Archive | Steve Canyon

Boys & Their Toys

So I’m busily working away on the text feature for Steve Canyon Volume 8 (a juicy assemblage of material that includes Milton Caniff turning real-life incidents into story fodder!) and I get this e-mail from my dear, long-time friend Doug Thornsjo. If you read the Definitive Flash Gordon and Jungle Jim you got a taste of Doug’s writing (and his voluminous knowledge of movie serials) in Volume 2, in which he produced an article about Buster Crabbe’s three chapterplay turns as Flash.

Doug knew that in Canyon we had provided some coverage of the Ideal toy line based on Milton Caniff’s high-flying colonel, items like the Jet Helmet …

Canyon Jet Helmet Continue Reading →

When “Quick Takes” Meet “Coming Attractions” —

— You get a piece like this one, in which we answer the often-asked question, “What’s ahead for LOAC in the months to come?”

Firstuvall, we got your space opera right here! As 2017 unfolds you’ll see us wrap up our UK Star Trek comics and release the middle volumes in both our Star Wars and Star Hawks trilogies. To whet your appetite for the exploits of Rex, Sniffer, Alice K., and Chavez, here’s an April 1979 beauty, done in Gil Kane’s inimitable style:

STAR HAWKS_19790410

ZAM!, indeed …

Old friends will continue to make fresh appearances — Little Orphan Annie, Dick Tracy, and also our fourth Skippy book! This endearing kids-strip is always a delight, and Jared Gardner’s insights into the increasingly-troubled life of cartoonist Percy Crosby is compelling reading, an important addition to our understanding of comics history.

One of our old friends will offer something extra-special to readers — our upcoming Li’l Abner Volume 9 will provide a handful of strips that have never before been reprinted in continuity! What the dickens does THAT mean, you ask? Well, sharp-eyed readers of the Kitchen Sink Press Abner reprints from the 1980s/90s may remember there was a gap in the continuous run of strips between KSP Volumes 17 and 18 — the 1951 strips reprinted in Vol 17 ended on December 29th, with Fearless Fosdick still at the mercy of the “Atom Bum”. Vol 18 opened in Dogpatch with the January 21, 1952 daily, focusing on Abner and his brand-new chemistry set. What happened to the dailies in between? What was the fate of the Atom Bum? Here’s a snippet from one of the missing strips that makes it look bad for America’s ideel …

ABNER_19520109

We asked Denis Kitchen about the missing strips and he reported that a layout problem in Volume 18 caused the dailies in question to be unintentionally dropped (and KSP had reprinted the full story of the Atom Bum in the first of their two Fearless Fosdick collections, published in 1990). Denis is always an invaluable part of our Li’l Abner team and he’s as happy as we are to see these strips being reprinted in continuity for the very first time. And oh, by the way, the other strips in our Abner Volume 9 are also literally History-Making — the mystery of Nancy O wraps up in 1951, and a major event in 1952 made the prestigious cover of Life magazine!

We have more than old friends to offer — as we recently discussed, we’ll also be welcoming Lynn Johnston’s exceptional For Better of For Worse to the LOAC line of books.

FBoFW1

We’ll have more Disney comics for you to enjoy (don’t quack up — more Donald Duck Sundays are coming soon!), and Superman will be wrapping up the 1950s in a colorful collection of Sunday pages. Meanwhile, our next LOAC Essentials will showcase a strip we’ve used in a past “fantasy day comics page” or two (so you can use our “Search” feature to do a little research and start guessing …). This feature is one of my very favorites, but I won’t be writing the Introduction to the book, because we’ve lined up someone who may love this work even more than I do!

Of course, I will be writing the essay for Steve Canyon Volume 8 as we take Stevenson B.’s adventures deeper into the years of the Kennedy Administration. Here’s a sneak-peek at Milton Caniff’s Christmas thought for his audience, circa 1962:

CANYON_19621225

Bottom line: what’s coming from The Library of American Comics in the months ahead? Loads of adventure and comedy — stories ranging from the Dogpatch hills to the depths of the Barnum Star System — and work by award-winning talents spanning the 1940s through 1970s. If you agree that’s a nice lineup, please join us for those books you’re sure to enjoy!

The Fantasy Comics Page Salutes …

Stop a hundred random persons on the street and ask them which holiday they associate with the month of May. “Memorial Day” will certainly be the first many select. Others will choose “Mother’s Day.” Some will surely note that Ramadan starts on May 27th of this year.

