1968年
『一名南方的報紙編輯表示:「你可以畫黑人角色,但他不應該和白人角色出現在同一所學校」。』
全文翻譯:
https://www.facebook.com/1614255074/posts/10214931309388937/
On July 31, 1968, a young, black man was reading the newspaper when he saw something that he had never seen before. With tears in his eyes, he started running and screaming throughout the house, calling for his mom. He would show his mom, and, she would gasp, seeing something she thought she would never see in her lifetime. Throughout the nation, there were similar reactions.
What they saw was Franklin Armstrong's first appearance on the iconic comic strip "Peanuts." Franklin would be 50 years old this year.
Franklin was "born" after a school teacher, Harriet Glickman, had written a letter to creator Charles M. Schulz after Dr. Martin Luther King, Jr. was shot to death outside his Memphis hotel room.
Glickman, who had kids of her own and having worked with kids, was especially aware of the power of comics among the young. “And my feeling at the time was that I realized that black kids and white kids never saw themselves [depicted] together in the classroom,” she would say.
She would write, “Since the death of Martin Luther King, 'I’ve been asking myself what I can do to help change those conditions in our society which led to the assassination and which contribute to the vast sea of misunderstanding, hate, fear and violence.'”
Glickman asked Schulz if he could consider adding a black character to his popular comic strip, which she hoped would bring the country together and show people of color that they are not excluded from American society.
She had written to others as well, but the others feared it was too soon, that it may be costly to their careers, that the syndicate would drop them if they dared do something like that.
Charles Schulz did not have to respond to her letter, he could have just completely ignored it, and everyone would have forgotten about it. But, Schulz did take the time to respond, saying he was intrigued with the idea, but wasn't sure whether it would be right, coming from him, he didn't want to make matters worse, he felt that it may sound condescending to people of color.
Glickman did not give up, and continued communicating with Schulz, with Schulz surprisingly responding each time. She would even have black friends write to Schulz and explain to him what it would mean to them and gave him some suggestions on how to introduce such a character without offending anyone. This conversation would continue until one day, Schulz would tell Glickman to check her newspaper on July 31, 1968.
On that date, the cartoon, as created by Schulz, shows Charlie Brown meeting a new character, named Franklin. Other than his color, Franklin was just an ordinary kid who befriends and helps Charlie Brown. Franklin also mentions that his father was "over at Vietnam." At the end of the series, which lasted three strips, Charlie invites Franklin to spend the night one day so they can continue their friendship. [The original comic strip of Charlie Brown meeting Franklin is attached in the initial comments below, the picture attached here is Franklin meeting the rest of the Peanuts, including Linus. I just thought this was a good re-introduction of Franklin to the rest of the world - "I'm very glad to know you."
There was no big announcement, there was no big deal, it was just a natural conversation between two kids, whose obvious differences did not matter to them. And, the fact that Franklin's father was fighting for this country was also a very strong statement by Schulz.
Although Schulz never made a big deal over the inclusion of Franklin, there were many fans, especially in the South, who were very upset by it and that made national news. One Southern editor even said, “I don’t mind you having a black character, but please don’t show them in school together.”
It would eventually lead to a conversation between Schulz and the president of the comic's distribution company, who was concerned about the introduction of Franklin and how it might affect Schulz' popularity. Many newspapers during that time had threatened to cut the strip.
Schulz' response: "I remember telling Larry at the time about Franklin -- he wanted me to change it, and we talked about it for a long while on the phone, and I finally sighed and said, "Well, Larry, let's put it this way: Either you print it just the way I draw it or I quit. How's that?"
Eventually, Franklin became a regular character in the comic strips, and, despite complaints, Franklin would be shown sitting in front of Peppermint Patty at school and playing center field on her baseball team.
More recently, Franklin is brought up on social media around Thanksgiving time, when the animated 1973 special "A Charlie Brown Thanksgiving" appears. Some people have blamed Schulz for showing Franklin sitting alone on the Thanksgiving table, while the other characters sit across him. But, Schulz did not have the same control over the animated cartoon on a television network that he did on his own comic strip in the newspapers.
But, he did have control over his own comic strip, and, he courageously decided to make a statement because of one brave school teacher who decided to ask a simple question.
Glickman would explain later that her parents were "concerned about others, and the values that they instilled in us about caring for and appreciating everyone of all colors and backgrounds — this is what we knew when we were growing up, that you cared about other people . . . And so, during the years, we were very aware of the issues of racism and civil rights in this country [when] black people had to sit at the back of the bus, black people couldn’t sit in the same seats in the restaurants that you could sit . . . Every day I would see, or read, about black children trying to get into school and seeing crowds of white people standing around spitting at them or yelling at them . . . and the beatings and the dogs and the hosings and the courage of so many people in that time."
