Issuu on Google+

— THE —

SWINGIN’ SIXTIES DA I LY NEWSPAPER COMICS

More than 800 sequential comic strips from spring vacation in April 1963 to winter break in December 1965! “Every decade comes with its own unique set of challenges and triumphs, and with popular culture touchstones that evoke feelings of comfortable pleasure as they allowed audiences to seek temporary respite from the stresses and strains of their lives. Archie was such a touchstone throughout the 1960s, offering a quick smile and a calming visit with characters who inhabited a setting that was consistently protected from turbulent times. Kids no longer, comics readers from the 1960s still enjoy visiting with Archie and introducing him to our children and grandchildren…” —from the Introduction by Bruce Canwell

Continuing the EISNER AWARD WINNING Series for Best Archival Comic Strip Collection

1963 1965 DAILY NEWSPAPER COMICS

idwpublishing.com $49.99 LibraryofAmericanComics.com

THE SWINGIN’ SIXTIES VOLUME TWO: 1963–1965


THE S WINGIN ’ S IXTIES


THE S WINGIN ’ S IXTIES COMPLETE DAILY NEWSPAPER COMICS VOLUME TWO : 1963-1965

BY

B OB M O N TANA I DW P UB L I S H I N G SAN DIEGO


ARCHIE

T HE S wIngIn ’ S IxTIES D AIlIES V olumE 2: 1963–1965 SToRIES AnD ART by

bob monTAnA

THE lIbRARy of AmERICAn ComICS EDITED AnD DESIgnED by

Dean mullaney

ASSoCIATE EDIToR AnD InTRoDuCTIon ART DIRECToR

bruce Canwell

lorraine Turner

ConTRIbuTIng EDIToR

pRoDuCTIon ASSISTAnCE

greg goldstein

Joseph Ketels and Jackson glassey SpECIAl THAnKS To

Randall Scott, michigan State university Comic Art Collection, for supplying the source material used in the volume; to Jon goldwater, mike pellerito, and Victor gorelick at Archie Comics.

ISbn 978-1-61377-972-9 first printing, may 2014

published by: IDw publishing a Division of Idea and Design works, llC 5080 Santa fe Street • San Diego, CA 92109 www.idwpublishing.com Distributed by Diamond book Distributors 1-410-560-7100 Ted Adams, Chief Executive officer/publisher greg goldstein, Chief operating officer/president Robbie Robbins, EVp/Sr. graphic Artist Chris Ryall, Chief Creative officer/Editor-in-Chief matthew Ruzicka, CpA/Chief financial officer Alan payne/Vp of Sales Dirk wood/Vp of marketing lorelei bunjes/Vp of Digital Services

Tm & © 2014 Archie Comic publications, Inc. All rights reserved. The individual characters’ names and likenesses are the exclusive trademarks of Archie Comic publications, Inc. ARCHIE characters created by John l. goldwater. The likenesses of the original Archie characters were created by bob montana. All stories previously copyrighted by Archie Comic publications, Inc. Introduction © 2014 bruce Canwell. with the exception of artwork used for review purposes, none of the comic strips in this publication may be reprinted without the permission of Archie Comic publications, Inc. no part of this book may be reproduced or transmitted in any form, electronic or mechanical, including photocopying, recording, or by any information and retrieval system, without permission in writing from Archie Comic publications, Inc. printed in Korea.


A Time and place for Everything by bRuCE Canwell New England kids who grew up in the 1960s knew that Archie Andrews was one of us. We didn’t know exactly where Riverdale was located, but we were sure it was somewhere in the Rhode Island-to-Maine corridor. How could it be otherwise? Each year by November, Riverdale was typically swathed in snow—that proved these characters weren’t living in Florida, Texas, or Hawaii. During the winter months Archie, Jughead, and Reggie were skating on bodies of water the same way we skated on lakes with names like Moosehead and Sebago; they were skiing the same way we did at Cannon and Sugarloaf and Lost Valley. Come the warm-weather months we recognized bikini-clad Veronica and Betty, because we had seen (“ogled” might be a more appropriate word) the beach bunnies who decorated the length and breadth of Lake Winnipesaukee. Certainly New England has no monopoly on snowy winters and scorching summers. There was nothing overt in the material that prevented Archie and his pals and gals from being based in northern California or Michigan or even the northwest Illinois suburbs so effectively brought to life in the writings of Jean Shepherd, yet that vibe never seemed right. Had Nathaniel Hawthorne been inspired to create a dry spinster with just a touch of impishness in her soul, the alumni of Maine’s Bowdoin College might have produced a character resembling Miss Grundy. And surely, we thought, Mister Lodge was a Boston Brahmin who had made his pile and then fled the city for the peace and quiet of small-town life—though surely he modified the definition of “peace and quiet” once Archie and his gang started hanging around his mansion! As the years passed, those in charge of shepherding the Archie brand decided that Riverdale is not, in fact, located in New England, that instead it occupies space in the great American heartland. Such a decision deftly made Archie even more of a national icon than ever: his hometown became more a state of mind and less a community tied to a specific region or geography. Had we learned this at a younger age the comics-reading New England kids with whom I grew up might have been disappointed; getting the news as older, wiser readers, we were more accepting. By that time, after all, we knew

