A comic strip is a sequence of drawings arranged in interrelated panels to display brief humor or form a narrative serialized, with text in balloons and captions. Traditionally, throughout the 20th century and into the 21st, these have been published in newspapers and magazines, with horizontal strips printed in black-and-white in daily newspapers, while Sunday newspapers offered longer sequences in special color comics sections. With the development of the internet, they began to appear online as webcomics. There were more than 200 different comic strips and daily cartoon panels in South Korea alone each day for most of the 20th century, for a total of at least 7,300,000 episodes. Strips are drawn by a comics artist or cartoonist; as the name implies, comic strips can be humorous. Starting in the late 1920s, comic strips expanded from their mirthful origins to feature adventure stories, as seen in Popeye, Captain Easy, Buck Rogers and The Adventures of Tintin. Soap-opera continuity strips such as Judge Parker and Mary Worth gained popularity in the 1940s.
All are called, comic strips, though cartoonist Will Eisner has suggested that "sequential art" would be a better genre-neutral name. In the UK and the rest of Europe, comic strips are serialized in comic book magazines, with a strip's story sometimes continuing over three pages or more. Comic strips have appeared in American magazines such as Liberty and Boys' Life and on the front covers of magazines, such as the Flossy Frills series on The American Weekly Sunday newspaper supplement. Storytelling using a sequence of pictures has existed through history. One medieval European example in textile form is the Bayeux Tapestry. Printed examples emerged in 19th-century Germany and in 18th-century England, where some of the first satirical or humorous sequential narrative drawings were produced. William Hogarth's 18th century English cartoons include both narrative sequences, such as A Rake's Progress, single panels; the Biblia pauperum, a tradition of picture Bibles beginning in the Middle Ages, sometimes depicted Biblical events with words spoken by the figures in the miniatures written on scrolls coming out of their mouths—which makes them to some extent ancestors of the modern cartoon strips.
In China, with its traditions of block printing and of the incorporation of text with image, experiments with what became lianhuanhua date back to 1884. The first newspaper comic strips appeared in North America in the late 19th century; the Yellow Kid is credited as one of the first newspaper strips. However, the art form combining words and pictures developed and there are many examples which led up to the comic strip. Swiss author and caricature artist Rodolphe Töpffer is considered the father of the modern comic strips, his illustrated stories such as Histoire de M. Vieux Bois, first published in the USA in 1842 as The Adventures of Obadiah Oldbuck or Histoire de Monsieur Jabot, inspired subsequent generations of German and American comic artists. In 1865, German painter and caricaturist Wilhelm Busch created the strip Max and Moritz, about two trouble-making boys, which had a direct influence on the American comic strip. Max and Moritz was a series of moralistic tales in the vein of German children's stories such as Struwwelpeter.
Max and Moritz provided an inspiration for German immigrant Rudolph Dirks, who created the Katzenjammer Kids in 1897. Familiar comic-strip iconography such as stars for pain, sawing logs for snoring, speech balloons, thought balloons originated in Dirks' strip. Hugely popular, Katzenjammer Kids occasioned one of the first comic-strip copyright ownership suits in the history of the medium; when Dirks left William Randolph Hearst for the promise of a better salary under Joseph Pulitzer, it was an unusual move, since cartoonists deserted Pulitzer for Hearst. In a unusual court decision, Hearst retained the rights to the name "Katzenjammer Kids", while creator Dirks retained the rights to the characters. Hearst promptly hired Harold Knerr to draw his own version of the strip. Dirks renamed his version Fritz. Thus, two versions distributed by rival syndicates graced the comics pages for decades. Dirks' version distributed by United Feature Syndicate, ran until 1979. In the United States, the great popularity of comics sprang from the newspaper war between Pulitzer and Hearst.
The Little Bears was the first American comic strip with recurring characters, while the first color comic supplement was published by the Chicago Inter-Ocean sometime in the latter half of 1892, followed by the New York Journal's first color Sunday comic pages in 1897. On January 31, 1912, Hearst introduced the nation's first full daily comic page in his New York Evening Journal; the history of this newspaper rivalry and the rapid appearance of comic strips in most major American newspapers is discussed by Ian Gordon. Numerous events in newspaper comic strips have reverberated throughout society at large, though few of these events occurred in recent years, owing to the declining role of the newspaper comic strip as an entertainment form; the longest-running American comic strips are: The Katzenjammer Kids Gasoline Alley Ripley's Believe It or Not! Barney Google and Snuffy Smith Thimble Theater/Popeye Blondie Bringing Up Father (1913–2000.