Yet there are other holidays and observances tied to this often-most-pleasant-of-months. The very first day of the month is May Day, after all … Cinco de Mayo has become increasingly tied into the cultural zeitgeist … and this year Derby Day occurs one day later, on May 6th. The entire month is devoted to raising awareness for both Lyme Disease and Lupus. May 28th is National Burger Day, while the 31st is World No Tobacco Day.

For the purposes of this piece, however, we’re focused on the third Saturday in May, which is designated as Armed Forces Day in the United States. This observance was originally enacted in August of 1949 and marked the consolidation of the four major branches of the American military under the Department of Defense. The very first Armed Forces Day was also celebrated on a May 20th, in the year 1950.

So, with an itch to assemble one of our occasional “fantasy comics pages” that features various strips taken from one day in history, I decided to pick strips that were originally published on an Armed Forces Day early in the event’s history and settled on May 18, 1957.

ASD_Honolulu STAR-BULLETIN_Sat 19570518

I was pleased with the strips I chose from that date — a nice mix, I think, between drama continuities and comedy series, between easily-recognized strips (Archie, Mary Worth) and titles that have fallen into obscurity over time — Jeff Cobb, for example, or Morty Meekle. The former was artist Pete Hoffman’s adventure-hunting investigative reporter, the latter Dick Cavalli’s romance strip for NEA that quickly pushed the kid members of the supporting cast into the spotlight (by the mid-1960s Cavalli renamed the strip Winthrop, after the most prominent of the youngsters, making their takeover complete). Another modern-day obscurity I’ve included here is David Crane, launched in 1956 by Win Mortimer. In an interview with his widow published in Roy Thomas’s Alter Ego # 88, Mortimer’s widow described the strip by saying, “David Crane was small-town minister. Win had a good Biblical background; he could quote anything.”

I couldn’t resist including another installment  of the delightful Penny, as well as a Long Sam — Bob Lubbers never made anyone forget Foster, Caniff, or Raymond, but he was a really excellent craftsman.  Donald Duck was a “must-have” once I saw the newspaper Don was reading — J. Jonah Jameson take note! There’s not much smilin’ going on in this day’s Smilin’ Jack, and to mark the appearance of our tenth LOAC Essentials volume, featuring Norman Marsh’s Dan Dunn, I was glad to find a fresh example of Marsh’s later self-syndicated strip, Dan’l Hale.

As you look at this fantasy comics page, one thing may jump out at you — none of these strips make mention of Armed Forces Day! It will surely surprise no one to hear the May 18th, 1957 Steve Canyon was devoted to observing the day, and Caniffites can turn to page 78 of “Princess in Exile,” our sixth Steve Canyon volume, to see how the U.S. Cartoonist-in-Chief saluted the boys in uniform. For now, though, here’s our fantasy comics page from May 18, 1957 (click any strip for a larger view) …

LONG SAM1_19570518

DDUCK_10621696

DAVID CRANE_19570518

PENNY_19570518

MARY WORTH_19570518

DANL HALE_19570518

MORTY MEEKLE_10621696

JEFF COBB_19570518

ARCHIE_19570518

SMILIN JACK_19570518

A Frankly Fabulous Follow-Up

Regular visitors to this space may recall that in mid-December I posted the first of two pieces about models Milton Caniff employed as characters for his then-upcoming Steve Canyon storylines. The models posed for photo sessions that filled the dual purposes of offering visual reference to assist the drawing of the sequences while also providing client newspapers an eye-catching way to promote the Canyon strip. You can find that piece archived here: “Model Citizens, Part 1”. It provides some post-Caniff “what happened to …” information concerning model Gen Melia, who married playwright and restaurateur Warner LeRoy and later re-married as “Gen Walton.” Given a lack of information about her under that name, I concluded she was living “a lower-profile lifestyle.”

It was a delight, on March 2nd, to receive an e-mail from Bridget LeRoy that says, in part: “As the one and only child of Warner and Gen LeRoy, I greatly enjoyed your blog … just to let you know, [my mother] has written over a dozen children’s books, co-authored three best-selling cookbooks (“Loaves & Fishes”) along with several plays and TV films, and married Tony Walton, one of the greatest set and costume designers of all time. Yearly trips to the Tony Awards and occasionally to the Oscars are a thing. So ‘a lower profile lifestyle’ — not so much. I can’t thank you enough for this piece of my family history. It means the world to me.”

