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Tutta
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Germany
32401 Posts
Member since 19/02/2010 |
 Posted - 16/10/2014 : 11:59:22
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American "Under-counter" - Porn Comics 1920-1960
Tijuana Bibles, even pagers Eight-or Bluesies called, are pornographic comic books which circulated mainly in the United States in the 1920s to the 1960s.
The name Eight-pagers refers to the scope of usually eight pages, each page corresponding to a single image.
The attribution to the Mexican border town of Tijuana, from which came many notorious smuggling goods, also dates from this period;
while most of the booklets were produced in the United States. The small-sized (approximately 5x10 cm), printed on cheap paper booklets
containing pornographic picture stories,
often with well-known cartoon characters or actors in the lead roles.
They are considered as precursors of the underground comix of the 1960s.
 ......
The signatories of Eight-pagers always remain anonymous, although some published under a consistent pseudonym.
Quality and style of the drawings vary - Amateur crudest of drawings to well-made strips that can only come from professional graphic designers.
Behind some of these underground-porn-known cartoonist suspected, others come safely even less talented,
but enterprising opportunity artists who had access to a printing press. The commercial artist and cartoonist Wesley Morse (Bazooka Joe) is one of
the few authors whose names are known. From Morse come around 60 Tijuana Bibles, including one of the famous Strip,
playing on the 1939 World's Fair in New York City: a couple has sex on a transport carts,
while it visited attraction for attraction.
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Main characters of the stories are comic book heroes and heroines such as Popeye, Tarzan, Donald Duck, Betty Boop, Dagwood and Blondie,
Little Orphan Annie and Wonder Woman, film stars like James Cagney, Mae West, Ingrid Bergman,
Laurel and Hardy or the Marx Brothers, known personalities such as Joe Louis, Al Capone, Mussolini,
or just housewives, agents, firefighters and hotel boys.
The action in each case describes a short story that leads quickly to one (or more) explicit sexual act (s).
In Tijuana Bibles dominates a lustful, positive representation of heterosexuality.
Women enter into them with the same sexual energy, sex drive and initiative as men.
Vaginal intercourse, cunnilingus and fellatio, female masturbation, lesbian sex and threesomes are among the most popular
illustrated sexual practices, with the possible positions vary from image to image.
The story is always provided with pornographic, often witty dialogue in speech bubbles or narrative captions.
The stories often carry over turns comic, parody or grotesque, so many picture stories serve not only the pure depiction of sexual acts,
but also provide entertainment value as a winking satire. While many Eight-pagers are limited to the simple illustration of nudity and sexual organs,
there are also those who skillfully parody their "role models" and have created with language and narrative style your own burlesque art form.
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Tijuana Bibles were, as Bob Adelman writes, born in the Prohibition era, ripened to manhood in the world economic crisis of the late 1920s
and 1930s, and finally died in the 1960s. They were - because their distribution was illegal - sold under the counter and often circulated by readers to readers.
Your exact edition is unknown, but likely to have been in circulation millions of these books, especially as pirated editions were very easy to produce.
 ...
From the mid-1930s also books in circulation, which had 16, 24 or even 32 pages or were produced were complex.
After the Second World War, the interest declined with the advent of the first erotic men's magazines such as Playboy from 1953 appears,
which eventually supplanted the Eight-pagers from the market. For some time the books were now legally sold and offered in classified ads as shipping products,
but grew up in ordinary comics and magazines now the supply of eroticism and satire.
The drawing style and the language powerful, cheeky humor of Tijuana Bibles continued to live in the underground comix,
whose heyday began in the 1960s. During this time, the first Reprints and drawing tributes published.
Today, Tijuana Bibles, depending on the condition and authenticity, an expensive collector's item.