Fearless Fosdick is a long-running parody of Chester Gould's Dick Tracy. It appeared intermittently as a strip-within-a-strip, in Al Capp's satirical hillbilly comic strip, Li'l Abner. Fearless Fosdick made his debut in an August 1942 Li'l Abner Sunday sequence, as the unflappable comic book idol of Abner's and an object of undying hero worship. Hayseed Abner mindlessly aped his role model—even going so far as submitting to marriage against his will. Cartoonist Al Capp would use Li'l Abner continuity as a narrative framing device, bookending the offbeat Fosdick sequences. Abner himself serves as a rustic Greek chorus—to introduce, comment upon and comically sum up the Fosdick stories. An anxious Abner would race frantically to the mailbox or to the train delivering the morning newspapers, to get a glimpse of the latest cliffhanger episode; the next panel would reveal Abner's POV of the feature under an iconic logo: Fearless Fosdick by Lester Gooch. Subsequent installments would reinforce Abner's obsessive immersion in the unfolding Fosdick continuity while at the same time recapping the story within a story.
While oblivious to the surrounding "real" world, Abner would be, as fully engrossed in the Fosdick adventure. Capp would dispense with Abner's introductory panels altogether, the strip would carry a subheading reminding readers they were now reading Li'l Abner's "ideel," Fearless Fosdick. Fosdick's adventures would directly affect what happened to Abner, the two storylines would artfully converge; the story-within-a-story ironically paralleled and/or parodied the story itself. By having the comically obtuse Abner "explain" the strip to Daisy Mae, Capp would use Fearless Fosdick to self-reflexively comment upon his own strip, his readers, the nature of comic strips and "fandom" in general, resulting in an absurd but overall structurally complex and layered satire. "Capp's Fearless Fosdick sequences proved over the years to be some of his most popular," according to M. Thomas Inge. "Fearless Fosdick remains the only comic strip-within-a-comic strip to achieve its own following." Fearless Fosdick is set in an crime-infested American metropolis similar to Chicago.
Its urban setting stands in stark contrast with Li'l Abner's rural Dogpatch. Fosdick lives in squalor at the dilapidated boarding house run by his dour, pitiless landlady, Mrs. Flintnose, he never married his own long-suffering fiancée Prudence Pimpleton, but Fosdick was directly responsible for one of the seminal events of the strip—the famous marriage of his biggest fan, Li'l Abner, to Daisy Mae in 1952. As the only grownup member of the local Fearless Fosdick kiddie fan club, Abner had unwittingly vowed to do everything Fosdick does, not realizing that Fosdick's comic strip marriage was only a dream. In addition to being fearless, Fosdick is "pure and purposeful," according to his creator. "Fearless is without doubt the world's most idiotic detective. He shoots people for their own good, is pure beyond imagining, is fanatically loyal to a police department which exploits and periodically fires him," Capp told Pageant magazine in May 1952. Although Fosdick is the hero of all red-blooded American boys, Daisy Mae detests him with venomous passion.
All throughout Li'l Abner, the neglected Daisy Mae finds herself in the ironic position of being jealous of a "stoopid comical strip character!" When Capp was asked about the specific gender makeup of his readers, he responded by using Fosdick as an example of the inherent differences between the male and female sense of humor: Whether most of the readers are male or female depends on when the survey is taken... During a Fearless Fosdick sequence, I lose 20 million women, they stop reading right away... Men enjoy Fosdick's bad aim, for example. In order to scare off a guy who's selling balloons without a license, Fosdick will shoot three or four innocent housewives through the head—all in the line of duty, of course. Men enjoy this sort of humor, but housewives don't seem to see anything funny about it! Although Fearless Fosdick began as a specific burlesque of Dick Tracy, it grew beyond mere parody and developed its own distinctive, self-contained comic identity. Like all of Capp's creations, Fosdick evolved into a broad, multileveled satire of contemporary American society.