Because of Glickman, because of Schulz, people around the world were introduced to a little boy named Franklin.
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comic strip creator 在 Prada Facebook 的最讚貼文
The work of Tarpé Mills, Giuliana Maldini, Trina Robbins, Natsume Ono, Brigid Elva, Stellar Leuna, Emma Ríos, Fiona Staples, and Joëlle Jones is featured in #PradaSS18 #w4w.
Tarpé Mills (1918-88, New York), born June, changed her name to the gender-ambiguous Tarpé because she believed her readers would be
disappointed to know she was a woman. Mills was a fashion illustrator before she created several action characters in Devil’s Dust, The Cat Man, the Purple Zombie, Daredevil Barry Finn, and her best-known character, Miss Fury. In 1941, “Miss Fury” was the first female action comic strip
created by a woman. In 1971, Mills made a brief return to comics with “Our Love Story” (Marvel).
Giuliana Maldini (Milan) was the first woman in Italy to publish a book of cartoons on the female condition in 1978 under the title “Qui regna
amore” with an introduction by Natalia Aspesi. Since, she has authored satire, poetry, and children’s books, most recently “Perlopiù,” “Supergiù”
published (La Vita Felice), “Noi ragazze” (Nuages), and “Nonne e non solo” (Eco).
Trina Robbins has been drawing and writing comics since 1966, starting with her work for New York underground newspaper East Village Other. In 1970, she produced the first all-woman comic book, “It Ain’t Me Babe.” In 1972, she was one of the founders of Wimmin’s Comix, the longest-
lasting women’s anthology comic book (until 1992). In the mid-80s, she co-wrote “Women and the Comics,” the first in a series of histories
of women cartoonists. She has been responsible for rediscovering previously forgotten early women cartoonists like Nell Brinkley, Tarpé Mills,
Barbara Hall, and Lily Renée. In 1986, she became the first woman to draw a Wonder Woman comic book. In 2013 Trina was inducted into the
Will Eisner Comic Book Hall of Fame.
Natsume Ono made her debut in 2003 with “La Quinta Camera” and has since set much of her work in Italy, based on her observed experiences while living there. Her works include “Ristorante Paradiso” (Ota), “Sarai-ya Goyou” (Shogakukan), and “Tsuratsura Waraji” (Kodansha). Many of
her stories have been animated or made into dramas.
Brigid Elva (UK) is the author of the comic book “Coma Deep.” She has self-published works “Hex,” “Room,” and “Field Notes” and is involved in various ongoing ’zines.
Stellar Leuna (Sydney) started out making DIY ’zines and merch designs for local hardcore bands and has since made art for print publications, streetwear apparel, and large-scale murals.
Emma Ríos (Spain) started drawing comics full time in 2007. Having worked for Boom! Studios and Marvel (Doctor Strange, Amazing Spiderman), she returned to creator-owned productions in 2013, thanks to Image Comics, where she published “I.D.,” a solo graphic novel, and co-edited the Island magazine. She currently co-creates Pretty Deadly and Mirror.
Fiona Staples (Calgary) is the co-creator of the bestselling Hugo and Eisner award-winning comic series, Saga, written by Brian K. Vaughan.
Together with writer Mark Waid, Staples spearheaded the 2015 re-launch of the 75-year-old Archie Comics line, redesigning the classic
characters with a modern look.
Joëlle Jones (Los Angeles) has most recently been writing and drawing “Lady Killer” (Dark Horse). She has provided the art for “Supergirl: Being Super,” “Superman: American Alien” (DC), “Helheim, Brides of Helheim” (Oni), and “Mockingbird” (Marvel). Next, Jones will be drawing Batman for DC and taking over the DC Collectibles Cover Girls statue line.
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“I used to think I was poor. Then they told me I wasn’t poor, I was needy. Then they told me it was self-defeating to think of myself as needy, I was deprived. Then they told me underpriviledged was overused, I was disadvantaged. I still don’t have a dime, but I have a great vocabulary.”
– Jules Feiffer, creator of the comic strip Feiffer
我以前覺得自己很窮,但他們說這不是窮,是貧困。然後他們說「覺得自己貧困」是種自我失敗的想法,我是被剝削。(噢,不是剝削,是社經地位低下。)之後他們說「社經地位低下」這詞太過了,我是弱勢。我現在還是沒有錢;不過我懂很多詞彙。
- 吉爾斯‧菲佛(連載漫畫「菲佛」的創作者)
comic strip creator 在 Toys Zone D Youtube 的最佳貼文
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