People have quite a range of definitions as to what constitutes romance. For some it’s novels of werewolf romance, others prefer completely mind-boggling Fabiosa stories (‘Unborn triplets crashed my husband’s love‘), and some ship (I learned this term from a younger colleague) characters from whatever TV show happens to be in vogue.
If you were a teenager in the ’50s, 60s, or 70s, you probably would have read romance comics, immensely popular at the time. Charlton Comics published a whole bevy of them, and co-admin RG has amassed a respectable collection. For weeks now I’ve been reading issues of Teen-Age Love during my lunch hour, specifically for their Jonnie Love stories. Introduced in Teen-Age Love no. 61 (November 1968) as the ‘new teen swinger’ – ‘he has a way with a guitar and a way with girls!’, Jonnie lingered within its pages for quite a while, having all kinds of adventures, hanging out with new conquests and lost souls in every issue. As advertised, he was indeed good with a guitar. Joe Gill, who was scripting the stories, wrote him as a kind of chevalier errant, wandering from town to town (with the ultimate goal of going back to his hometown, which he never achieves), offering a helpful hand to damsels in distress who are running away from predatory men, disciplinarian fathers, or just the solitude of a small town.
Jonnie Love stories appeared in 31 issues overall, but I’m most intrigued by those published in Teen-Age Love issues numbers 61-74, as they were created by the same tip-top team: scripted by Joe Gill, pencilled by Bill Fraccio and inked by Tony Tallarico (see RG’s (Fondly) Remembering Tony Tallarico).
It was actually rather difficult which tale to feature, for they’re all pretty good, and I had to decide on some sort of optimal concomitance of a good plot and how the story was told visually. The final decision was Jonnie Love and the Go-Go Girls, published in Teen-Age Love no. 63 (April 1969), which I think strikes a good balance between plotting and interesting art, and is a fairly typical example of Jonnie’s behaviour in general.
This story has several things going for it – an entertainingly evil manager, a grotty dance club, the go-go-dancers, and of course the protagonist, a farmer’s daughter who ran away from her parents to make it big in showbiz (the lines dreaming of glory/twitching like a finger on a trigger of a gun‘ come to mind). ‘Cute‘, notes Jonnie, ‘but there are tens of thousands with as much talent‘. Some romance stories set out to stun their readers with ritzy places, glamorous dates, and finding a rich prince charming; others feature women who give up a life of success for simpler living – a small town, a farm, a cabin in the woods. The latter moral always feels a bit stilted, even aside from me feeling bad for women who have to give up a career they worked so hard to achieve (mostly because such plots are retrograde, and it’s all-too-seldom considered that a woman can marry and continue working).
In Jonnie Love yarns, there is a strong undercurrent of returning ~Home~, home from which one foolishly ran away and which beckons lonesome wanderers back to its comforting womb. The plots are imbued with bittersweet longing for this homecoming, and that is what lingers most in one’s mind after finishing the stories. Yet the people depicted in them are outcasts; Jonnie himself was outed as a weirdo in both dress and thoughts by the people in his home town, which is why he left it in the first place. Returning is hardly the panacea it’s supposed to be (unless one is willing, this time around, to ‘fit in’ properly), and while some of these nomads do manage to make it back, our main character is doomed to forever roam strange towns, sleep in fields, and share sweet kisses with girls he knows he’ll never see again. Rather a tragic figure, really.
« Someone at Dell Comics decided it’d be swell to turn famous monsters into superheroes — an idea whose time never came. And just to make sure there were bad, they hired Tony Tallarico to draw them. » — — James Schumeister, with the sort of brickbat typically lobbed at Mr. Tallarico.
Last week, we lost, at the venerable age of eighty-eight, the controversial, much-maligned Tony Tallarico (Sept. 20, 1933 – Jan. 7, 2022). The case of Mr. Tallarico’s reputation is typical of mainstream US cartoonists who generally eschewed the superhero genre. His mistake, I suppose, is that he drew a handful of them, and in his own distinctive fashion to boot, thus sealing his doom in Fanboy court.
Yet there’s far more depth and variety to Tallarico’s career, and that’s should be remembered. Besides, those superhero comics were just light-hearted, unpretentious fun. Obviously not what the continuity-addicted True Believers craved.
Let’s take a tour of some of the highlights!
As reported in Alter Ego no. 106 (Dec. 2011, TwoMorrows): « On May 20, 2005, Tony Tallarico received the Pioneer Award, given for his co-creation of the first African-American comic book hero, Lobo, a post-Civil War cowboy who appeared in two issues of his own Dell/Western title. The honor was given at a ceremony held at Temple University in Philadelphia, Pennsylvania. »
By the mid-70s, with his main comics accounts defunct or dormant (Dell, Treasure Chest, Charlton), Tallarico, ever the astute and tireless businessman (another rare trait among cartoonists) simply stepped up and diversified his efforts, branching out and creating a market for himself. « In the 70s the whole business went kaput. Luckily I was able to transfer over into doing children’s books. I’ve been doing children’s books ever since. My wife went though a count several months ago. It was over a thousand titles. That’s a lot of children’s books. »
I don’t know whether I’ll change anyone’s mind about Mr. Tallarico’s work, but I believe I can rest assured I gave it my best shot.
*Hex was introduced in All-Star Western no. 10 (Feb.-Mar. 1972, DC).
**My closest brush with the Tallaricos came in 2015 when I helped his daughter Nina identify and source some artwork she was selling on eBay for her dad. In my experience, a very nice lady. My sincere condolences to the bereaved family.