Bridget is not overstating her step-father’s achievements — Mr. Walton is indeed a master at his craft, with Tony Awards for his work on Pippin, House of Blue Leaves, and the 1992 Broadway revival of Guys and Dolls, as well as a “Best Art Direction” Oscar for Bob Fosse’s ambitious, semi-autobiographical 1980 film, All That Jazz (he was earlier nominated by the Academy for work on his initial motion picture project, Disney’s classic Mary Poppins). From 1959 to 1967 Walton was married to his childhood sweetheart, Dame Julie Andrews.

The initial information about her mother Bridget provided sent me digging deeper, and not only did I find links to the Loaves and Fishes cookbooks Gen co-authored with the late Anna Pump (Loaves and Fishes), I found several of her children’s’ books available at on-line used booksellers and ordered three of them. Earliest of the three is Emma’s Dilemma, from 1975, about a teenage girl who may be forced to give away her beloved sheepdog, Pearl. The cover illustration is also credited to Gen LeRoy:

EMMAS

Lucky Stiff! was a breezy 1981 hardcover picture book about pre-teen Anabel and her adjustment to having a new baby brother named Vaughan (“Sounded like yawn. Everyone would laugh at his name”).  Accompanying Gen’s text are lively illustrations like this one, by J. Winslow Higginbottom:

LUCKY 1

Taxi Cat and Huey is an ambitious 1992 book for young readers, written from the first-person perspective of basset hound Huey (‘short for Hubert”), who lives with his owners, Fred and Maureen Walton, and Taxi, the kitten the Waltons introduce into their household. The illustrations are by Karen Ritz:

TAXI & HUEY

When these books arrived at my home I left them on the table in the living room, planning to take them upstairs to my office the next day and scan the artwork you’ve just seen. My wife picked up Taxi Cat and Huey and read it in a single sitting. About the author, my wife said, “She’s good. That’s a really cute story!” So take it from my wife (someone whose interests do not include comics, Caniff, or Canyon) — Gen has real writing chops.

And if that recommendation doesn’t convince you, consider this excerpt from a long October 27, 1995 article by Hap Erstein, theater writer for the Palm Beach Post, concerning Gen’s first theatrical play, titled Not Waving…:

“Most first-time playwrights have to struggle to create interest in their work. Not Gen LeRoy. Her dramatic comedy Not Waving … does not have its world premiere until 8 tonight at the Pope Theater Company, but it has already generated more high-powered attention than most scripts by veteran writers. Such actresses as Julie Harris and this year’s Tony Award winner Cherry Jones have participated in developmental readings of LeRoy’s play. Prestigious though cash-strapped New York theaters like Circle in the Square and Circle Rep once vied to produce it … And even before the debut of Not Waving …, it has been bought by Robert DiNiro’s Tribeca Films for a future movie.”

Erstein goes on to provide information about Gen’s background for his readers: “Her Pope Theater program biography includes an eclectic list of previous professions. ‘Before beginning a career in writing,’ it states, ‘Ms. LeRoy did work as an IBM programmer, dry goods salesperson, waitress, accounts payable clerk, TV commercials model, Norman Rockwell’s New York model for several of his Saturday Evening Post covers, photographer’s assistant, mother of two children, wife, [and] illustrator …'”

That bio touches upon one topic Bridget LeRoy and I had discussed in our e-mail exchanges. “There was one additional piece that [Gen] was a little upset I forgot to mention,” Bridget informed me. “She went on to be Norman Rockwell’s model in three or four or maybe even five of his Saturday Evening Post covers. You can certainly find that online, including a video where she discusses it.”

Indeed I could, and indeed I did. The video is brief but wonderful, an excellent account by Gen of her experiences modeling for Rockwell. It includes several photographs of Gen taken to support two of those Post covers. You can see the video here: Gen Walton on Rockwell, and Post covers for which Gen modeled are shown below:

NR_Family Tree

“Family Tree” — Gen’s likeness is that of the woman beneath the little boy who tops the tree

NR_Easter Morning

“Easter Morning”

NR_University Club

“University Club” — The older members of this 5th Avenue gentleman’s club gained a reputation for clustering around the windows to criticize “daring” new women’s fashions that included hemlines above the knee or, in this case, a sleeveless blouse. Note Rockwell painted himself into the scene at bottom-left, looking over his shoulder at the earnest conversation between the sailor and the young lady.