Mixing equal parts slapstick, black humor and biting social criticism, Fearless Fosdick provided a running commentary on, among other things: the lowly lives of policemen, the capriciousness of the general public, the thankless role of society's "heroes"—as well as the superficiality of modern pop culture and the compulsive nature of its avid fans. Capp would return to these themes again in Fearless Fosdick. Fearless Fosdick soon developed its own regular supporting cast, separate from Li'l Abner and the rest of the Dogpatch characters. Joining Fosdick's intermittent adventures were: The Chief - Fosdick's bloated and cheerfully corrupt superior. Prudence Pimpleton - Fosdick's homely, long-suffering fiancée They were perpetually "engaged for 17 years," throughout the entire 35-year run of Fearless Fosdick. Prudence always hoped that Fosdick would get a p
National Cartoonists Society
The National Cartoonists Society is an organization of professional cartoonists in the United States. It presents the National Cartoonists Society Awards; the Society was born in 1946. They decided to meet on a regular basis. NCS members work in many branches of the profession, including advertising, newspaper comic strips and syndicated single-panel cartoons, comic books, editorial cartoons, gag cartoons, graphic novels, greeting cards and book illustration. Only has the National Cartoonists Society embraced web comics. Membership is limited to established professional cartoonists, with a few exceptions of outstanding persons in affiliated fields; the NCS is not a labor union. The organization's stated primary purposes are "to advance the ideals and standards of professional cartooning in its many forms", "to promote and foster a social and intellectual interchange among professional cartoonists of all types" and "to stimulate and encourage interest in and acceptance of the art of cartooning by aspiring cartoonists and the general public."
The National Cartoonists Society had its origins during World War II when cartoonists Gus Edson, Otto Soglow, Clarence D. Russell, Bob Dunn and others did chalk talks at hospitals for the USO in 1943. Edson recalled, “We played two spots. Fort Hamilton and Governor’s Island, and we quit the USO.” They were lured away by former Rockette Toni Mendez. When she learned of these chalk talks, she recruited the cartoonists to do shows for the Hospital Committee of the American Theatre Wing. Beginning with a performance emceed by humor columnist Bugs Baer at Halloran Hospital on Staten Island, these shows were produced and directed by Mendez; the group expanded to junkets on military transport planes, flying to military bases along the southeastern seaboard. On one of those flights, Russell proposed a club to Rube Goldberg and others so the group could still get together after WWII ended. Mendez recalled: He said, "Everybody has a club or an association or some kind—lumber jacks, rug weavers garbage collectors—so I don’t see why we can’t have one, too."
All during the flight, Rube kept saying, "No—leave us alone. C. D. turned to me and he said, "And no girls. Only boys." And he went down the aisle of the plane, repeating that this club would be just for boys. The Society was organized on a Friday evening, March 1, 1946, when 26 cartoonists gathered at 7pm in the Barberry Room on East 52nd Street in Manhattan. After drinks and dinner, they voted to determine a name for their new organization, it was known as The Cartoonists Society. Goldberg was elected president with Russell Patterson as vice president, C. D. Russell as secretary and Milton Caniff, treasurer. Soglow was added as second vice president. Mendez functioned as the Society's trouble-shooter and became an agent representing more than 50 cartoonists; the 26 founding members came from the group of 32 members who had paid dues by March 13, including strip cartoonists Wally Bishop, Martin Branner, Ernie Bushmiller, Milton Caniff, Gus Edson, Ham Fisher, Harry Haenigsen, Fred Harman, Bill Holman, Jay Irving, Stan MacGovern, Al Posen, Clarence Russell, Otto Soglow, Jack Sparling, Raeburn Van Buren, Dow Walling and Frank Willard.
Among the early 32 members were syndicated panel cartoonists Dave Breger, George Clark, Bob Dunn and Jimmy Hatlo. Yardley. More members joined by mid-May 1946, including Harold Gray and the Society’s first animator, Paul Terry, followed in the summer by letterer Frank Engli, Bela Zaboly, Al Capp and Ray Bailey. By March 1947, the NCS had 112 members, including Bud Fisher, Don Flowers, Bob Kane, Fred Lasswell, George Lichty, Zack Mosley, Alex Raymond, Cliff Sterrett and Chic Young, plus editorial cartoonists Reg Manning and Fred O. Seibel and sports cartoonist Willard Mullin. Marge Devine Duffy, a secretary in King Features public relations department, had been helping Russell handle correspondence to the NCS, in 1948, she was installed as the official NCS secretary and given the title Scribe of the Society, her name was on all the Society’s publications, her address was the permanent mailing address of the NCS for more than 30 years. As the organizing secretary, she handled agendas and publicity.