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Wiki:
https://en.wikipedia.org/wiki/Tijuana_bible
Look into the book...
http://www.amazon.de/Tijuana-Bibles-Americas-Forbidden-1930s-1950s/dp/1904989187/ref=sr_1_4?ie=UTF8&s=books-intl-de&qid=1281895411&sr=8-4 |
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Edited by - Tutta on 18/10/2019 22:45:03 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 17/10/2014 : 11:33:57
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NACHT EXPRESS (1993)
by Hugdebert (Guillaume Berteloot)
Bemerkungen: Nachdruck von »Lustbarkeiten im Orient-Express« (Hofmann, 1991) |
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Edited by - Tutta on 17/10/2019 11:48:43 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 18/10/2014 : 11:25:52
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R. CRUMB SKETCHBOOK Volume 3 1975-1982
By Robert Crumb. Until May 2017, Robert Crumb was simply lauded as the greatest underground artist.
Then his cover drawing for the 1969 comic Fritz the Cat sold for a record $717,000, the highest price
ever realized for any Crumb original art, and concepts of under- and aboveground went out the window.
Now everything Crumb is fast increasing in value; the perfect time for R. Crumb Sketchbook, Volume 3: Jan. 1975–Dec. 1982.
Combining volumes 5 and 6 from the $1000 second R. Crumb Sketchbook boxed set, and produced directly from the original
artworks now belonging to an ardent French collector, this is one big 444-page Crumb feast. Adult Material.
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Edited by - Tutta on 17/10/2019 09:47:20 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 19/10/2014 : 12:02:15
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The Damned of Mallande 1
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Die Verfluchten von Mallande / Nordahl
Publisher: Hofmann Verlag (1992/3) |
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Edited by - Tutta on 18/10/2019 22:46:02 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 21/10/2014 : 14:46:40
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Liberatore Glamour Book
A lot of people may find the graphic arts collections under review here to be shocking,
unacceptably violent and even revolting or, worse yet, dirty.
If that’s you, please stop right here and come back tomorrow when there will something you’ll approve of
but will almost certainly offend someone else.
Italy has a rich and varied comics culture with some highbrow classics and lots and lots of cheap,
cheerful, cheesy and even sordid commercial filler – just like everywhere else.
Italian illustration superstar Gaetano “Tanino” Liberatore, like most masters of the form,
paid his dues and worked his way up the ranks until he eventually found stardom,
infamy and his ideal working environment…
He was born in 1953 in Quadri in the province of Chieti.
After the usual kind of artistic childhood the kid went to school in Pescara and studied architecture at the University of Rome
before moving into the world of work as an advertising illustrator in 1975.
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He first met his fellow philosophical seditionist and punk-soul brother (writer, artist and publisher) Stefano Tamburini in 1978 and,
in conjunction with strident activist cartoonist Andrea Pazienza, they created ‘Rankxerox’ for the magazine Cannibale.
The character evolved and moved to Il Male and eventually Frigidaire, fully realised now as the RanXerox we know today –
every bit Libertore’s signature character the way Eisner has The Spirit, and Hergé Tintin…
Liberatore rapidly developed as both artist and writer, with strips ‘Bordello’ and ‘Client’ appearing in Il Male,
but when the new, Tamburini-scripted, syndicated RanXerox became a star of French magazine L’Écho des Savanes in 1981,
Tanino moved to Paris and began working simultaneously on tales for the more prestigious Gallic market in such magazines as Tranfert,
Métal Hurlant, À Suivre and Chic.
A shocking hit in the US Heavy Metal magazine, RanXerox then led to Liberatore jumping the pond and producing material for
Twisted Tales and men’s magazine Hustler.
Stefano Tamburini/Tanino Liberatore: Ranxerox in America
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When Tamburini died suddenly in 1986, Liberatore quit comics for nearly a decade.
Returning to straight commercial illustration, he worked in movies and designed book and record covers.
Eventually, comics captured his attention again, and he produced two new RanXerox tales in 1993 and 1996 (with Jean-Luc Fromental and
Alain Chabat), and a piece in Batman Black and White, assorted covers,
and illustrated Pierre Pelot and Yves Coppens’s mass-market paperback ‘Le Rêve de Lucy’.
As the Nineties closed, he finally came storming back in stunning style with the brilliant,
award-winning Lucy L’Espoir in 2007, in which he and writer Patrick Norbert freely adapted a life-story for the famous
prehistoric humanoid Australopithecus Afarensis remains found by anthropologists Coppens, Donald Johanson and Maurice Taieb.
