of secondary avenues of income, such as merchandise and book reprint development of our trademarks and feature characters. The reason for this is obviously increased profit.” As is the case with some other major syndicates NNS works with a number of “agents” who are expert “specialists in merchandising and packaging and publishing.”

“A hidden benefit of this,” said Dille, “has been the cross fertilization of ideas and inter-related benefits of the agent giving us ideas for newspaper features and our giving him trademarks to develop in the merchandise field. We are working with two film production companies, one of which becomes a middleman and cuts into our share. They are actually producing a feature film for ‘Buck Rogers,’ but they are doing it for MGM. In return we have a number of options in the newspaper field for their feature film and television materials.

“Not so long ago we turned ‘Marmaduke’ and ‘Woody’s World’ over to Weston Merchandising Corp., in New York, and we received the rights to Twiggy. On a number of other features we are working with Toni Mendez Inc., a merchandising and publishing agent, and once again the field has been reversed and we have taken on property she was representing. This, to us, is one of the chief benefits. We get the benefit of their thinking and other properties in return for some of ours. And it broadens our thinking without dissipating the energies and talents of our limited staff.”

Dille pays authors 50% of the net income. “We treat agents’ fees, for example, on merchandising income, as we would treat mechanical expenses on feature income. It comes off the top. Where a party has come to us through a merchandising organization as in the case of Twiggy and Arnold Palmer, for example, we do not participate in the development of trademark for merchandising or reprinting books, but our responsibilities, are increasingly limited.”

“As a sidelight to this business of cross-fertilization and securing of features from the agents to whom we are granting merchandise rights,” concluded Dille, “we find the generation of income to be about equal. We are paying them as much for the rights to material they offer us as they’re paying us for the rights we are offering them. In the long run, we’ll expect to be deriving substantially more income from them, inasmuch as we have only a newspaper outlet and they have all the publishing and merchandising world.”

“Our merchandising is very specialized,” said Dille. “We take the best of our features and try to put them into book form. This has been the most successful merchandising for us. The cost for us is little and returns are gratifying. It was Louis Bromfield who taught me years ago ‘to milk old properties.’ This cannot be done in the newspaper field but it can be done in books which are not published for one day only.”

“Our biggest problem,” said Dille, whose syndicate offers 20,000 features from his backlog and produces about 1,000 a year and has a yearly overhead of from $125,000 to $150,000, “is to find young people who could continue this work in the future. This is a very specialized field and very few people know how to run a newspaper syndicate.”

Small, but Solid
Kurt Singer’s syndicate (Singer Features), which is “in the heart of Disneyland” in Anaheim, Calif., bills itself as a small but solid newspaper syndicate, operating for 14 years.” Singer said he has “about 300 regular clients and subscribers. And we service about 100 additional clients on special projects in the field of comic strips, books, pictures, and color transparencies.” Singer’s products are represented in 50 countries throughout the free world and in Communist Yugoslavia.

“Yes,” said Singer, “we are diversifying and have done so for many years. We are diversifying through investments in other companies and through the book and comic book field.”

Singer’s merchandising department is about 50% of his operation, and he is personally in charge. Although he would not give actual dollars and cents profit figures he said that “one feature sold to a New York newspaper might bring you a few hundred dollars. A book compiled by us based on our own features will bring many thousand dollars.”

Fees for the authors of the publications Singer merchandises runs somewhat different from the other syndicates. “We operate on a 50-50 basis with unknown authors,” said Singer, “on a 60-40 basis with dependable authors, and if it comes to the sons of Zane Grey and others who administer their father’s literary properties, we work on a 20% basis on books and 40% basis on syndication.”

“Another way of dealing with authors is through estates,” said Singer.

“We made a contract with the copyright holders to the old Liberty Magazine which was originally a MacFadden publication, and edited by Fulton Oursler. According to this agreement we have rights of 18,000 literary properties, both here and abroad. In the old days all rights were bought and we found ourselves suddenly in the possession of copyrights to authors like Somerset Maugham, Agatha Christie, Philip Wylie, and many others.”

In Groping Stages
Even the smallest of syndicates has diversification plans. Tiny Features Inc., of Hartford, Conn., which has two features running in 70 newspapers, “definitely” plans to enhance its income. “We’re in the groping stages right now,” said Brinton T. Schorer Jr., the syndicate’s vice president and editor, “but in order to do so we must first develop distribution facilities outside our participating newspapers. Eventually, we expect to have books, games, puppets, and buttons which stem directly from our basic feature. We could, if we had distribution, produce a number of items for sale immediately.”

We found at least three syndicates which had no plans of entering into the lucrative merchandising business.

“We are not diversifying. We are not in merchandising. And we have no plans in the foreseeable future for such diversification. This applies to Los Angeles Times Syndicate, General Features Corp., and the Los Angeles Times/Washington Post News Service,” said Rex Barley, who heads all of them, adding:

“The reason for our lack of entry into the merchandising business is, I believe, because our organizations have always been primarily in the business of syndicating personalities and editorial material rather than properties.” Barley said the syndicates he heads “are in the comic strip and panel business only to a small degree in comparison to our personality columns.”

