“Get on Your Bike and Do What You Like”

« Bicycles are pieces of art. You get that combination of kinetic engineering, but then, besides the welds, the paint jobs, the kind of the sculpture of it all is quite beautiful. Bikes have such great lines, and all different styles. » — Robin Williams

I’ve been cycling a lot more of late. I’d been using my bike less frequently in recent years, unnerved by the increasingly frantic (and distracted, not a good combo) vehicular traffic of the city. But with my wife taking an interest in the activity, I found myself with a reason to get back in the saddle. This spring, we found a newly opened bike shop, earthy, grimy and unpretentious, where we got our bikes expertly tuned up.

I’ve always loathed those cliquish hipster joints that, in addition to selling overpriced junk, also seem responsible for the ubiquity of those middle-aged, over-equipped, spandex-clad Sunday cyclists, who feel it their sacred duty to pass you, whatever the pace, weather or road conditions, looking for all the world like overstuffed sausages in their lycra casings. The sporting analogue, if you will, of the rich kid who ‘needs’ the most expensive guitar in the shop… never mind that he can’t play a note.

You hopefully will indulge me in this little exercise in nostalgia. I miss the days when our bikes got us around, granted us greater autonomy and kept us in shape. This lifestyle took a backseat in the 1980s, when the BMX craze began to overstate the extreme and the competitive facets of the sport. Now, it’s all ultimate sport this and boot-camp fitness that. Ah, whatever happened to plain old utilitarian fun?

Judging from this ad (circa July, 1951), bicycle makers were trying to make their steeds mimic the clunky look of the era’s motorcycles. Aesthetics would soon improve.
Here’s a fairly typical ad, circa 1961. Free catalogue, not to mention a healthy dollop of American jingoism, like it or lump it. Speaking of Schwinn, check out their well-produced promo comics Bicycle Book, from 1949.
Ah, yes, the U.S. Royal twins, Roy and Al. In the tradition of the accidentally named Smith Brothers, “Trade” and “Mark”.
Unsurprisingly, scouting magazine Boys’ Life was an ideal market for bike-themed ads. This one appeared in the May, 1966 issue. Artist unknown… anyone?
You can tell how important the bicycle scene was: not only were manufacturers hawking bicycles, but there was also the ‘aftermarket’ trade of gizmos and doodads. I’ve long supposed ‘speedometer’ to be a dumbed-down term for a tachometer. Even after consulting this ‘helpful’ chart, I’m still not convinced it isn’t. To quote sometime Beach Boys lyricist, DJ and racing enthusiast Roger Christian: “Tach it up, tach it up / Buddy, gonna shut you down.

Through much of the 1960s, Bendix (the corporation, not Bill!) commissioned a long-running series of custom ads featuring the Riverdale Gang, illustrated by resident Archie artist Harry Lucey.

This one’s from April, 1965.
Archie, the voice of reason? Only in ads and public service announcements. This one’s from October, 1966.
This one’s from July, 1968.
Ah, that’s more like the Archie Andrews we’re accustomed to. This one’s from August, 1968. I daresay we’ve all encountered too many such ‘cyclists’.
An apt reminder that the rich kids always did boast the best, most up-to-date equipment, whatever the sport. Also, I can’t help but think that the cape and tiger tail are just kind of… reckless. Clearly, corporate shill Tigerboy is failing to heed the lessons of Isadora Duncan’s tragic death. Thanks to the ever-thrilling Jack Davis artwork, this is the unsurpassed classic among bicycle ads. It appeared in select DC and Archie titles cover-dated November, 1968.
While banana seats may be considered in most quarters as retro kitsch, I earnestly hold that they were bold and cool. Aesthetic and structural experimentation had arrived at the forefront of the cycling industry. This ad appeared in comics cover-dated February, 1969.
And here’s a look at a (flawlessly) surviving model. Man, the elegance of those lines!