There are two ways I can bring this discussion around full circle. The first is obvious to any Caniffite: Norman Rockwell’s nephew, Dick Rockwell, was Milton’s long-time assistant on Steve Canyon. But this second way is one only a very few persons have likely seen — until now. Thanks to Bridget LeRoy, we are pleased to share with you this pencil portrait of Gen Melia (as Caniff knew her). Compare it to the photographs of Gen as Whitey Barker in our Steve Canyon Volume 7, or the shots of Gen posing for Rockwell in the YouTube video, and I think you’ll agree Milt did an outstanding job of capturing the essence of one truly accomplished woman:

Caniff_Gen Portrait

Our thanks to Bridget LeRoy for reaching out to us and providing us with so much additional information (Bridget has an impressive resume of her own, as a Google search shows). And yes, I’ll cop to it — while Gen LeRoy Walton’s name certainly did fall out of nationally-syndicated gossip columns of the type I cited in my original piece, the evidence presented here makes it plain that my December conclusion about her living a “lower-profile lifestyle” was thoroughly unjustified! But this is one of those occasions where I’m perfectly happy to have (like Huey, perhaps?) barked up a wrong tree …

A World of “Hurt”

While there is much to recommend in this science fictional modern age, the Good Old Days had at least some advantages. One of them was the ability to walk into an honest-to-Pete bookstore and pick out the exact copy of a new release that you wanted to buy and take home. I was especially lucky, because I spent years making regular pilgrimages to Harvard Square, the home of WordsWorth, a sizable, well-stocked establishment that sold every book at a discounted price. And if that wasn’t enough of a description of Heaven, WordsWorth was located just down the street from that grand ole comics shop, Million Year Picnic.

Million Year Picnic is still in business, but WordsWorth closed its doors in the autumn of 2004. Declining readership and expanded book buying options squeezed it — and many, many other independent bookstores — out of the marketplace.

One of those expanded options was, of course, Amazon.com. It began in 1994 specifically as an on-line bookseller; its growth into a retail giant big enough to blot out the sun has been chronicled elsewhere, better and more knowledgeably than I could do here. Amazon’s deep discounts make it attractive to many consumers, but some persons have been experiencing regular, persistent difficulties getting undamaged copies of LOAC books delivered from Amazon to their doorsteps.

One reader, a self-described “long-time, long-suffering customer” of Amazon’s, contacted us at the end of January to describe issues experienced when ordering LOAC books from Amazon. This person wrote: “I purchase from Amazon four LOAC titles: Dick Tracy, Li’l Abner, Little Orphan Annie, and Steve Canyon. I have collected other titles as well, including Terry and the Pirates and Russ Manning’s Tarzan. I can safely say that I have rarely accepted the first copy of any of these books shipped to me by Amazon.” Our correspondent went on to describe eight different “hurt” conditions that ranged from holes in the dust jackets and book covers to “marks, stains, and sticky residue” on the books and their jackets. As an example of one specific condition — torn just jackets — the writer included these pictures of Steve Canyon Volume 7, about which the person in question said: “I needed to place five orders [with Amazon] before receiving a relatively undamaged copy [from them].” (Emphasis the original author’s.)

CANYON V7_Front DJ

CANYON V7_Back DJ

After using Amazon’s Leave Packaging Feedback feature “more times than I can remember. The results have been nonexistent”, and making calls to Amazon Customer Service representatives, the reader turned to us to ask if we could help. “I have repeatedly tried to make them [Amazon] aware that the books [from LOAC] are collectibles that need extra care,” said our correspondent. “Amazon makes no allowances for this.”

Here at LOAC, we will do what we can to raise this situation to Amazon’s attention, and we have been in communication with the appropriate sales team within IDW Publishing, sharing our reader’s letter with them and getting their commitment to address the matter with the proper Amazon parties. Obviously, how Amazon chooses to conduct its business is up to them. Our regular distribution channels deliver large quantities of undamaged books to Amazon, so if LOAC books are reaching readers in hurt conditions, the logical conclusion is that Amazon’s procedures are creating opportunities for the damage to occur during the packing and shipping periods.

Meanwhile, if like our correspondent you receive damaged LOAC books from Amazon.com, what can you do to help the situation?

