Pioneer Cartoon Gallery 5

During the segregated years of the 1900s through 1960s America, the Black Press offered comic strips that featured African American heroes & heroines in a wide variety of life situations. These characters were not confined to gritty 'inner-city' stories, poor 'ghetto' life or as one dimensional comic relief as today .

This gallery continues with comic strips that were found on the pages of Black newspapers during 1920 through 1969. By this time there appears to be a larger amount of work by African American Cartoonists.

The emphasis of their work appears to be an emergence of 'race' pride. There is a need to offer the community positive self images, & many cartoons reflect this through realistic, or should I say naturalistic portrayals of people of African descent. Unlike the 'mainstream' press that persisted in only presenting negative, subservient less-than-human images based upon black-face, minstrel-like parodies of people of Color, the artists of the Black press simply showed reflections of daily life. Be it gag comics, adventure serials or 'soap opera' romance, the characters were intelligent, independent, self-empowered individuals that were little different from their 'Mainstream' White comic strip counterparts--- apart from being shaded to indicate skin tone.

Thanks to Philadelphia cartoonist, Samuel Joyner who provided me with background information about many of the artists whom he had the privilege of actually knowing, the Vivian Harsh Collection of Afro-American History located in the Carter G. Woodson Regional Branch of the Chicago Library for making the following images possible.

Copyright Notice !

Pioneering Cartoonists of Color is a publication of Creative License Studio Inc. Copyright © 1998 by Tim Jackson. All rights reserved worldwide. Original cartoons used in cartoonist's biographies are copyright © of the featured artists.

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(I regret that due to efforts to keep file sizes small, many of the cartoons may be difficult to read.)

Arline's Career

by George Mercer

Arline: "Thanks for bringing me home Mr. Moxey!" Moxie: "Roy's the lable--- to my good friends!"

Moxie: "How about it, Arline? Would your father track down a mere orchestra leader with a shot gun if he happened to give his daughter a buzz someday?"  Arline: "Maybe not---but I really must go in---!"

Arline: "No lights! Must be awful late--- maybe I should've let my sexort bring me home--- it was really catty of me but he wanted to leave so early---!"

Arline: "F-father! Oh! Good Grief!" Father: "Good morning Arline!" Continued---

Arline's Career, a soap opera strip filled with lots of plot twists by George Mercer. Appeared in the Baltimore Afro-American beginning November 7, 1942 and lasted about seven month. It followed the misadventures of Arline as she struggled to gain independence, from the influence of her affluent Black family. but makes all the wrong choices. First she defies her consrvative father's wishes to date a dashing band leader Roy Moxie, sneeking off with him to go to a wild party the evening of Phil, her college brother's homecoming (who wants to drop out & become a pro boxer.) is involved in a terrible car accident in the middle of a country road. Moxie, leaves her for dead & crawls away from the wreck, planning not to report it. However, Arline's brother, out searching for her gets into a fight with Moxie for trying to desert the scene, only to discover his sister was in the wreck. After rescuing Arline, the brother starts off to take her home, she begs him to help Moxie (who's pretending to be knocked out) & gets him to promise not to tell their father. The car breaks down & a strange large man in overalls (referred to as the 'redneck') comes along, & tries to kidnap Arline. Her brother tries to fight the stranger, but he has superhuman strength & knocks him out with a large stick. They are all taken to a rundown shack and left there. A young woman in the shack take a shine to the brother & wants to keep him with her. Until the stranger returns and beats her for talking to them. Moxie & the brother make plans to work together to escape only to discover the stranger is not quite human & it would take killing him to stop him. But before they do, the young woman pleads for his life, revealing he is her father. The strip ends here... Arline's Career, whatever that career may have been, came to an end on May of 1943. Other cartoons by George Mercer: Solid Senders & Rickey.

The Brown Family

by Melvin Tapley

Brown Bomber Goes to War

Bully: "Scram! And don't let me catch ya on dis block again runts!

Girl: "Coward! Are you gonna let him bully us?" "Billy: "Babe, I'm goin' home for some reinforcements!

Billy: "We'll eat some of this swell Brown Bomber Bread and..."

Billy, getting a kiss: "Man, that Brown Bomber Bread sure is a killer!!"