« Apparently, no one could credit such a grotesque being with any sense of kindliness, and so the wounded monster limped along his way, his hatred of humanity grew in proportion to his size. »
Unleashed upon the world in 1965 by Wonder Books, this generously-illustrated volume of classic adaptations is a collaboration between fellow prolifics Walter Brown Gibson (1897 – 1985), the writer most closely associated with Street & Smith’s The Shadow, and artist Tony Tallarico, a journeyman who produced a bounty of work, as artist and packager, for just about every publisher in the business… save DC and Marvel, and who, upon leaving the mainstream comics field in the mid-1970s carved out a lucrative little niche for himself putting together scads of illustrated books, mostly for children, on just about every subject under the sun.
Tallarico would, the following year, revisit some of the fiends depicted here for a short-lived but infamous trio of series for Dell: Dracula, Frankenstein and Werewolf. Ah, but don’t be so dour: it’s just light, campy fun.
« You’ve got his likeness emblazoned onto
the top of a tin box Perfect big heart
perfect blue eyes
perfect teeth and
perfectly flowing locks » — The Motorz, ‘Bobby Sherman Lunchbox’
It’s birthday number seventy-six for singer, actor, songwriter, Charlton comics star and all-around swell guy Robert Cabot “Bobby” Sherman, Jr. (born July 22, 1943).
His Getting Together co-star, Wes Stern, also celebrates his birthday this Thursday, July 25. He’ll be seventy-two. You may remember Wes from his recurring rôle as Brenda Morgenstern’s shy, foot-fetishist beau Lenny Fiedler on Rhoda (early on, before the show utterly went South).
Bobby and Wes had the singular honour of starring in seven issues of their own Charlton comic book (February to October 1972). Our excerpt is number 2’s « A Guide to TV? », written and illustrated by Tony Tallarico and shot from the original art. Good-natured fun, especially when the Getting Together cast of characters is around. In the 1971 Fall season, the snappy little show was off to a promising start, but found itself, in the eleventh hour, scheduled against the powerhouse tv hit of 1971, Norman Lear’s abrasive All in the Family, and that was all she wrote.
But that’s all water under the bridge. By the mid-70s, Bobby basically walked away from the grind of public life, and the odd tour or charity event aside, he’s been volunteering with the LAPD, training recruits in first aid, CPR, and so forth. A solid citizen, no irony or sarcasm intended.
Once again, we wish the most joyous of birthdays to Bobby and Wes!
Once upon a time (or, more precisely, a handful of years ago), we started a little weekly celebration of tentacle glory in comics and called it Tentacle Tuesday. (My husband came up with that alliteration; I hope he’s willing to share the credit for this pithy little phrase with others, as I honestly don’t know whether he was first to dream it up. By now, #tentacletuesday is a hashtag and there’s a Facebook page with that title). Yet “real life” (read: “a sad existence tragically devoid of octopuses”) got in the way, and although we’ve often thought about Tentacle Tuesday, no offerings were made at the Octopoda altar. We’d spot some glorious tentacles while reading comics, and wistfully dream of sharing them with a like-minded audience, but the impulse would pass, leaving behind vague but lingering regrets.
Well, we are back. Let’s keep Tentacle Tuesday going strong, for after all, comics and tentacles are among the universe’s greatest achievements. Let the cephalopod fiesta begin – we welcome you to this blog’s first-ever installment of Tentacle Tuesday!
Our first offering features, quite naturally, a Welcome Mat leading to a trapped, angry octopus, who seems to be indignant about being stuck in a pit with a bunch of uncouth, plebeian imaginary monsters. Claws, pincers, and talons, razor-sharp teeth and dendritic horns? Ha, *he* has tentacles! And if the other denizens of this trap are purely monster-under-the-bed material and act as if they’re drunks at a party, Mr. Octopus here is a professional who takes his job of being terrifying seriously.
This is a pin-up, if I may call it that, by the easily identifiable Sergio Aragonés, scanned from DC’s House of Mystery no. 189 (Nov./Dec. 1970). The giggling guy is Cain, the so-called host of the House of Mystery, and is every bit inclined to betray and double-cross as his Biblical namesake. Incidentally, number 189 is an excellent issue: Eyes of the Cat, with art by Jerry Grandenetti and Wally Wood, is both gorgeous and scary, with bonus points for prominently featuring a black cat (which Neal Adams made look like a rat on the cover – if you don’t believe me, try http://pencilink.blogspot.ca/2008/05/house-of-mystery-189-neal-adams-cover.html ) It is followed by The Deadly Game of G-H-O-S-T by Leonard Starr, and the issue wraps up elegantly with The Thing in the Chair with art by Tom Sutton.
In a slightly different vein, but equally lighthearted, is this cover of Abbott & Costello no. 16 (Aug. 1970, Charlton). I hope our readers shall be too polite to point out that Tony Tallarico, the artist, made tentacles look more like elephant trunks, or that this… creature… has but four of them, which would make him probably the only quadripartite octopus in existence (they’re supposed to have 8, for those of us who are a little hazy on the specifics). Now, if only Charlton paid by the tentacle rather than by the page…
This comics series was of course based on the American comedy duo of Bud Abbott and Lou Costello, of early 40s and 50s fame. Fast-forward to 1967, and with Costello having long passed on (in 1959), the pair was miraculously given a new, two-dimensional lease on life (hey, you take what you can get… comedy’s a vicious game!) through the auspices of Hanna-Barbera Productions, and Charlton landed the comics licence and ran with it… for a healthy twenty-two issues. The first eight or nine of these, featuring the madcap talents of artist Henry Scarpelli and (especially) scripter Steve Skeates, are the ones to seek out. You have been warned!