As the 1960s drew to a close, another series of custom comics ads appeared — just under the wire. They spotlight the creations of the famous ‘King of the Kustomizers’, George “Barris” Salapatas (1925-2015), very much in demand thanks to his recent triumph with the Batman tv show’s Batmobile.

This one appeared in various DC titles cover-dated November, 1969. If I had to take a stab at artistic attribution, I would go with the versatile Creig Flessel (1912-2008). Something tells me that in real life, the human chain stunt the Mighty i Patrol pulls would have led to four drowned kids instead of just one — but I’m sure Woofie would have dog-paddled his way to safety.
This one appeared in DC titles cover-dated December, 1969. Read a gripping first-hand account of working on the assembly line at the Iverson bicycle factory, circa 1975!
I’m assuming that the kid with the sombrero nicked it from Bazooka Joe’s kid brother Pesty. This final adventure saw print in DC titles cover-dated January, 1970.

This, however, is the advert that really worked on me. When I got my first grown-up ten speed bike, a few years later, it was a Browning, which lasted me at least a quarter-century, until it snapped right at the load-bearing juncture of the rear fork… the one place where even welding wouldn’t help.

I switched to my backup, a hybrid bike I bought in 1987. It’s still running beautifully. In terms of value for money, a well-maintained bicycle is pretty unbeatable.

My well-thumbed copy of Adventure Cycling in Europe (1981). « Say, Uncle John, did Browning replace you with a pretty-boy model for your comic book ad? » « They sure did, but you know what’s even worse? » « I don’t know, Uncle John, what is? » « I don’t even have a nephew either! » All kidding aside, though it’s over forty years old, it’s still an insightful, entertaining and helpful book. When you go low-tech, change occurs at a slower, more forgiving pace.

I leave you with a song, whence comes the title of this article. It’s from a lesser-known but excellent Donovan album, Open Road, from 1970.

-RG

In Bob Montana’s Riverdale for the Holidays!

« Everything that happened to Archie happened to me in school, except that Archie always seemed to get out of it. » — Bob Montana

Despite the hundreds, if not thousands, of variably-abled hands that have toiled in the Archie Comics salt mines, the most important set of mitts devoted to the task was also the very first.

Archie creator Bob Montana* (1920-1975) knew what he was doing from the git-go. After all, he rubbed shoulders with the characters’ real-life counterparts from the Class of 1940: according to a 1989 Associated Press story, his buddy ‘Skinny’ Linehan became Jughead, football hero Arnold Daggett became Big Moose Mason; principal Earl MacLeod gave us Mr. Weatherbee and school librarian Elizabeth Tuck inspired Miss Grundy… and so on.

Montana was also that rare cog in the Archie machine: an autonomous writer-artist. This served him well in the newspaper strip world: he débuted the Archie feature in 1946 and remained in charge, dailies and Sundays, until his 1975 passing. I do prefer Samm Schwartz’s Jughead, but Montana drew the definitive version of every single other member of the Riverdale ensemble. In particular, as you’ll witness, Betty and Veronica were never slinkier.

The Sunday, December 22, 1946 strip.
The Sunday, December 21, 1947 strip.
The Sunday, December 19, 1948 strip.
The Sunday, December 26, 1948 strip.
The Sunday, December 25, 1949 strip.

And a bonus New Year’s-themed one for the road!

The Sunday, December 28, 1947 strip.

And with this… Merry Christmas, everyone!

-RG

*On the Archie plantation, as with the Harvey gulag, we can safely dismiss the founders’ specious and strident claims of having created their cash cows. In this case, Archie “creator” John Goldwater‘s original mandate to Montana was essentially to riff on popular radio show The Aldrich Family (1939-1953).