The Brown Family was more of an running ad for a brand of bread called Brown Bomber in honor of boxing champ, Joe Louis. Illustrated by Melvin Tapley who first went to work for the Amsterdam New York Star-News in in 1942 to train under Bill Chase (Tapley retired from full-time service as the Art editor & cartoonist of the New York Amsterdam News in 1998. This comic strip was the very first assignment for the rookie cartoonist at the paper. Over 6 different cartoons (uncovered so far) were to follow this early job.When not pitching the goodness of Brown Bomber Bread, this comic was a domestic family strip where all problems of the day were solved by a slice of Brown Bomber Bread! (must be like the magical sitcom brownies.) This cartoon pre-dates Breezy by perhaps 10 years. Although Brown Bomber Bread lasted throughout much of Joe Louis' fame in some parts of the county, the Brown Family lasted about a year. Other cartoons by Melvin Tapley: Spoofin' Jim Steel, Breezy.

Bud Billiken a "mischivious child" gag-a-day strip by R.(Roger?) Powell. Ran exclusively in the Chicago Weekly Defender on the Defender Junior page. This strip featured the adventures of comic incarnation of the mythical Chicago Defender newsboy, for whom the anual Chicago youth parade (brodcasted on WGN for you cable viewers outside of Illinois.) is named. Reminicent of Buster Brown comics, Bud Billiken, dressed in the poka-dot pantalooms (looks sort of like a skirt) and a pill box hat, was anything but a 'sissy' as he may appear to viewers today. Often seen fighting or getting into general mischief on a weekly basis. The tightly drawn characters were often surrounded by an urban setting, showing alleyways, smoking factories. the comic strip (this one from 4 July 1925) did not continue beyond the 1930s, however the spirit of Bud Billiken continues to the present in Chicago.

Dinky Fellas

by Morrie Turner

Dinky Fellas, a child's only world strip by Morrie Turner. Yes, you're seeing it here first! the 1963 pre-version of of America's first truly integrated comic strip to be syndicated. Most experts will only acknowledge the 1968 widely seen 'mainstream' version. Inspired by Charles Schultz to create a 'Black' version of Peanuts, Morrie Turner developed the above strip which appeared in the Berkeley Post & the Chicago Daily Defender. The more refined Wee Pals (below) was accepted into national syndication in 1965, and had a small list of newspapers, but according to the artist, was suddenly in demand after the assassination of Dr. Martin Luther King Jr. (note Ralph the blonde past & present.)

Elmer, a gag strip about child's life in a somewhat more rual setting compared to most strips about children in the Black press. Illustrated by Clifford Van Buren. appeared in the Baltimore Afro-American during 1940 & 1942. Exact run uncertain. Elmer, a clever & resurceful boy (in the plaid shorts) experienced all the same mishaps & adventures all children of the comics did during the 40s. Being in a rural setting, he was seen riding a goat-pulled cart he had build from scraps of wood, swimming in a pond, outwitting (or simply out running) bullies, climbing trees with tire swings dangling from a branch & running errands for seldom-seen adults to earn 'pocket' money. Unlike some comics in the Black press, Elmer sometimes interacted with girls as equals, & not as quasi-girlfriends. He & his best friend Butch were simply little boys doing what an adult might observe boys doing & not in the roll of little men leering at women or suggestive comments well beyond their years. Even the extremely simple design of the characters, & uncluttered backgrounds are refreshing to look at. Elmer sometimes had continuity, but was for the most part a gag-a-day format.

Home Boy, a single panel gag feature by Renny Lee. Apparently syndicated by New York Star-News (New York Amsterdam News) around the country from 1939 through 1945 or 6, since latter comics dealt with soldiers returning from the war. It seems to disappear from the papers available soon after the war. For a while, it appears to take on the strong, 'poking fun at ourselves' tone of Dark Laughter, as it exposed some of the fads & foibles of the Black community of the 40s. But finally returns to its own subtle brand of humor. No details on Renny Lee yet, but this cartoon is included because he happened to draw himself interacting with a character presumed to be Home Boy. (I'm always a sucker for comics where the cartoonist takes part in the gag!) In his usual form, Home Boy is suffering the results of his, scheming, lying, players lifestyle. He apparently thinks he is 'all that,' but the women will let him know, by no uncertain terms, otherwise. Many people both women & men have been shown about to or just completing beating up on Home Boy!

Ol` Hot

By Ric Roberts

Betty: "But, Dad, it's our patriotic duty. Ol' Hot is joining the armed forces, adn I can drive him to the nearest recruiting station at Pam (or Dam) City, 19 miles away. ---And what's more, that WAAC, Muriel, is coming along!"