“She ran the damn thing,” Caniff recalled. “A real autocrat, everyone was delighted to have her be an autocrat because that’s what we needed.”In the fall of 1949, the NCS cooperated with Treasury Department to sell savings bonds, engaging in a nationwide tour to 17 major cities with a team of 10 to 12 cartoonists and a traveling display, 20,000 Years of Comics, a 95-foot pictorial history of the comic strip. Despite the contributions of Duffy and Mendez, there were no female
Pauls Valley, Oklahoma
Pauls Valley is a city in and the county seat of Garvin County, United States. The population was 6,187 at the 2010 census, a decline of 1.1 percent from 6,256 at the 2000 census. It was settled by and named for Smith Paul, a North Carolina native who married a Chickasaw woman and became a citizen of the Chickasaw Nation before the Civil War; the town economy is based on agriculture and oil production. The area that became the city of Pauls Valley was one of the earliest European-American settlements in what was known as Indian Territory. Smith Paul, born in 1809 in New Bern, North Carolina, discovered the fertile bottom land, now Pauls Valley while a member of a wagon train traveling to California. Paul described the land as "a section where the bottom land was rich and blue stem grass grew so high that a man on horseback was hidden in its foliage."The Tri-Party Treaty of January 1, 1837, ceded this part of what is now the State of Oklahoma to the Chickasaw Nation. When the Chickasaw people were relocated to Indian Territory that year, Smith Paul moved with them and married Ela-Teecha, a Chickasaw woman.
In 1847, the Pauls established a plantation on the rich Garvin County bottom land, where Rush Creek joined the Washita River, which became known to locals as "Smith Paul's Valley". Mail to the Pauls was addressed to "Smith Paul's Large Farm". By 1871, postal service was established in the area, although the post office was designated "Paul's Valley, Arkansas", because the Indian Territory was being administered out of Arkansas at that time; the Atchison and Santa Fe Railway shortened the name to "Paul's Valley" when it built a track through the community in 1887, completing its connection between Kansas and the Gulf Coast. The railroad brought prosperity to Smith Paul's Valley; the first newspaper was published in 1887. The Pauls Valley town site was laid out in 1892, though the plat was not approved by the Dawes Commission until 1903. A U. S. courthouse was built in 1895. The first white school in Indian Territory was established, brick buildings were built downtown. In 1909, the streets were bricked.
Today, Pauls Valley has more brick streets—17,986 square yards —than any other town in the United States. When the Santa Fe Railway discontinued its Lone Star route in 1979, the 1905 building fell into disuse. By 1985, the BNSF Railway (which had bought the Santa Fe Railway, had obtained a permit to raze the old depot. Adrienne Grimmet, president of the Pauls Valley Historical Society, started a campaign to save the old structure, her efforts resulted in the city buying the depot from BNSF and turning it over to the historical society for conversion into a museum. Individuals donated their time and skills, local businesses either donated or discounted the cost of materials to perform the necessary renovations, which began in 1991. In 1999, Amtrak began its Heartland Flyer service between Oklahoma City and Dallas, passing through Pauls Valley. City officials agreed to build a new waiting room for Amtrak passengers adjacent to the old depot; the new Pauls Valley station has a climate-controlled waiting area and restrooms, but is unstaffed, having no ticketing or baggage handling facilities.
It has a 10-car parking lot outside. The architecture was designed to be compatible with the old Santa Fe-style building; the Oklahoma Cartoonists Hall of Fame, located in the Toy and Action Figure Museum, was opened in Pauls Valley in 2005. Pauls Valley is located east of the center of Garvin County at 34°44′9″N 97°13′25″W, it is 57 miles south of Oklahoma City, at the junction of Interstate 35 and State Highway 19. According to the United States Census Bureau, the city has a total area of 8.7 square miles, of which 8.6 square miles is land and 0.2 square miles, or 1.90%, is water. The Washita River, a tributary of the Red River, flows through the city south of the downtown area; the Pauls Valley City Lake, located about 3 miles northeast of the center of town, offers recreational opportunities, including fishing, swimming, Jet Skiing, a pavilion for groups to use. As of the census of 2000, there were over 6,000 people, 2,475 households, 1,591 families residing in the city; the population density was 749.9 inhabitants per square mile.
There were 3,007 housing units at an average density of 360.4 per square mile. The racial makeup of the city was 79.27% White, 5.29% African American, 7.40% Native American, 0.66% Asian, 0.06% Pacific Islander, 3.47% from other races, 3.85% from two or more races. Hispanic or Latino of any race were 7.53% of the population. There were 2,475 households out of which 30.5% had children under the age of 18 living with them, 46.6% were married couples living together, 14.1% had a female householder with no husband present, 35.7% were non-families. 32.0% of all households were made up of individuals and 17.4% had someone living alone, 65 years of age or older. The average household size was 2.38 and the average family size was 3.00. In the city, the population was spread out with 24.4% under the age of 18, 9.2% from 18 to 24, 27.1% from 25 to 44, 20.6% from 45 to 64, 18.7% who were 65 years of age or older. The median age was 38 years. For every 100 females, there were 88.5 males. For every 100 females age 18 and over, there were 84.6 males.