Hallowe’en Countdown V, Day 13

« How could you be so sure? … they could be real! » — Reggie Mantle, believer

Sure, it’s a hoary ol’ plot, used both to comedic and dramatic effect a gazillion times, but… as is often the case, the plot is more or less accessory. I always enjoy an Archie comics story that reminds us that these kids have known one another forever (from their perspective — not in the sense that they’ve been around since the 1940s, that’s too metatextual). With Archie for the most part being someone things happen to, as opposed to a catalyst — one who sets events into motion, I’m rather more interested in the adversarial (and sometimes collaborative) relationship between Reggie and Jughead… when it’s properly explored.

As with the previous Samm Schwartz story I spotlighted, Tee for Three, Dilton’s garage plays a key part. Intriguing…

Beasties of the Night originally appeared in Jughead no. 279 (Aug. 1978, Archie). It was scripted by Frank Doyle (1917-1996).

-RG

Treasured Stories: “Tee for Three” (1975)

« Coming to play golf is not what I would consider to be an essential purpose. » — Nicola Sturgeon

I’ve long wanted to showcase one of Samm Schwartz‘s Jughead stories on this blog, but always hit the same snag: which one? Not too long ago, while revisiting my trove of 1970s issues, I came upon just the specimen. Tee for Three appeared in Jughead no. 247 (Dec. 1975, Archie). I’ll spare you the hideous-as-usual Stan Goldberg cover.

While we know the story was illustrated by Samm Schwartz, the writer’s identity remains unknown. Schwartz usually took a hand in the scripting, but he didn’t really ever work alone. The likeliest miscreants are his usual accomplices, Frank Doyle and George Gladir.

Why this one among hundreds of others, then? For one thing, it’s longer; at eleven pages long, it’s a towering freak amidst the customary five-or-six pagers.

But that’s not all: Tee for Three also boasts an unconventional plot, one that cried out for (and received) a more leisurely deployment. Its tone is also surprising: it’s quite deadpan and sanguine in its absurdity.

For once, you can envision why these three, despite being frenemies or plain rivals, would actually hang out: they challenge and entertain one another. And even collaborate when the occasion calls for it. In this case, Jug, Archie and Reggie are so bonded in their good-natured folie à trois that the rest of the world doesn’t have a clue and hardly stands a chance.

While such a golf contest would surely result in much injury, property damage and litigation in the ‘real’ world, it sure seems like a rollicking bit of sport here, and isn’t that what good fiction is for(e)?

-RG

Hallowe’en Countdown IV, Day 2

« What is this ‘witch’s brew‘? Oh, that’s a special! It’s a squirt of everything! » — Pop Tate divulges one of his culinary secrets

A little while back (okay, quite a while back!), upon reading an article written by cartoonist Seth (John Stanley’s Teen Trilogy, The Comics Journal no. 238, Oct. 2001), this passage especially piqued my interest: « I have to admit right now that I like Archie comics quite a bit and I have hundreds of issues of Archie and its various spin-off titles. I can even tell you which years are the good years (1959 to ’65, incidentally) ».

As it happens, I’m in full agreement with the gallant Mister Gallant : this was when Archie’s Mad House and Tales Calculated to Drive You Bats came along, when Bob White (and Samm Schwartz, and Orlando Busino) were producing scads of wild and wooly covers featuring ghouls and bug-eyed critters, mole men and mad (though I’m told they prefer ‘eccentric’) scientists and sundry extraterrestrials and witches. The line’s cover layout was also nicely open, affording the artists plenty of latitude to indulge themselves. Here are some samples from the aforementioned creators at the peak of their formidable powers, before the end-of-recess bell rang and stifling homogeneity was henceforth imposed.