Ol' Hot to Muriel (in uniform): "Muriel, we'll be wed in 1944." Muriel: "After the War Ol' Hot? Why not now--- secretly!" Betty: "Break it up! For chrice sake --It's time to get moving!"

Muriel: "Why? Can't two sweeties like Ol' Hot and I dream our dreams?" Betty: "Because you've missed the bot for months. --Time to step back!"

Ol' Hot, a continuity strip by Ric Roberts. Appeared in the Baltimore Afro-American for less than two years from August 1941 to 1942. Ric Roberts, better known to me as a sports cartoonist tried his hand at a romantic, soaper. Ol' Hot (actual name unknown, since even his draft notice was addressed to Ol' Hot too.) appeared to be a young jet-setting Black man with no explained means of income, yet possessing a dedicated feeling for doing something positive for the race. He is at the center of a love triangle between the spoiled, well-to-do debutaunt, Betty & the simple middle-class Muriel who has already joined the women's army corps by the time I discovered this comic, to "Serve one's country-- to dedicate one's days to its safety...". While Muriel was away on training, Betty has Ol' Hot to herself & tries to impress him with all the lavishness of the country club lifestyle, but still he decieds to "make the world safe" by joining the service. This news pleases Muriel who is assigned by her unit to recruit Ol' Hot into the army (with her). Betty perfers that he join the Air Force, since pilots look more heroic, & Ol' Hot has flying experience. Perhaps to appease both women Ol' Hot enlists in the Army Air Corp. Even during training, much to Muriel's frustration, the military can't seem to keep Betty away. She takes a clerical job on the base--- & the rivalry continues. the strip however didn't, disappearing from the pages late in 1942.

On Pass a single panel gag feature by Ray Henry. Until I find out more about this one, I suspect it is a cartoon from a military publication. Several Black cartoonists submitted cartoons while in service, & judging by the level of humor-- the soldier eagerly shining the short-skirted young woman's shoes, with a big grin glances up her dress--- was meant for the fighting men, and not necessarily for the civilian population. Only a few comics ever made the transition from bawdy military personnel humor to civilian consumption. Toning them down often rendered the cartoon unfunny to the devoted followers in the services, & the civilian readers never quite understood what the cartoons were about, not having previous exposure to the characters. Ran for the duration. This one was from 22 April 1944.

Pee Wee

by Bill Chase

Calander reads Fri. 13th. Pee Wee: "Aw fooey--- Double fooey"

"Nobody believes that stuff anymore"

"--- Just plain superstition, that's all--- (as he falls down manhole) Just supersti----what th'?

Pee Wee begain its days in the late 30s as a gag strip about the world according to a little boy. Illustrated by New York Star-News (New York Amsterdam News) Editorial Cartoonist from 1933 to 1949, Bill Chase. Still gathering information on Chase, He was the editorial cartoonist for the New York Amsterdam News since the early 1930s until he turned over the baton of cartoonist to Melvin Tapley in 1943 to devote more time as a writer for the paper's society section. (I'm told by Mr. Tapley that Mr. Chase often performed inpressions of Black celebrities of the day & did a fantastic imitaition of Ethel Waters.) As for Pee Wee, It appeared to run through the 1940s. It showed signs of continuity during the war period as Pee Wee, being too young to join found ever inventive ways to do his part for his country & discovered as a boy scout, that "Dames went fer guys in uniforms." Particularly if its the right uniform (He goes to a costom shop & trades his boy scout uniform for a sailor's outfit & all the little girls then chase after him.)

Pee Wee's Off-Jive is a single panel gag feature illustrated with some-what less than Dark Laughter finesse by Ollie Harrington, or as he signed his work during this priod as, Ol Harrington. Pee Wee, a name that seems enormously popular for comics (not pictured in this sample) was your typical timid, short, bispecled, chinless individual who's suits always hung loosly about his puny frame was often the butt of the punchline (or his gal who was large, overbearing and heavyset.) The humor of the comic sometimes took place whether Pee Wee was present or not, similar to Bootsie in Dark Laughter & was a similar social satire of middle class Harlem life. In 1942, Pee Wee gets into the army on a technicality, having been listed 4F in an earlier comic. Then the cartoon moves into humor about Black military life, alternating now and again to Harlem settings. Often the war was mentioned at these times but there was still room for the usual social commentary irregardless of WW2. The comics carried no syndication stamp, so for now, it's unclear if it was seen in any other paper besides the Baltimore Afro-American & its sister papers in other Eastern cities from 1940 thru 1955ish. Another Harrington comic strip that was drawn at the same time was the adventure strip, Jive Gray.