The early Liberatore is the unqualified master of shock tactics. His beautifully rendered work dwells with obsessive, aggressive fascination of the grotesque,
both visually and thematically. Stylish elegance goes hand-in-hand with horrifying, blunt scarification, in-your-face casually acceptable deformity
and abnormality as suave, raffish he-men readily range beside hideous human travesties, ugly children and wanton,
fearsome under-age harlots and murderous junkies.
His worlds are not ones where anybody should feel safe or comfortable in visiting…
One fascinating fact often neglected is that the artist usually drew his stunning pages same-size or even smaller than
the printed final work – a complete reversal of the regular way comics were produced – and used a huge variety of materials to achieve his artistic effects,
from cheap felt pens to high quality pencils, paints or markers and even lipstick and found objects…
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That spectacular facility for experimentation is perfectly displayed in the book under review here.
In the early 1980s the Italian outfit which produced Popular Arts magazine Glamour Illustrated released a series
of phenomenal art-books, collecting and cataloguing the extant works of many modern maestros of mature modern sequential narrative which
had limited distribution in Britain – despite the best efforts of specialist importer Titan Distributors –
and all those tomes are long past due for revision and reissuing…
This glorious collection of Liberatore’s early years, simultaneously transcribed in Italian, French and English,
gathers hundreds of works and excerpts within its 204 pages (many of them full-colour high-gloss inserts), traces the artistic development
and displays the incredible ability and versatility of this incomparable, iconoclastic stylist, divided as usual into early ‘Unpublished Works’,
‘Black and White’ – printed pieces and extracts ranging from comics pages and panels, pin-ups, ads, illustrations, posters and covers –
and concluding extensive ‘Colour’ section.
The ‘Unpublished Works’ section here include masses of Liberatore’s superb pencil drawings and preliminary sketches,
unfinished and self- rejected pages as well as commercial designs, calendars, and a ton of fanzine work dedicated to music sensations such as Frank Zappa,
Paul McCartney, Grateful Dead and so on, choreographed fight scenes and designs for every aspect of his finished
pieces and is capped by an extra ‘Donne’ chapter featuring a stunning sequence of pencil studies of women…
‘Black and White’ contains a wealth of work showing the artist’s fantastic versatility as seen in record jackets, magazine covers
and illustration, satirical comics and cartoons plus loads of strips for publications as varied as Cannibale, Il Male, Frigidaire, Transfert, RanXerox
and a host of others.
The ‘Colour’ section reveals, in a wealth of different hues and stylisations, his canon of covers for comics,
magazines, books and records; posters, cartoons, works in progress, strips, stage art for theatrical performances, paintings,
along with many pages and extracts from his strips produced in Italy and France,
and American works for Hustler, Heavy Metal and Marvel’s Savage Sword of Conan.
The collection also contains impressively comprehensive checklists which detail in full Liberatore’s vast publication record to date in their
‘Chronology’ and ‘Bibliography’ sections.
As you would expect, there is a breathtaking amount of beautifully rendered flesh and deeply unsettling hyper-violence and subversive visual
political polemic on display – and I’m sure I don’t know which is the most distressingly affecting – in an unrelenting series of lascivious
situations and occasionally genuinely disturbing circumstances… and his brutally sly sense of humour.
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Liberatore is another world-class storyteller English speakers have too long been deprived of,
and books like this have never been more desperately in need of updating and re-release … |
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Edited by - Tutta on 17/10/2019 21:34:31 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 22/10/2014 : 14:46:53
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OPIUM DREAM
BORIS VALLEJO (American, b. 1941). Hookah, Opium Dream, 1981. Oil on board
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Edited by - Tutta on 17/10/2019 21:39:51 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 22/10/2014 : 15:14:57
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Eric Stanton - The Dominant Wives and Other Stories
Info: Eric Stanton
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Wiki:
http://en.wikipedia.org/wiki/Eric_Stanton
Cover:
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Sample: (different albums)
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Edited by - Tutta on 19/10/2019 23:19:51 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 23/10/2014 : 14:13:30
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Chastity - Lust for life
Publisher: Chaos! Comics Germany (Modern Graphics)
Drawings: Ed Benes
Text: Rene Micheletti
Country of origin: USA
Cover:
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Softcover
Sample: Com.art
Info:
https://www.bedetheque.com/serie-64466-BD-Chastity-Lust-for-Life.html
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Edited by - Tutta on 18/10/2019 22:48:04 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 25/10/2014 : 13:19:16
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A BIT OF LACE / Milton Caniff (1945)
Milton Caniff draws model Dorthy Partington (the Miss Lace in Male Call strip) in his studio in 1946.