  1. 1. Do not accept damaged books.
  2. 2. Returned the damaged books to Amazon and ask for a replacement.
  3. 3. When returning damaged books, specifically note that the problem lies with Amazon’s shipping.

One thing that does not help is going to the book’s Amazon page and leaving an unfavorable review of the book to protest receiving a hurt copy. Amazon doesn’t screen reviews for comments about its pack-&-ship procedures, so a “down-graded” review only delivers collateral damage to LOAC and leaves Amazon unaffected.

If I may conclude by speaking personally: I am a long-time Amazon customer and find them an invaluable supplier in many ways. Like the person who wrote to us, I have in the past received books in damaged condition, but have followed the three steps above and received an acceptable replacement copy in short order. I may be fortunate in that respect; clearly, our correspondent consistently has had less successful experiences than my own. My hope is that, through whatever avenue one chooses, every LOAC reader receives our books in clean, undamaged condition. That’s what readers deserve in return for paying out their hard-earned cash.

But you’ll pardon me if at this moment I find myself just a bit nostalgic for those Good Old Days of Harvard Square and WordsWorth …

 

 

Ecco che arriva il Colonnello Canyon

As a partial payback to Italy for providing the world with arguably the best of all cuisines, we can report that Italian readers can now enjoy the best of the best in American comics: Milton Caniff is being translated by our friends at Editoriale Cosmo in Reggio Emilia. Francesco Meo and company have begun reprinting both Terry and the Pirates and Steve Canyon (as well as Russ Manning’s Tarzan). I met with Francesco at the Angoulême festival last week, where he was also considering reprinting the old Eclipse Airboy comics by Tim Truman, Chuck Dixon, and friends.

Dean and Francesco Meo at the Angoulême Festivalm January 2017.

Canyon1_Italian Canyon_Italian2

Inside Baseball

Some time ago Lorraine suggested we could offer readers occasional coverage in this space about what we do and how we do it. I admit I was of two minds about that idea, in part because of something that happened to me in the pre-LOAC days. I had an idea for some short story or other, a tale that would feature a writer as its protagonist, and I was sufficiently jazzed up about it to run the basic plot past one of my oldest, closest writer friends. His response was one simple, chilling line: “No one wants to read about writers.”

That reaction was like a dash of cold water straight to the face: my enthusiasm for the idea instantly vaporized. In my backbrain, at least, the idea that a writer (and editor’s) work is of no interest has stayed with me, which means I’m not sure any of you give a toss about what I do. Still, I am at least mature enough to admit Lorraine may be right and the visceral reaction I’ve long carried with me may be one hundred percent wrong. On that premise, here’s a peek under the hood at how the editing portion of the LOAC engine typically functions …

#

It all starts with the manuscript. We take ’em however writers choose to prepare ’em. I still use the format guidelines editor George Scithers of Isaac Asimov’s Science Fiction Magazine would distribute back in the late 1970s for the cost of a self-addressed stamped envelope: double-spaced; serifed font; an inch margin all around the page; title, author’s name, and word count centered at the top of page one; author’s name/abbreviated title/page # in the upper right-hand corner of each page (a paperclip was expected to be in the upper-left corner, binding together the MS, back in those days when the IBM Selectric was king and Scithers was editing Asimov’s).  When the writer finishes his essay it’s delivered to Dean, who gets first-look, since he has to design the layout of the text pages. Dean makes suggestions and edits, then passes the MS along to me (if I’ve done the writing, he sends his mark-ups back to me).

I strive to deliver clean prose, and as the LOAC resident grammarian Dean doesn’t often pass grammar or spelling edits to me (though we occasionally do discuss phraseology, since some constructions are based on solid rules of English usage while others are matters of interpretation). The second set of eyes is always invaluable, though: when I strive to achieve a subtle effect Dean will make a quick remark if I’ve succeeded, or a longer one if he thinks I’ve failed. And some remarks, like this one to the MS for my essay for Steve Canyon Volume 7, offer an extra fact for me to consider in determining whether or not to rework a specific passage:

01_MS Markup

Dean’s mark-up in the right margin made me reconsider this brief passage in my essay for Steve Canyon Volume 7 …

 

02_Printed Result

… And here is the adjustment I made for the printed text (placed just to the right of this photo of Milton Caniff with the man who would become known as “Tricky Dick” Nixon).