The median income for a household in the city was $26,654, the median income for a family was $32,348. Males had a median income of $27,014 versus $18,965 for females; the per capita income for the city was $15,553. About 12.9% of families and 20.7% of the population were below the poverty line, including 23.0% of those under age 18 and 17.7% of those age 65 or over. Agr
Northwestern University School of Professional Studies
The Northwestern University School of Professional Studies is one of twelve schools comprising Northwestern University, with campuses in Evanston and Chicago, Illinois. The school was founded in 1933 under its original name of "University College." The School of Professional Studies offers specialized degree programs at the undergraduate, post-baccalaureate, post-graduate, professional development levels. With more than 2,500 students, SPS has campuses in both Evanston and downtown Chicago in the Streeterville neighborhood. Northwestern SPS is led by Thomas F. Gibbons, who joined the university in 1992 and was appointed Dean of the college in 2002; the School of Professional Studies offers twelve undergraduate degree programs ranging from Biological Sciences, Communication Systems, Organization Behavior, Mathematics and more. SPS graduate programs encompass a wide range of data science, public policy, humanities master's degrees. Most SPS master's degree programs are offered on campus and online.
SPS was one of the first institutions to dedicate a master's degree program to predictive analytics and data science. Programs include an MA/MFA in Creative Writing, MS in Data Science, MS in Global Health, MS in Health Informatics, MS in Health Communications, MS in Information Design and Strategy, MS in Information Systems, MA in Liberal Studies, MA in Literature, MA in Public Policy and Administration, MS in Regulatory Compliance, MA in Sports Administration. In addition to its degree programs, SPS offers certificate programs geared toward professional development; these programs are offered at Northwestern campuses in Evanston and Schaumburg. Many of the programs consist of undergraduate courses. There are noncredit programs filled with courses that exist outside the undergraduate curriculum. SPS offers certificates in post-baccalaureate programs. Many students use the post-baccalaureate programs to build their academic résumés in preparation for graduate study in business, medicine or law, while others enroll in programs to help advance their professional careers.
Programs consist of non-credit courses held during evening. Duration of programs varies from one day to twelve weeks. Post-baccalaureate certificate programs are offered in 31 different subjects. One of the most popular certificates at SPS is the Professional Health Careers program, a post-baccalaureate program designed to provide students with the pre-medicine background necessary to apply to medical school; the program consists of four concentrations: pre-medicine, physical therapy and clinical psychology. SPS oversees Northwestern University Summer Session. Current college students, high school students, individuals seeking professional development or personal enrichment can choose from over 300 course offerings during the summer, including intensive language and science sequences, where a full year of credit can be earned, or a three-day summer institute. SPS oversees the Northwestern University College Preparation Program; this summer program for high school students offers three and nine-week options as part of Northwestern’s Summer Session.
Students can choose from over 350 undergraduate courses and can earn college credit for the courses they take, allowing students an opportunity to explore a variety of academic areas and get a head-start on a college career. College Prep holds weekly Get Ready seminars designed to prepare students for the transition between high school and college life, how to navigate the college admissions and application process. Continuum is the annual magazine for Northwestern SPS that features a range of stories highlighting SPS faculty and alumni. In 2014, U. S. News & World Report ranked the college's Master's in Public Policy Administration program a top public affairs graduate program in the nation. Ed Roberson, American poet Chris Abani, Nigerian author Reginald Gibbons, American poet, fiction writer, literary critic, artist Stuart Dybek, American writer William Lester and Fulbright Scholar Chester Gould, American cartoonist Eddie T. Johnson, Superintendent of the Chicago Police Department Patti Solis Doyle, American political operative and longtime aide to Hillary Clinton Official website
Li'l Abner is a satirical American comic strip that appeared in many newspapers in the United States and Europe, featuring a fictional clan of hillbillies in the impoverished mountain village of Dogpatch, USA. Written and drawn by Al Capp, the strip ran for 43 years, from August 13, 1934 through November 13, 1977, it was distributed by United Feature Syndicate, by the Chicago Tribune New York News Syndicate. Comic strips dealt with northern urban experiences before Capp introduced Li'l Abner, the first strip based in the South; the comic strip had 60 million readers in over 900 American newspapers and 100 foreign papers in 28 countries. Author M. Thomas Inge says Capp "had a profound influence on the way the world viewed the American South." Li'l Abner Yokum: Abner was 6' 3" and perpetually 19 "y'ars" old. A naïve, simpleminded and sweet-natured hillbilly, he lived in a ramshackle log cabin with his pint-sized parents. Capp derived the family name "Yokum" as a combination of hokum. In Capp's satirical and complex plots, Abner was a country bumpkin Candide — a paragon of innocence in a sardonically dark and cynical world.