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Edited by - Tutta on 18/10/2019 00:12:33 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 26/10/2014 : 16:29:47
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Laura Hudson on sex in superhero comics
You might think that I'd disagree with this post by Laura Hudson, which has been getting a lot of attention ... at least if I've managed to convey only a simplistic
version of where I stand on issues of sexual politics and the portrayal of sexuality in popular culture.
In fact, I agree with about 95 per cent of what Hudson has to say. There are things that I could quibble with around the edges, as to which more later,
and as happens with almost anything I read ... but in essence I agree with Hudson's post. And like Hudson, I take this view not because I'm opposed
to sexual display, or to the human body, sexual openness, critiques of monogamy, or anything related, but largely because I'm all in favour
of those things.
Here are some quick points. First, the material that Hudson is objecting to may not be technically pornographic - that will depend on your
definition of pornography, but, for example the material does not show any culturally taboo body parts (i.e. genitals and female nipples). That is not the point of
the complaint. I've increasingly to come to think that the category of pornography isn't much use in these debates. Where the word "pornography"
is used, care should be taken in defining what it means for the purpose of the discussion.
Second, Hudson is not asking that anything be banned, and nor is she making grandiose, poorly researched claims about the harm that something-or-other
supposedly causes. She is writing as critic rather than as a pseudo-scientist. If she were making stronger claims, I might be arguing against her.
Instead, she's doing her apparent best to explain aesthetic reactions and to put arguments as to why you and I should or might share them.
This is important, because we need to distinguish between the claim that something should be banned, the claim that something should be
the object of serious social rejection that falls short of legal prohibition (seen, perhaps, as a serious moral wrong),
and the numerous kinds of more local and nuanced claims that can be made about the merits of works of art or other examples of individual or collective expression.
Third, once you enter in the proper spirit into discussing those more local and nuanced claims, you thereby allow some room for sensitive and
principled disagreement. I believe that Hudson does this. Judging this becomes difficult, because it's impossible to justify
every premise all the way down, and Hudson certainly has not done so. At some point, you have to offer your individual, potentially
idiosyncratic, responses, letting others take them or leave them. You hope that any personal responses that underlie your claims and concerns will be
widely shared, but there is never a guarantee of this available. If you're honest, you write on that basis.
Hudson has done so, I think: she does not overreach, but relies on her ability to respond and comment sensitively,
and to convey her responses to others.
I share her response to, for example, the pic displayed above. Notice how the DC heroine Starfire does not seem to be posed in that pic
(perhaps unlike some of the others) to entice the guy she's trying to seduce. Rather, she is turned into a sexy object for
the gaze of the presumably male, heterosexual reader (which tends to suggest that other kinds of readers are not welcome).
Is that necessarily a bad thing? Well, not necessarily. After all, this is a fictional character - there is no real person to be hurt through
her transactions with DC comics. Even if this were a photograph of a real woman, I would not necessarily protest in any very serious way
- it would be her decision to pose in that manner, and I'd be wary of wild statements alleging that it does some kind of harm, either directly or indirectly.
Such statements are difficult to prove, and they may often be false.
And yet, and yet, that doesn't mean that I have to agree with the message(s) sent out by such images in context, or that I must be happy to see the message(s)
sent out in a superhero comic largely aimed at children. No artwork is beyond critique, even if the interference of the law is entirely inappropriate.
Bring on some smart critique.
Again, note I am not insisting that children receive only such messages as I personally approve of. I am in no way suggesting that the image be hidden or censored.
But I can still worry about or disagree with its message. There is no paradox here.