Rickey a gentle minimal dialog strip about a little boy that appeard on the Junior Afro page of the Afro American Newspaper group. Illustrator George Mercer provided the uncomplicated ink line art from 194- through 1945. (complete dates later) Backgrounds were minimal. A few pen strokes established the setting. A scribble to indicate grass or a bush, a door to show inside a room or & eye chart on the wall to set up the gag where the docter asks Rickey, whose hands are raised in exasperation, if he can read the largest letters. With the dotted lines to indicate seeing something of imprtance to the joke, leading out the door of the office, Rickey jumps down & runs out of the room outside to the street where he retrives a dropped coin. Rickey has similarites to Carl Anderson's Henry, in that he seldomly spoke, while others around him did have dialog. Rickey also tended to be just as sweet & helpful as he could be inventivly manipulitive to gain his personal goals in the same pattern. Probably syndicated by Afro-American Newspapers. Another comic drawn by George Mercer was the "pretty girl" panel, Solid Senders. and The Soap Opera, Arline's Career

A 'delightful' find from the Chicago Defender's Junior Defender page in 1934. This cartoon officially introduced the work of the new Billiken staff cartoonist, 13 year old Master Hardy B. Ruffin. Apparently, Master Ruffin had been submitting cartoons to the paper until someone got the idea to pay him to do it for the children's page (at least I assume they paid--- the Defender isn't incline to pay anyone today!) The cartoons didn't have a particular title, it often borrowed from what was happening in the comic itself as a heading. No one present at the defender has any information about Hardy Ruffin, & no one by that name can be found in any current phone listings. Assuming he still lives, he would be over 77 years of age. The cartoons appeared intermittedly in the Chicago defender until the mid 1940s where the Defender Junior page was made less prominent to make room for war news.

Solid Senders, a single panel gag feature in the genre of the 'pretty girls' comics. Illustrated by the skillful brush strokes of George Mercer. To be honest, of all the Solid Senders I reviewed, it is unclear who was the focus of the comic between the women it showed--- fashions & hairstyles were ever changing to fit the trends of the day. I'll need to consult some older friends to learn the meaning of the title as well. But I know "Solid" was a slang term meaning 'great' 'perfect' or 'excellent'. Taking from the Sam Cook song, "Darling You Send Me," to assume an extreamly beautiful woman is a "Sender." Solid Senders appeared in the Afro-American Newspapers duing the 1940s no information on when it ended. Anther cartoon by Geroge Mercer was the comic strip Rickey & the soap, Arline's Career.

Spoofin' is a gag panel drawn by young Melvin Tapley for the New New York Star News (York Amsterdam News) In the truest sense of a gag strip, Spoofin' had no apparent reoccurring character or no specific location in the country or world. Though it was often set in the present (1943 - 1945) this feature ran the gamut of domestic humor, college campus capers, to military humor & social satire. As with many comics of the Black press, the race of the characters was not essential to the everyday humorous American experience. One cartoon shows a woman in slacks & her baby reaching out to her cooing "Daa-Daaa." Peeping over the newspaper from his easy chair, her husband comments: "Da-da, eh? Well dear, the first time I saw you in those slacks, you fooled me too!" (9 October 1943). A boy is watching his sister at the vanity mirror; "Ya know, Sis--- you ought to go to Hollywood--- They need good makeup men!" (5 June 1943). And in the military category, A very large chested woman stands at attention awaiting a metal-- holding the award is the nervously sweating officer biting at his finger nails. In the background two WAACs whisper "Don't you think someone should tell Auxiliary Fuller to 'at ease' a little?" Unfortunately even Melvin Tapley was unable to give precise dates the cartoons were seen in, but physical evidence suggests 1943 through 46 (Melvin Tapley started at the Amsterdam in 42. The Brown Family was his first assignment. Latter he took over Jim Steel in 1943.) Other cartons by Melvin Tapley: Breezy, Jim Steel, Brown Family & editorials in late 1940s.

More to come in the future.

I'm working on it !

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Copyright Notice !

Pioneering Cartoonists of Color is a publication of Creative License Studio Inc. Copyright © 1998 by Tim Jackson. All rights reserved worldwide. Original cartoons used in cartoonist's biographies are copyright © of the featured artists.