If we’re editing another writer’s work, Dean gives it the first read, then passes the MS to me for comments, after which we go back to the writer for reaction and further input. All parties having weighed in, Dean then puts together the text section of the book and routes it to me, in PDF form, for final edits. Sometimes we catch simple typos that have escaped notice to this point, but sometimes I discover that a sentence or paragraph that looked just fine in MS form doesn’t accomplish its mission; as a result I rewrite it on the PDF. We’re also always on the hunt for overused words, as with this example from the PDF of my text from Li’l Abner Volume 7. We may swap one of the words for a synonym or, as in this case, do a recast of the sentence to make the use of one word in a short span of text less noticeable:

03_Galley Proofing

PDF edits to L’il Abner Volume 7. Adobe’s “sticky notes” feature is a wonderful thing!

Once Dean has made all the changes resulting from our edits and proofing, he sends the file to IDW, where their proofreaders give the essay a fresh going-over. When the proofreaders have worked their magic, the text section is complete and the book is quickly ready to ship to the printer.

When we started LOAC in 2007, Dean and I talked about how our essays should read. We both grew up admiring the William Shawn-edited New Yorker, where writers such as Pauline Kael and Roger Angell could be counted on to deliver sharp, clear, incisive reviews and observations in their regular features for that magazine. We are also both devotees of Strunk and White’s invaluable Elements of Style (I favor the Third Edition), and we bring many of their sensibilities to our books. We have an informal “style guide” that includes preferences such as:

[1] Italicize the name of a newspaper, not its town or city. That means we prefer St. Louis Post-Dispatch to St. Louis Post-Dispatch.

[2] Embrace the serial comma. Per the second of Strunk and White’s Elementary Rules of Usage, in lists of three or more items, we favor placing a comma after each listed item except the last. Yes, newspapers and several magazines have long omitted the last comma (known as the “serial comma”) — but those publications were originally designed to be read by on-the-go metropolitan commuters zipping rapidly from home to work and back again. Like most well-designed books, LOAC volumes are designed to be read at a more leisurely pace, so we employ the serial comma. Beyond pace, simple logic dictates the serial comma’s value. Think about it: the mental image of the last item called up by the list, “milk, cheese, bread and butter” is:

04_Bread and Butter

A very different mental image is conjured by the list: “milk, cheese, bread, and butter.” The bread and the butter are clearly meant to be considered as two separate items:

05A_Bread

05B_Butter

[3] Avoid informal, Internet-style constructions. I refer to this as “I/we/you/me”isms. The Internet, coupled with generations of students who have been taught to “write it the way you would say it,” has created an online style that is relaxed and conversational. This is fine in its place, but its place is often not in the text features in our books. While we’re acutely aware of our duty to entertain as well as inform, we believe we can do that and still keep a degree of formality to our text that reflects the amount of scholarship we have devoted to its content. After all, the language has evolved and surely will continue to evolve in decades to come, so adhering to long-standing, tried-and-true approaches seems the best way to insure that the typical LOAC book may in future years retain value as a resource for the next wave of comics scholars. Sentences containing constructions such as, “As we can plainly see in the August 22nd daily …” can easily be rewritten to eliminate the “we” reference; phrases like, “You’re in for a real treat when you see …” typically are better seen in our press releases and publicity features, not in our pages.

I used qualifiers in the paragraph above because we do have exceptions to this approach. Max Allan Collins’s regular Dick Tracy essay is informed by his unique perspective as the second-ever Tracy writer, the access he had to Chester Gould before that cartoonist’s 1985 passing, and by the sensibilities an author of his stature brings to the page. We’d be chumps not to welcome Max’s first-person observations on everyone’s favorite yellow-coated manhunter! We also take a more relaxed approach to several of our licensed titles since the audience for, say, Star Trek can be different than the audience for Little Orphan Annie and the information presented in the licensed series often has more of a “coverage of pop-culture” approach than a scholarly focus.

No one bats a thousand, including us, but we bring a lot of energy and attention to the text and special features that go into our books. Do readers notice? The longtime friend who cut down my short story idea so long ago would likely say, “No,” but all of us at LOAC care, and we like to think we’re not alone in that department.

If so — and if you’ve stayed with me through this entire posting — Lorraine will get to look at me and say, “Nyaaah, nyaaah!”