that Archie’s artistic father, Bob Montana, lived much of his life in Massachusetts and New Hampshire, so we knew that no matter where Archie was said to hail from, he had a New Englander’s sensibilities, a New Englander’s heart. Bob Montana saw to that. • • • • •

The guiding light of the Archie newspaper strip may have called New England home, but he was willing to at least temporarily relocate to other, more hectic or exotic climes. As a young man in the ’40s he served Stateside in the Army, based in New York and New Jersey. Years later, successfully established as a newspaper cartoonist, he and his family lived in Great Britain for eighteen months, with a half-year in Mexico and ten months in Rome also stamped into their passports. Bob’s wanderings recalled those of other cartoonists such as Jack “King Aroo” Kent (who with his second wife relocated to Mexico for much of 1954) and George McManus, whose decades of wandering the world provided abundant grist for the Bringing Up Father creative mill. Still, Montana eventually settled in the little lakeside town of Meredith, New Hampshire, where he had summered as a boy (his parents owned a farm there and returned to it when the Vaudeville circuit closed for the season). Montana and his wife Peggy bought a sizable farm of their own in Meredith, where the artist produced the bulk of his Archie newspaper material. In a late1960s interview published in Cartoonist PROfiles, he described his working methods at that time: I have to be absolutely alone when I write…I do all the writing of the daily and Sunday Archie strips, and I do it in the morning from eight AM to noon. After noon I give up if I haven’t got the writing done by that time. With luck I can write six dailies in one of these morning periods and a Sunday page in another morning.

5


Following that, it usually takes me from one to two days to pencil the six daily strips. I pencil the Sunday page, as a rule, the same day that I write it. Next, I ink the heads or anything particularly important and then send the stuff down to my assistant in Manchester. He inks the bodies, the backgrounds, et cetera, and delivers the finished strips to King Features.

Montana was doing his work amidst a decade of change. During the 1960s America was being pulled in different directions socially, politically, and in terms of popular entertainment. President Lyndon Baines Johnson used his 1964 State of the Union address to declare “war on poverty.” Later that same year he signed into law the Civil Rights Act, making equality without regard to race, sex, or religion the official law of the land, though resistance to the Act and the changes it created brought out the worst in many. The southern states became a flashpoint, often centering on the Alabama towns of Montgomery and Selma, where civil rights marches organized by Martin Luther King Jr., Ralph Abernathy, and other leaders culminated in violent clashes with local constabulary. In the north, when forced busing programs began to racially desegregate public schools, protestors and agitators in cities from Boston to Chicago proved the south had no monopoly on bigotry. Meanwhile, half a world away, the Vietnam War escalated as President Johnson, empowered by a legislative resolution passed in the wake of a naval engagement known as The Gulf of Tonkin Incident, committed the United States to what would become a long, costly, and ultimately futile military involvement in the Indochinese region. By the dog days of ’65 Johnson committed over a hundred thousand troops to the conflict, which became increasingly unpopular at home and ultimately brought down his presidency. The music world circa 1964 saw the formation of The Who, the debut of The Kinks, and the first American appearance of a certain mop-topped