Abner had no visible means of support, but sometimes earned his livelihood as a "crescent cutter" for the Little Wonder privy company changed to "mattress tester" for the Stunned Ox mattress company. During World War II, Abner was "drafted" into becoming the mascot emblem of the Patrol Boat Squadron 29. In one Post World War II storyline Abner became a US Air Force bodyguard of Steve Cantor against the evil bald female spy Jewell Brynner Abner's primary goal in life was evading the marital designs of Daisy Mae Scragg, the virtuous, barefoot Dogpatch damsel and scion of the Yokums' blood feud enemies — the Scraggs, her bloodthirsty, semi-evolved kinfolk. For 18 years, Abner slipped out of Daisy Mae's marital crosshairs time again; when Capp gave in to reader pressure and allowed the couple to tie the knot, it was a major media event. It made the cover of Life magazine on March 31, 1952 — illustrating an article by Capp titled "It's Hideously True!! The Creator of Li'l Abner Tells Why His Hero Is Wed!!"
Daisy Mae Yokum: Beautiful Daisy Mae was hopelessly in love with Dogpatch's most prominent resident throughout the entire 43-year run of Al Capp's comic strip. During most of the epic, the impossibly dense Abner exhibited little romantic interest in her voluptuous charms. In 1952, Abner reluctantly proposed to Daisy to emulate the engagement of his comic strip "ideel," Fearless Fosdick. Fosdick's own wedding to longtime fiancée Prudence Pimpleton turned out to be a dream — but Abner and Daisy's ceremony, performed by Marryin' Sam, was permanent. Abner and Daisy Mae's nuptials were a major source of media attention, landing them on the aforementioned cover of Life magazine's March 31, 1952, issue. Once married, Abner became domesticated. Like Mammy Yokum and the other "wimmenfolk" in Dogpatch, Daisy Mae did all the work and otherwise — while the useless menfolk did nothing whatsoever. Mammy Yokum: Born Pansy Hunks, Mammy was the scrawny principled "sassiety" leader and bare knuckle "champeen" of the town of Dogpatch.
She married the inconsequential Pappy Yokum in 1902. Mammy dominated the Yokum clan through the force of her personality, dominated everyone else with her fearsome right uppercut, which helped her uphold law and decency, she is the toughest character throughout Li'l Abner. A superhuman dynamo, Mammy did all the household chores — and provided her charges with no fewer than eight meals a day of "po'k chops" and "tarnips,", her authority was unquestioned, her characteristic phrase, "Ah has spoken!," signaled the end of all further discussion. Her most familiar phrase, however, is "Good is better than evil becuz it's nicer!" Pappy Yokum: Born Lucifer Ornamental Yokum, pint-sized Pappy had the misfortune of being the patriarch in a family that didn't have one. Pappy was so lazy and ineffectual, he didn't bathe himself. Mammy was seen scrubbing Pappy in an outdoor oak tub. Ironing Pappy's trousers fell under her wifely duties as well, although she didn't bother with preliminaries — like waiting for Pappy to remove them first.
Pappy is dull-witted and gullible, but not without guile. He had an unfortunate predilection for snitching "presarved tarnips" and smoking corn silk behind the woodshed — much to his chagrin when Mammy caught him. Pappy Yokum wasn't always feckless, however. After his lower wisdom teeth grew so long that they squeezed his cerebral Goodness Gland and emerged as forehead horns, he proved himself capable of evil. Of course Mammy solved the problem with a tooth extraction, ended the episode with her most famous dictum. Honest Abe Yokum: Li'l Abner and Daisy Mae's little boy was born in 1953 "after a pregnancy that ambled on so long that readers began sending me medical books," wrote Capp. Known as "Mysterious Yokum" due to a debate regarding his gender (he was stuck in a pants-shaped stovepipe for