Jackie Ormes, the first Black American woman cartoonist
When the 14-year-old Black American boy Emmett Till was lynched in 1955, one cartoonist responded in a single-panel comic. It showed one Black girl telling another: "I don't want to seem touchy on the subject... but that new little white tea-kettle just whistled at me!"
It may not seem radical today, but penning such a political cartoon was a bold and brave statement for its time — especially for the artist who was behind it. This cartoon was drawn by Jackie Ormes, the first syndicated Black American woman cartoonist to be published in a newspaper. Ormes, who grew up in Pittsburgh, got her first break as cartoonist as a teenager. She started working for the Pittsburgh Courier as a sports reporter, then editor, then cartoonist who penned her first comic, Torchy Brown in Dixie to Harlem, in 1937. It followed a Mississippi teen who becomes a famous singer at the famed Harlem jazz club, The Cotton Club.
In 1942, Ormes moved to Chicago, where she drew her most popular cartoon, Patty-Jo 'n' Ginger, which followed two sisters who made sharp political commentary on Black American life.
In 1947, Ormes created the Patty-Jo doll, the first Black doll that wasn't a mammy doll or a Topsy-Turvy doll. In production for a decade, it was a role model for young black girls. "The doll was a fashionable, beautiful character," says Daniel Schulman, who curated one of the dolls into a recent Chicago exhibition. "It had an extraordinary presence and power — they're collected today and have important place in American doll-making in the U.S."
In 1950, Ormes drew her final strip, Torchy in Heartbeats, which followed an independent, stylish black woman on the quest for love — who commented on racism in the South. "Torchy was adventurous, we never saw that with an Black American female figure," says Beauchamp-Byrd. "And remember, this is the 1950s." Ormes was the first to portray black women as intellectual and socially-aware in a time when they were depicted in a derogatory way.
One common mistake that erased Ormes from history is mis-crediting Barbara Brandon-Croft as the first nationally syndicated Black American female cartoonist. "I'm just the first mainstream cartoonist, I'm not the first at all," says Brandon-Croft, who published her cartoons in the Detroit Free Press in the 1990s. "So much of Black history has been ignored, it's a reminder that Black history shouldn't just be celebrated in February."
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Coming in 2023 from Drawn + Quarterly:
Where I’m Coming From by Barbara Brandon-Croft
Few Black cartoonists have ever entered national syndication, and before Barbara Brandon-Croft, none of them were women. From 1989 to 2005, Brandon-Croft brought Black women’s perspectives to an international audience with her trailblazing comic strip Where I’m Coming From.
Brandon-Croft appraises popular opinion through nine distinct women in constant dialogue. From diets to daycare to debt to the dreaded microaggressions of everyday racism, no issue is off-limits. This remarkable and unapologetically funny career retrospective holds a mirror up to the ways society has changed and all the ways it hasn’t. The magic in Where I’m Coming From is its ability to impress an honest image of Black life without sacrificing Black joy, bolstered by unexpected one-liners eliciting much-needed laughter.
As the daughter of mid-century cartoonist Brumsic Brandon Jr., creator of the second nationally syndicated strip to feature a Black lead, Luther, Brandon-Croft learned from the best. With supplementary writing by the author and her peers alongside throwback ephemera, this long-overdue collection situates Brandon-Croft as an inimitable cartoonist, humorist, and social commentator, securing her place in the comics canon and allowing her work to inspire new readers at a time when it is most needed.
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The Return of Stella Star
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Spring has returned to Doo Wop City. That means that it is time for a new season with me, Stella Star. Year 4 of this photo journal begins right now! This year, we’ll be showcasing new landmarks, new fashions, and plenty of our favorites from previous seasons. So much is happening here in town, with properties being sold, new ones being built, and old favorites getting a facelift. Come join me,…
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Double Indemnity (1944)
When Fred MacMurray’s horndog insurance salesman meets Barbara Stanwyck’s femme fatale at the start of Double Indemnity, she’s dressed only in a beach towel, fresh from sunbathing. After changing into a knee-length dress, she entertains him in the parlor, pretending to be interested in purchasing car insurance from his company but really feeling out his potential to help with the murder of her…
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Polly: Comin' Home
The text discusses the 1990 sequel to the TV movie "Polly," called "Polly: Comin' Home."
If you read my last review, then you know that 1989’s Magical World of Disney TV movie “Polly,” a reimagining of the 1960 film “Pollyanna,” which in turn was an adaptation of the 1913 novel by Eleanor H. Porter, steamed a sequel in 1990, “Polly: Comin’ Home.” We see many of the same actors reprise their previous roles, with Debbie Allen returning to direct and choreograph. As a kid, we owned both…
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