« Discovering this girlie mag stuff was like expecting a bike for Christmas and getting a car. » — Jaime Hernandez on his personal DeCarlo epiphany
As assiduous readers of this blog may already know, I don’t rate Dan DeCarlo (1919-2001) all that highly as an Archie artist. Simply put, once he committed himself fully to the publisher (in 1963), he strapped himself onto a treadmill of exploitation for the next several decades, and on-model hackwork quickly became the norm. Archie consumers (can we truly call it reading?) didn’t know or care then, or now, who produced the stuff, nor how.
While grinding out sexy panel cartoons for Moe ‘Martin’ Goodman’s Humorama line of girlie digests also constituted exploitation (at 15 bucks a pop, sometimes less), the results were sturdier and far more expressive, which is surprising, given that DeCarlo produced hundreds of these (at the cited figure* of ten a month, it adds up to over 800!) over the course of a mere seven-year span. But then DeCarlo was at his peak, having acquired sufficient experience (he’d gotten his start in the field in 1947), and he was hungry and brimming with stamina.
DeCarlo buddy / biographer Bill Morrison, in his fine preface to Alex Chun and Jacob Covey’s The Pin-up Art of Dan DeCarlo (2005, Fantagraphics), sadly out of print and nowadays quite costly (though volume 2’s still available from the publisher, hint hint!), recounts the way things went down:
« According to Dan, Stan Lee wanted to make a little extra money, so he offered to introduce Dan to the editor of the Humorama line of men’s humor magazines. In return for the introduction, Stan would collect 10% of the fee for every single panel gag cartoon Dan contributed. Dan saw this as an chance to develop as a magazine cartoonist, and he decided to pull out all the stops. Dan recalled, ‘So I did five, and I brought them over, all black and white wash, you know. I thought they were beautiful, and he [the editor] loved them. He paid me $15.00 each, and I had to give 10% to Stan!’ Dan soon decided not to continue doing the cartoons, even when Stan declined to take his cut. So the editor offered a compromise. He said, ‘Well, would it be easier if you just draw the situations, and I put the gags in?’ Dan agreed that would help to make it worthwhile. He had been paying his comic book inker Rudy Lapick $3.00 a piece to come up with the gags, so with that cost eliminated, he could nearly clear a full $15.00 on each cartoon after buying supplies. Incidentally, Dan later learned that Rudy had been swiping the gags cold from a book of Peter Arno’s New Yorker cartoons, so it’s probably a good thing that this arrangement didn’t continue. »
Here’s a baker’s dozen samples of what I deem the cream of the DeCarlo crop…. visually, anyway.
As you can witness, the gags are a bit of an afterthought, a side dish to stock situations. Over the years, these cartoons were endlessly recycled, and the captions updated, though rarely… upgraded.
*valuable info from Bill Morrison.