“Moreover,” he added, “we have always taken the point of view that our primary responsibility is to give editorial service to our newspaper clients and once we fail in this or dilute our service, we might as well go out of business, no matter how widely we diversify.”

“I think,” said Barley in what he called his ‘minority report,’ “syndicates and newspapers for too long considered television to be an insignificant competitor to their detriment. We have always steadfastly refused to sell our features to television whether the request has come in the form of making our news service available to a television network or station, or whether it is in the form of allowing one of our feature characters to sell bread, automobiles, or gasoline for Madison Avenue or be converted into a situation comedy.”

Newspaper Editors Comment

But what do newspaper editors think of all of this wheeling and dealing? Stanleigh Arnold, Sunday and Features Editor of the San Francisco Chronicle, has contracts with 43 syndicates and buys approximately 100 features and comics. What do his readers think of diversification schemes? “I haven’t the foggiest idea,” said Arnold, “at least within this context. That is, it would take an unperceptive reader not to notice the ‘Schroeder’ sweatshirts and ‘Snoopy’ for President bumper stickers, but I doubt that the reader who sees these things thinks of them as ‘diversification.’ So long as the feature is not downgraded by the spin-off products and promotion, I don’t think any damage is done.”

Are the syndicates doing a good job for newspapers? “It’s hard to imagine the syndicates doing a better job in serving us,” said Arnold. “All that we ask is that any given feature maintain at least as high a quality as that which impelled us to buy it—and that mailings be made in ample time. Except in rare instances, both these requirements have been met by the syndicates serving us.”

No Bearing on Features
Philip H. Love, Feature Editor (and columnist) for the Washington (D. C.) Star, does business with about a dozen syndicates regularly and “a few others irregularly,” buying over five dozen features and comic strips.

“My personal guess,” said Love, “would be that the syndicates’ diversification ‘schemes’ have no bearing on the quality of their feature offerings. The syndicates would be foolish to let this happen—unless they want to get out of the feature business altogether. With competition as stiff as it is, I would think the syndicates would do everything possible to maintain quality, diversification or no diversification.”

Love joins Arnold in pooh-poohing any concept that the readers might be dismayed by syndicates’ diversification. “I wouldn’t be concerned. Do you know any ordinary person who is upset about diversification in other businesses or industries? I don’t.”

Jim Ivey’s Sunday Comics (…and a lecture on newspaper color)

A few (okay, many) words of explanation … when Jim says that the black and white Sundays in these bound volumes were ‘printable’, he’s referring to the fact that it is notoriously difficult for reprint book publishers to reproduce vintage Sunday comics from old color tearsheets.

Newspaper color (called process color) is made up of thousands of tiny ‘dots’ of color, often a rainbow of different colors going into making what seems to the reader’s eye to be a reasonably solid continuous color. Seldom are vintage tearsheets in pristine enough condition to allow publishers to reproduce from them — faded process colors on yellowed newspaper turn horribly muddy and blotchy when reproduced. In the old days there was no way to reproduce this color attractively without access to the original proofs, very few of which have survived. Even today with computer aid the process is still extremely difficult, time-consuming and fraught with problems. One great solution is to find a newspaper that printed their Sundays in black and white, like the Sentinel did. These tearsheets can be used to create a black and white proof a lot more easily. Then a colorist can come in and add color to that proof in continuous tone to make a new proof that is used to print crisp and clean vintage Sundays.

But it is a catch-22. The problem with this method is that the colorist must work very hard to duplicate the colors used originally, and even if the colorist does a great job many reprint book buyers object to recoloring. Because continuous color looks much more bold, or stark, than newspaper process color the reprinted strips tends to look garish. This makes fans object on the basis that the strips no longer look like they remember them from the newspaper. They make the quite reasonable case that the cartoonist picked their color scheme based on what it would look like in process color, much more muted and grainy than continuous color, and that the cartoonist would have presumably toned everything down considerably, perhaps even drawn the strip differently, if they were expecting continuous color to be used.

News of Yore 1968: Privette Self-Syndicates

Brainy cartoonist offers ‘Mini-Boppers’
By Don Maley (E&P, 11/23/1968)

Many cartoonists have better- than-average education, some holding college degrees in a variety of subjects. The latest cartoonist to offer a strip goes them all one better, holding a Master’s Degree in Cartoon Humor awarded him by Boston University.

Although Harry K. Privette has had academic laurels heaped all over him he’s a bit shy in business arithmetic credits, a fact which makes him a natural candidate for entrance to the elite world of cartoondom for most cartoonists—despite their educations—need a computer to figure anything over three digits.