 

Canyon’s Model Citizens (Part 2 of 2)

Before the pre-New-Year holidays we took a look at what I’d been able to find out about the two models, Loree Thomas and Gen Melia, who posed as Alice Santa Fe and Whitey Barker for Milton Caniff’s “Pipa Island/Red Cross” Steve Canyon storyline, which we just reprinted in Volume 7 of that LOAC series. If you missed it, you can catch up by clicking here.

Milton and models went together like baseball and hot dogs (or spaghetti and meatballs, for those of you with more refined palates), so I went back a bit further to look at a trio of other “Caniffite” models and what we could learn about them following their assignments in support of the Canyon strip …

You may recall these two young ladies from our 6th Steve Canyon volume:

lynn-terri_from-canyon-v6

Terri Keane, in uniform, and Lynn Thompson, in checkered shirt, posed as Scooter McGruder and Poteet Canyon for a photo session in support of a 1957 plotline that revolved around the Civil Air Patrol. Many photos from this assignment were used in publicity materials that appeared in various periodicals; here’s a shot of Caniff and Lynn, from a syndicated newspaper feature that I found in the Des Moines Register:

lynn-1

It may surprise you to learn Lynn and Terri were both teenagers when they did their Canyon work. This newspaper article, running nationwide in May, 1958, provides a lot of background on both girls, including personal details that would be frowned upon in the 21st Century, though it was a different society, with different mores, sixty years ago:

terri-and-lynn-1

Terri also landed a gig on series television in the late ’50s. Here’s an article describing her work:

terri-1

If you’d like a brief flash of Terri helping to intro the Pat Boone Chevy Showroom, you can see her at this link.

Arguably the most famous of the Canyon models Caniff used was Bek Steiner, who as Miss Mizzou made quite a splash when she appeared at halftime in the University of Missouri football stadium and doffed her character’s trademark trenchcoat (see our Steve Canyon Volume 3 for the detailed story). Here’s a a brief bit from the November 18, 1952 Macon, Missouri Chronicle-Herald with other information about Bek’s time at the school:

bek-1

Newspaper gossip columnists kept track of Bek even after her time as Mizzou ended. In early April, 1953 Dorothy Kilgallen told readers that Bek and musician Marty Mills were “closer than the baseball season,” but just before Memorial Day of that year another gossip feature said, “Don’t know about the chance of Johnny Ray reconciling with Marilyn Morrison. Anything is possible. But he has been paying lots of attention to Bek Steiner, a stunner at the Copacabana in New York.” By the wintertime of ’53, with cold temperatures and snow on the ground in the East and North, Bek had migrated westward, but city editors knew a photo of a beautiful woman in a bikini would warm readers’ hearts and featured a beaming Bek — left leg bent, head tilted to the right, back slightly arched and arms upraised and extended to either side — in a dark bikini. The copies of the story I’ve found are too blurred and dark for reproducing here, but her image was presented all in the name of culture! The caption informs readers, “All that’s changed in 2000 years is the means of capturing feminine beauty for posterity. Bek Steiner, 22-year-old dancer at Las Vegas, N. M., models a Bikini bathing suit, almost exactly like those which appear in mosaics recently excavated in Piazza Amerina, Sicily. Today, the camera captures beauty once preserved in bits of ceramic.”

The next two years were big ones in Bek’s personal life. She wed singer Chuck Nelson in 1954, and in his column It Happened Last Night, gossip monger Earl Wilson covered the nuptials with this tongue-in-cheek snippet:

bek-2

By the autumn of 1955 a child was on the way, as Dorothy Kilgallen reported at the bottom of the left column of this column (with a vivacious picture of Bek dominating the right-hand column):

bek-3

This is also a fine place to mention J.B. Winter’s fine, fun 2014 look at the character who was perhaps Milton Caniff’s biggest blonde bombshell, Miss Mizzou: A Life Beyond Comics. You can see it at Amazon and the page on that site is well worth visiting, since one of Bek’s friends and her daughter remark on the book in the “Comments” section. They indicate that, as of 2014, Bek Steiner was alive and brightening the lives of family and friends. That is good news indeed for fans like us, because Bek’s fictional counterpart, Miss Mizzou, will be re-teaming with Caniff’s rock-jawed colonel in Steve Canyon Volume 8!

It Takes All Kinds to Make a World …

In the text features for our LOAC titles we often quote from letters received by the cartoonist in question. Sometimes this is professional correspondence related to the business of syndicating or merchandising the strip and its characters, while other times we cite those individual readers who felt the burning urge to pen either high praise or high dudgeon and mail it to the artist.