This is Laugh no. 130 (Jan. 1962, Archie); cover by Samm Schwartz. Looks like our friend Ricou Browning is slumming it in Riverdale, with Betty happily showing him the sights. Honestly, he’s more of a gentleman that Archie ever was.
This is Tales Calculated to Drive You Bats no. 2 (Jan. 1962, Archie); cover by the incomparable Orlando Busino, still with us and nearly 94 years young! I strongly suspect that these witchy younglings mean mystical business!
This is Archie no. 125 (Feb. 1962, Archie); cover by Harry Lucey, one of the crucial classic Archie artists. Regardless of what you’ve heard, look at the actual sales figures for 1969, with Lucey drawing every issue of Archie. Readers voted with their wallet.
Here’s a swell example: Pep Comics no. 158 (Oct. 1962). Spooky cover art by local favourite Bob White. I wouldn’t have pegged Archie as a skeptic, to be honest.
This is Life With Archie no. 39 (July 1965, Archie); cover, again, by Mr. White. The previous year had seen the TV arrival of The Addams Family and its imitators, The Munsters. So what’s one carbon copy more or less?

-RG

More Bob White, Lost Archie Artist

« That’s the last number, Lollipop! Time for me to go! » — Archie has to go mop the floor with Reggie

Well, I’ve already stated my case for neglected Archie artist Bob White (1928-2005), but persistent reader interest has (ever so gently) forced my hand in the matter. You crave more, and who am I to deny such a reasonable request? Besides, these suckers are rather thin on the ground.

Comics scholar Bart Beaty‘s experience appears to match mine in this regard. He notes, in Twelve-Cent Archie, his compelling study of the period, that « … high-grade copies of most Archie comics from this period do not seem to exist on the market. » And I heartily agree with his assessment that « much more available are copies that have been treated in the ways they were intended – copies that show the well-worn tattering of having been read and reread repeatedly by children. » The selfsame quandary arises with other loved-to-rags series such as DC’s Sugar and Spike, whose issues all-too-frequently turn up sans their paper dolls feature… and a story page or two on the reverse side.

Here, then, is my second batch of Bob White covers from his prime period, which, not so coincidentally, arguably matches the prime of Archie comics.

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This is Archie no. 124 ((Dec. 1961, Archie); ah, that blessed period when the Archie line featured some truly bizarre situations. I’m afraid my picks will reflect this little bias of mine.

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This is Archie Giant Series Magazine no. 8 (Sept. 1960, Archie)… only a few days until the summer solstice!

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This is Archie Giant Series Magazine no. 19 (Winter 1961-62, Archie).

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This is Pep no. 152 (Jan. 1962, Archie), an absurdist upgrade of the corny old ‘multitasking teenager’ joke. I love the three-way visual match between Archie’s bowtie, Ronnie’s dress and the Martian’s peepers. Also, nicely-detailed TV shootout.

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This is Pep no. 155 (June 1962, Archie), notably risqué in its implications. This Cat Person seems far more… assertive than her kin Simone Simon had been a couple of decades prior. Among the distinguishing  hallmarks of White’s artwork is his evident enjoyment and finesse when it came to drawing hands. Digit delineation dexterity is a rare gift, as any artist will attest.

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This is Laugh no. 143 (Feb. 1963, Archie). Aw, Reggie. It’s actually a rather flattering effigy… Betty would be delighted to take it off your hands!

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This is Pep no. 161 (Mar. 1963, Archie), an exemplary use of the best-ever Archie line’s cover grid: it allowed for nicely-open vertical scenes, and the visuals had ample room to breathe. Bob White and Samm Schwartz took fullest advantage of the format.

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This is Pep no. 170 (May 1964, Archie); an excellent composition, with just the right amount of detail.

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This is Archie Giant Series Magazine no. 28 (Sept. 1964, Archie); I’d keep my eyes on Betty instead, Archie: aside from being the more athletic of your girls, she’s also the one with the bat.

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This is Pep no. 173 (Sept. 1964, Archie); given that Ronnie’s wearing a mouthpiece, is it off-base to assume that the telltale scarlet traces on Archie’s cheek were left by the fish on his right? The lip colours even match! 😉

-RG

Dan DeCarlo at Humorama (1956-63)

« 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.