6

foursome from Liverpool, with The Beatles appearing on The Ed Sullivan Show on February 9, 1964. Seventeen months later, in July of 1965, Bob Dylan literally jolted the industry by forsaking his familiar acoustic sound and “going electric” at the Newport Folk Festival; The Doors also formed that year. Doing their best to ignore these radical new talents, the 1964-65 Grammy Awards continued to favor the tried and true, honoring “safe” acts such as Henry Mancini; Barbra Streisand; Peter, Paul, and Mary; Roger Miller; and Petula Clark. Yet in the mid-’60s, fueled by “the British invasion,” rock ’n’ roll proved it was here to stay as acts such as Iron Butterfly, Jefferson Airplane, The Moody Blues, Pink Floyd, and Lou Reed’s Velvet Underground launched and helped shape the listening habits of a generation. This was a time of race riots and growing college campus unrest, of burning draft cards and a budding ecological awareness. Amidst such turbulence many of the mass entertainments of the day sought to assure the citizenry that the status remained quo, that there was no reason to worry. Disney’s Mary Poppins served as a spoonful of sugar to help the medicine go down. Many of television’s most popular shows (Beverly Hillbillies, Petticoat Junction, Green Acres, The Andy Griffith Show, and Gomer Pyle, U.S.M.C.), offered a decidedly placid rural view of everyday life. And the newspapers offered their fair share of non-controversial comic strips. Archie Andrews was closing in on his twenty-fifth anniversary by the mid-1960s; he, his friends, and their hometown had been designed around the idea of light-hearted teenaged fun. To send Betty and Veronica to Washington to join a civil rights march or to have Jughead or Reggie’s draft numbers come up would have been wrong-headed decisions, even as it would have been disastrous for Al Capp to send Abner Yokum to the front lines during World War II and in the process destroy the carefully-constructed humor/fantasy environment he had spent the previous decade crafting in the panels of his Li’l Abner strip. Times may change, but creators have a greater obligation to be true to the nature of their creations than they do to blow with the breeze, chasing the latest trends and fads in the hope of reflecting the tenor of the times.


Although Bob Montana did not mirror the headlines of the day in his 1960s Archie work, in his private life he expanded his professional footprint beyond comics and brought a touch of what some might have considered the Bohemian to Meredith. He described his extracurricular pursuits in his Cartoonist PROfiles interview: During the time we lived in England, my wife and I got started on collecting art and this led to our starting an art gallery. We bought a building that used to house a gas station a couple of years ago and fixed it up—if you lift the rug in one of the gallery rooms you’ll see how we covered up the old oil pit. In addition to shows of various artists’ work we have art classes and this year we have three teachers. Also, we started a framing department and found that this aspect of the gallery ran away with the whole operation… After we opened the gallery we discovered that there were a lot of creative people around, and that something like seven professional artists lived in town. Within a year two more galleries opened up. These developments led us to the idea of trying to build an art colony in Meredith… [We] live on a sixty-acre farm here, and we lead an easy-going type of life around our house. So, gradually, we’ve formed the custom of having various creative people—songwriters, musicians, poets, artists, et cetera—come and stay with us for perhaps a week or so at a time. Our place has sort of become the focal point for get-togethers of these people. These various creative people that stay with us from time to time are “contemporary,” and being with them keeps me up-to-date. They’re all individuals and I listen to them.

Just as Montana’s travels echoed those of other cartoonists, so did this

description of his role in Meredith’s fledgling art colony parallel the role Cliff Sterrett, writer and artist of Polly and Her Pals, played years earlier in a larger and more vibrant artists’ colony located some seventy-five miles to the southeast, in the Maine seaside town of Ogunquit. Sterrett was his group’s “toastmaster general,” holding daily gatherings at his home and mixing highballs with spritely conversation in an infectious combination that lured painters, sculptors, and actors (when the Ogunquit Playhouse was open for the season). The Ogunquit colony was far more successful than its later counterpart in Meredith, but Sterrett had the benefit of meshing inside a long-established environment, while Montana was seeking to build an art colony from scratch. It speaks to the charm of Bob and his family that their efforts brought a number of talented persons into their personal orbit. While the 1960s were, in many ways, revolutionary, every decade comes with its own unique set of challenges and triumphs, and with popular culture touchstones that evoke feelings of comfortable pleasure as they allow audiences to seek temporary respite from the stresses and strains of their lives. The 1970s provided a touchstone that helped America laugh at its deep-seated prejudices in the form of Norman Lear’s All in the Family— by the 1983 release of Return of the Jedi, the Star Wars franchise had developed into a touchstone that would span generations—and in the ’90s Seinfeld achieved touchstone status with its snarky writing and slice-of-life stories, ostensibly about nothing. Archie was such a touchstone throughout the 1960s, offering a quick smile and a calming visit with characters who inhabited a setting that was consistently protected from turbulent times. The editors and creators at Archie Comics have continued to keep their characters current and in doing so have preserved them as a touchstone for generations of readers throughout the 20th Century and into the 21st. Kids no longer, comics readers from the 1960s still enjoy visiting with Archie and introducing him to our children and grandchildren—even if part of us still clings to the belief that Riverdale must be a New England town!

7


8

April 8-10, 1963


April 11-13, 1963

9


10

April 15-17, 1963


April 18-20, 1963

11


12

April 22-24, 1963


Archie: The Swingin' Sixties: Complete Daily Newspaper Comics: 1963-1965