Part of the difficulty, as Hudson acknowledges, is that any specific case may not be clear cut.
In each specific case we have to look at the full context, including the reality that we are dealing with a medium where
all messages are tentative, subject to new perspectives as further issues of serial narrative publications
reinterpret (and sometimes outright erase) past issues.
Nonetheless, there can be a cumulative effect. True, no number of entirely bad arguments add up to a good argument.
But an accumulation of worrying cases, any one of which just might be justified individually
(and so we should not be too quick to attack individuals),
can still add up to an undesirable social trend.
The trend is not merely to present an image of women as disempowered, passive objects of male desire.
In fact, do the Starfire images do that at all? It's probably nothing so simple. Anyway, at least within my view
of the world, there is nothing wrong with being the object of someone's desire in the grammatical sense of
"X desires Y." There is nothing wrong, furthermore, with desiring to be desired, or in fulfilling the desire
to be desired. As Hudson herself points out, it is difficult to nail down just what is wrong with the images that
she deplores.
Part of the problem, surely, is that all (?) the choices being made in the relevant narrative are presenting Starfire not just as a woman who wants to be desired,
which is fine, or even as a woman who wants to experience sexual pleasure with many men, each different from the others - that's also fine as far as I'm concerned.
Women are just as entitled to think that way as men.
Part of the problem, as it seems to me, is that she is presented as someone who becomes little more than an
opportunity for the male characters, with whom the reader is encouraged to identify, and for the implicitly male audience.
This does not give legitimacy to her experiences and values, but merely demeans her and them. That's not a pro-sex,
or sexually open, or healthy, message to pass on to the next generation.
Could the same story be told in a way that makes us understand Starfire's mentality as a (rather extreme) polyamorist, somehow conveying the value that she
finds in having sex with many different men ... each occasion a different and valued experience for her? I don't see why not. I'd have nothing against that story at all.
Indeed, I'd probably applaud the story and its message. My concern is not based on prudishness or on commitment to some traditional set of values or moral norms
based on, say, a valorisation of heterosexual monogamy.
When we dig into sexual politics expressed by our high and popular cultures, we will have to defend,
and at times honestly abandon, some fairly contestable interpretations of what is going on. We sometimes need to back
our judgments - to have some faith in ourselves - but we also need to avoid dogmatism or arrogance of the kind
that simply dismisses interlocutors as not "getting it" (if others "don't get it", that may mean that
there is nothing to "get" ... or it may mean that we should try harder to help them).
A certain amount of charity in interpretation has much to commend it.
I think, though, that Hudson has provided us with a good example of what is involved in
talking sensitively, locally, modestly, about these difficult issues ... but also clearly and effectively.
She's had a lot of publicity for the piece that I've referred to, but she's thoroughly earned it to date.
Russell Blackford |
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Edited by - Tutta on 18/10/2019 00:16:48 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 27/10/2014 : 13:04:52
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Troubles fêtes - (Freudenfeste / Germany)
Sensual experiences between medieval and modern times, illustrated and implemented in comic form by Régis Loisel.
Publisher: Les Humanoïdes Associés (1991) - Luxor (Publisher Sackmann and Hörndl) Germany
Drawings: Régis Loisel
Text: Rose Le Guirec
Format: Album - Four-color
Genre: Eroticism
Country of origin: France / Belgium
Notes: Includes only partially Comics.
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Content: The plump ass nurse Margot gives the lovesick Henry to St. John's Eve, the highest pleasures.
The Curious Hélène experienced the Carnival of Venice as a debauched festival, which also satisfies
the secret desires of the young woman.
Rose Le Guirec describes her dreams of lust and pleasure with strong words.
The well-known artist Régis Loisel has implemented the erotic fantasies of the author in beautiful images.
Their joint book "rejoicing" is a commitment to sensuality, to life.
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Wiki: Régis Loisel
http://en.wikipedia.org/wiki/R%C3%A9gis_Loisel
Les Carnets d’Atelier
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La Quete de l'Oiseau du Temps
Felix Meynet
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Edited by - Tutta on 18/10/2019 22:50:12 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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SEX IN THE COMIX
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