DeCarloHandsFullADeCarloLosingYourselfADeCarloSpeakingTermsADeCarloNaturalTanA

DeCarloHairDownA
You’ve got to love the utterly blasé impresario and the ebullient talent scout. It’s to his eternal credit that DeCarlo somehow managed to keep things… if not squeaky clean, then somehow innocent, whatever the situation.

DeCarloBiggerCarADeCarloDoctorA

DeCarloEatEverythingA

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DeCarloDon'tShowA
The pillow is a nice touch, both for elevation and for comfort.

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Another delightful characterization, a loveably blasé tattooist. Business as usual.

DeCarloSpankA
It would have been heresy to *not* feature at least one “spanker”. Care for more details on this striking sub-genre? Look no further, friend.

DeCarloShowgirlA

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.

– RG

*valuable info from Bill Morrison.

Tippy Teen in “The Fright Before Xmas” (1967)

« … there arose such a clatter,
I sprang from my bed to see what was the matter.
Away to the window I flew like a flash,
tore open the shutters and threw up the sash. » ― Clement C. Moore, A Visit From St. Nicholas (1823)

Not too long ago, we glanced at the interesting case of Tower’s teen line, another instance of works insufficiently popular to be properly reprinted, yet still sought after by collectors and aficionados and consequently on the pricey side. And so it is within this limbo that Tippy Teen and Go-Go and Animal find themselves consigned, in the rather fine company of Sugar and Spike and Angel and the Ape. Let’s not strand them there for the duration, please.

So why do I consider Tippy Teen superior to Archie? For one thing, while there’s some underwhelming artwork to be found here and there (sorry, Doug Crane), there’s nothing dismal (no Al Hartley, no Dick Malmgren, no Gus Lemoine, no Stan Goldberg…), and the writing is generally superior, thanks to, among uncredited others, the great Jack Mendelsohn (recycling and updating his old scripts, but that’s not the end of the world).

Here’s a little seasonal piece I find quite witty and charming. The well-paced work of an anonymous scripter and my beloved Samm Schwartz, it appeared in Tippy Teen no. 18. The whole issue’s quite solid, and since it’s in the public domain, you can enjoy it right here.

SchwartzTippyXmas01ASchwartzTippyXmas02ASchwartzTippyXmas03ASchwartzTippyXmas04ASchwartzTippyXmas05ASchwartzTippyXmas06A

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This is Tippy Teen no. 18 (March 1968, Tower). Cover artwork by Samm Schwartz.

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What kind of a grinch would I be if I failed to include the Monkees pin-up promised on the cover? I shudder to even entertain the notion. In the usual order, Messrs. Peter Tork, Mickey Dolenz, Davy Jones and Michael Nesmith.

-RG

Hallowe’en Countdown III, Day 26

« Welcome to the house of horrors! Brought to you by Grippo Denture Adhesive! »

A little while back, we made a brief detour through artist Samm Schwartz’s Silver Age Archie comics covers and touched upon the time he took the last bus out of Riverdale and headed for the greener pastures of New York… and an art director gig with Tower Publications.

Robert Klein and Michael Uslan, in their foreword to T.H.U.N.D.E.R. Agents Archives Volume 1 (DC Comics, 2002), stated: « With Samm Schwartz not very familiar with or comfortable editing super-hero adventure books, publisher Harry Shorten cut a dream deal with Wally Wood. Samm would handle the Tippy Teen titles as well as the Undersea Agent comic book and the war comic book called Fight the Enemy. He would be the managing editor of the company and its day-to-day office executive. »

So that’s that. Schwartz’s books, Tippy Teen (27 issues), Tippy’s Friends Go-go and Animal (11 issues) and Teen-in (4 issues), Undersea Agent (6 issues) and Fight the Enemy (3 issues) actually comprise the greater part of Tower’s output, though they’ve received far less attention since, were easily of comparable quality to T.H.U.N.D.E.R. Agents and its spinoffs. Certainly, the humour titles’ wit was a passel of notches above the Archie line’s, what with such heavyweights as Jack Mendelsohn on board*.