The balding artist with the Irish mug and French-sounding name was born and raised in North Carolina—but was educated in Latin America (he holds a B.A. degree from La Universidad de las Americas in Mexico City) and he’s a specialist in Yiddish humor.

As Privette tells it: “My counselor at Boston U. was Dr. David Manning White, an expert on the field of cartooning. He was then—and still is—a personal friend and was influential in getting my strip started.”

But the strip—”Mini-Boppers”—was a long time coming. “After graduation in 1956,” says Privette, “I entered Boston advertising as a copy writer. During that time I did free-lance cartooning for many publications. Later I went into the greeting card business, becoming Studio/Humor Editor for Rust Craft Greeting Cards of Dedham, Mass.”

Unlikely Specialty
Privette went on to learn both humor writing and cartooning. He picked up enough knowledge of the publishing field to start his own company, specializing in a line of die-cut studio cards called “Dollettes.”

Another Privette specialty is Jewish humor (“an acquired taste— like oysters”) and, he says, several studio card companies put out lines of Jewish gag cards that originated with him.

It was during his early days in the publishing field that the idea for “Mini-Boppers” developed. But gradually. “I felt,” explains Privette, “there was a place for such a modern, sophisticated, and truly humorous strip based on the somewhat exaggerated antics of the four year-old crowd. I didn’t have in mind another ‘Nancy’ character, nor one as psychologically-motivated as ‘Peanuts’ entourage. But rather, just a pleasant, warm and funny bunch of cute little creatures saying and doing funny little things. I discussed the idea with several editors, other cartoonists, and with Dr. White. They were all quite excited by the whole thing and liked the sample strips that I showed them. At the time I called the strip ‘The Mini-World of Mitzi,’ and used a slightly different cast of characters.” (his characters now appear to be a gaggle of little girls and a talking pussy cat.)

After re-naming the strip and having it self-syndicated Privette had a brochure made up showing samples of the feature “one that also includes a strong ‘sales pitch’ and a price list.”

“It was on this last point that I goofed,” he woefully admits.

“By some unfathomable way, by some crazy error, I let the wrong rate list get printed. The rates were way out of line— and I had already done a 1,000- plus mailing before I realized my mistake.”

“Even so,” he adds, “the response was amazing. I didn’t have any takers at the inflated rates (in many cases the prices were tripled), but quite a few people wrote in and expressed serious interest and asked if I hadn’t sent them the wrong price information.”

After correcting his unfunny goof, Privette signed up a half-dozen “charter members” for his six-a-week feature.

Meanwhile, back at Privette’s Boston Features Syndicate office (41 Eugenia St., Randolph, Mass. 02368), the cartoonist with the Master’s Degree is readying his cartoon strip for it’s shakedown cruise, while answering callers inquiring about his help wanted ad for a business manager who is familiar with newspaper syndicate operations—and rates.

Obscurity of the Day: Otto Auto

Gene Ahern was proving to be a great catch for NEA in the second half of the 1910s. He not only produced very funny comics in copious quantities, he also did his own column and even helped out with spot cartoons.

But Gene hadn’t yet hit his stride as a newspaper fixture. In 1919 in his strip Squirrel Food, which was a pretty close copy of the look and humor of Rube Goldberg’s strip, he introduced a new character, Otto Auto, on February 28. Originally Otto was a sprite who inhabited the background of the strip. Otto’s schtick was that he drove his car like a bat out of hell and wouldn’t let anything or anyone slow him down.

Despite being relegated to the background, Otto quickly became the most popular feature of the strip. On July 20 Squirrel Food was renamed Otto Auto and the mad driver became the star of the show. Ahern made a daily game out of Otto’s driving exploits, inviting readers to submit ideas for how to stop Otto’s car. Every day Otto would encounter readers’ traps and ambushes, and every day Otto would successfully avert them.

This period of the strip was, for my money, one of the funniest slapstick sequences ever committed to newsprint. I know I read an extended reprint of it somewhere but I’ll be darned if I can remember where it was. Nemo? StripScene? Hopefully someone will remind us of where it appeared, and I heartily recommend you find a copy and enjoy it yourself.

All good things must come to an end, though. Ahern knew that trying to make Otto Auto a series endlessly plying this single joke was a mistake. So it came that Otto’s car was finally stopped and the strip moved to a garage where Otto and his second banana Clem traded jibes as fumbling mechanics. Our samples today are from this era of the strip. Otto Auto continued in this vein until February 6 1921, when the strip was replaced by Crazy Quilt, another obescurity that we’ll cover one of these days. It wouldn’t be until later in 1921 that Ahern would make his most lasting contribution to newspaper cartooning in the form of the classic panel cartoon Our Boarding House.

Celebration Time!

I’ll stop happy-dancing and bouncing off the walls today only long enough to wish you a happy inauguration day. Here’s a little video my wife Judy shot. The song was written by our pals Denton and Barb and the sing-along was at a campaign meeting last September. I’m the big galoot in the green t-shirt at the back of the room.