But some letters are so far “off the beam” they would have no place inside our books. Let me share the highlights — and I use that term loosely — from one of my very favorites with you …

Postmarked from scenic Brooklyn, New York in September of 1955, the item in question arrived in an envelope bearing this address (pardon the extreme blurriness):

100_0943_cropped

Sent to, “Mr. Al Capp, Steve Canyon Cartoonist,” in care of the New York Daily Mirror, we see the first sign that something is amiss. As we know (but the writer apparently did not), Al Capp drew Li’l Abner. It was Milton Caniff who created and produced Steve Canyon!

The enclosed letter was typed all in capitals (before that approach was deemed to represent “shouting”). As you can tell from the envelope excerpt above, the copy of the letter I have is too blurred for good reproduction, but I carefully transcribed the contents of the original when I found it during one of our research trips to The Billy Ireland Cartoon Library and Museum at The Ohio State University, so I’m able to replicate the all-caps format and include the various typos and misspellings, as well. Believe me, I couldn’t make this stuff up!

The author begins:

 

DEAR SIR:

RUSSIAS CLAIMS ON PLANETARY DISCOVERY BY COSMIC SPACE SHIPS IN AN ARTICLE OF AUG. ’55 BY REUTERS NEWS DISPATCH, IS A LITTLE PREVIOUS.  IN AUG. OF ’53, PATIENT Z-125 IN WASHINGTON, D.C. REHEARSED THE STATE DEPARTMENT IN RIGHTS OF THE WORD OF  GOD ON FAR PLANETS.

THE EVOLUTION AND PROPAGATION OF THE THREE PLANETS NEAREST THE SUN-STAR ARE IN THE ICE, STONE AND BIBLE MAKING STAGES.  WIT H EARTH THE FARTHEST ADVANCED OF ORBIT EVOLUTION IN THE SUN-STAR UNIVERSE, THE BROTHER AND SISTER PLANETS HAVE BEEN IN COMMUNION WITH THE EARTH EVOLUTION.

BEING HINDERED IN STATIONING, AND ATMOSPHERIC PLANETARY ACCEPTANCE, W  WOULD BE A HURDLE RUSSIA MAY FIND DIFFICULT TO- OVER COME.

 

The author (who shall go nameless) then shifts to a discussion of the goddesses found in “GREEK FAIRY TALES” and a tale of The Resurrection cited as being revealed by “ST MATTHEW TO THE MULTITUDE IN EPISTLE C22.” In closing, the letter’s writer offers this:

 

POEM OF PROSE

A WEDLOCK BEING WAC, MARRIED AND M.D.,

IN THE 1st CHURCH BEILEVEING 6 DAYS FOR A MONTH.

NOW THERE’S 28 DAYS IN ONE MONTH;

BEING, TOO, WELOCKED IN 2nd CHURCH BELIEVING 22 DAYS FOR A MONTH.

THE LADY OF MONTHS THAT PASS.

THAT BEING NEAR THE PHYSICIAN.

THE LADY KNOWS HER Ps AND Qs.

THAT FAR MATHEMATICIAN KNOWS Y PLUS X = ZERO.

 

Finally, by way of apology, the correspondent concluded: “P.S. SORRY I’M NOT A GOOD ODE-IST, PLEASE FOR-GIVE MY SHORT COMINGS.”

Even a wit as keen as Al Capp seemed flummoxed by what he had just read. Still, because he was a swiftie, he saw in the letter an opportunity to throw a couple gentle jabs at his good friend, Caniff. He forwarded the letter to Milton along with a note dated September 22, 1955. In it, Al wrote:

 

“Dear Milt:

“Judging from the contents of this letter … this is one of your readers. It was sent to me because everyone thinks I do all the comic strips.”

 

That humorous note provided the perfect — errr-r-r — Capper to the original letter writer’s impenetrable attempt at communication. But the missive serves as a reminder that, just as in today’s 21st Century world of high-profile stars and instantaneous contact, where stories of “celebrity stalkers” or bedeviling on-line “trolls” regularly make the news, the classic penmen of the past received plenty of letters from those who fit the description of either cranks or crackpots. Technology changes, but the range of human response does not.

And if this little exchange provided you with a smile, remind me someday to reprint the letter Ernie Bushmiller wrote about one particular piece of fan mail …!

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