Interestingly, Tippy Teen was the first Tower material to be reprinted: in 1975, four issues of Vicki (a renamed Tippy) were issued by the *very* short-lived Atlas/Seaboard, featuring ugly new covers by Stan Goldberg. These issues rank among the most scarce and priciest Atlas releases. Most of the line’s books can still be easily found and acquired dirt cheap… but not Vicki.

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This is Tippy’s Friends Go-Go and Animal no. 7 (Dec. 1967, Tower). Cover art by Samm Schwartz.

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This is Penny Century no. 5 (June 1999, Fantagraphics). Cover art by Jaime Hernandez, with colours by Chris Brownrigg. Now, you won’t convince me that this cover isn’t a fond homage to Schwartz’s Hallowe’en-themed Go-Go cover… hey, maybe he *thought* this was a DeCarlo.

When I hear about Dan DeCarlo‘s would-be artistic influence on Jaime Hernandez, I can’t help but wince. If I squint real tight, I can kinda-sorta-maybe see a flicker of it in the wholesome sexiness of Betty and Veronica circa 1960-63, but no more. DeCarlo was soon reduced to such a state of hackdom that I can’t fathom how Jaime would have been driven to imitate and absorb the lessons of such hastily-executed, formulaic drivel. There, I’ve said it. On the other hand, Hank Ketcham, Steve Ditko, and, dammit, Mr. Schwartz’s touches are evident all over, though perfectly amalgamated into Jaime’s own singular vision. The way Schwartz and Hernandez draw clothing folds, the beautifully expressive comedic body language… it’s unmistakable.

And as a bonus, this helpful feature from Tippy’s Friends Go-Go and Animal no. 3 (June 1966, Tower), illustrated by Samm Schwartz. And yes, the boys can also come as beautiful victims.

Go-GoMonsterParty01AGo-GoMonsterParty02A

-RG

*though he was recycling and updating some of his old scripts.

Hallowe’en Countdown III, Day 11

« Is it true your first concert is going to be at a cemetery? »

By the summer of ’74, the Archie brass was getting sick of those no-account Didit Brothers (You know, Dan, Dippy, Dick and Clyde) and their groupie Fran the Fan, so the Madhouse Glads were tossed out on their collective ear in favour of… a horror anthology. It made sense: in the 1970s, there was considerable overlap (largely female, but not exclusively) among readers of, say, The Witching Hour, Betty and Me, and Romantic Story.

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The final fate of Fran the Fan? This is Mad House no. 95 (Sept. 1974, Archie); cover art by Gray Morrow. Read the issue here.

It’s fair to assume they were envisioning a companion title for their Chilling Adventures in Sorcery / Red Circle Sorcery. This was something different for Archie, all right: they sought out top talent, but in a fairly consistently sober visual style. Gray Morrow‘s photo-based approach was the baseline, and small wonder: he was the editor. The bulk of the stories was penned by Marvin Channing, and while the ‘twist’ endings weren’t exactly fresh, some of these tales were surprisingly nasty and nihilistic.

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Page two from The Terrible Trident!, written by Don Glut and illustrated by Vicente Alcazar.

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Page three from the cover story, The Happy Dead. Written by Marvin Channing and illustrated by Doug Wildey. Whoever handled the colouring here was smart and discerning.

However, this version of Madhouse lasted but three issues before the book was returned to its original, pre-Glads format. Sorcery endured for nine issues, the first three done in the Archie house style, with narration by Sabrina, the Teenage Witch. By the end of 1974 (with a book cover-dated February, 1975), the experiment was over. But these things come in cycles, don’t they? Witness the recent Afterlife With Archie… which incidentally reprinted much of this material.

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And in other media, amidst the current glut of Archie product, one finds a direct scion of a timid, decades-ago exploration, Netflix’s Chilling Adventures of Sabrina.

– RG