The Yellow Kid | |
---|---|
Publication information | |
Publisher | Joseph Pulitzer's New York World William Randolph Hearst's New York Journal |
First appearance | 17 February 1895 |
Created by | Richard F. Outcault |
In-story information | |
Full name | Mickey Dugan |
The Yellow Kid (Mickey Dugan [1] ) is an American comic-strip character that appeared from 1895 to 1898 in Joseph Pulitzer's New York World , and later William Randolph Hearst's New York Journal . Created and drawn by Richard F. Outcault in the comic strip Hogan's Alley (and later under other names as well), the strip was one of the first Sunday supplement comic strips in an American newspaper, although its graphical layout had already been thoroughly established in political and other, purely-for-entertainment cartoons. [2] Outcault's use of word balloons in The Yellow Kid influenced the basic appearance and use of balloons in subsequent newspaper comic strips and comic books.
The Yellow Kid is also famous for its connection to the coining of the term "yellow journalism". [3] The idea of "yellow journalism" referred to stories that were sensationalized for the sake of selling papers, and was so named after the "Yellow Kid" cartoons. Through his cartoons, Outcault's work aimed his humor and social commentary at Pulitzer's adult readership. The strip has been described as "a turn-of-the-century theater of the city, in which class and racial tensions of the new urban, consumerist environment were acted out by a mischievous group of New York City kids from the wrong side of the tracks". [4]
The Yellow Kid was not an individual but a type. When I used to go about the slums on newspaper assignments I would encounter him often, wandering out of doorways or sitting down on dirty doorsteps. I always loved the Kid. He had a sweet character and a sunny disposition, and was generous to a fault. Malice, envy or selfishness were not traits of his, and he never lost his temper. [5]
— Richard F. Outcault, from a 1902 interview
The Yellow Kid was a bald, snaggle-toothed, barefoot boy who wore an oversized yellow nightshirt and hung around in a slum alley typical of certain areas of squalor that existed in late 19th-century New York City. Hogan's Alley was filled with equally odd characters, mostly other children. With a goofy grin, the Kid habitually spoke in a ragged, peculiar slang, which was printed on his shirt, a device meant to lampoon advertising billboards. [3]
The Yellow Kid's head was drawn wholly shaved, as if recently having been ridden of lice, a common sight among children in New York's tenement ghettos at the time. His nightshirt, a hand-me-down from an older sister, was white or pale blue in the first color strips. [6]
The character who would later become the Yellow Kid first appeared on the scene in a minor supporting role in a single-panel cartoon published in the strip Feudal Pride in Hogan's Alley on 2 June 1894 in Truth magazine. There were a few more Hogan's Alley cartoons featuring the Hogan's Alley kids over the rest of 1894 and the beginning of 1895. The four different black-and-white single-panel cartoons were deemed popular, and one of them, Fourth Ward Brownies, was reprinted on 17 February 1895 in Joseph Pulitzer's New York World , where Outcault worked as a technical drawing artist. The World published another, newer Hogan's Alley cartoon less than a month later, and this was followed by the strip's first color printing on 5 May 1895. [7] Hogan's Alley gradually became a full-page Sunday color cartoon with the Yellow Kid (who was also appearing several times a week) as its lead character.
In 1896, Outcault was hired away at a much higher salary to William Randolph Hearst's New York Journal where he drew the Yellow Kid in a new full-page color strip which was significantly violent and even vulgar compared to his first panels for Truth magazine. Because Outcault failed in his attempt to copyright the Yellow Kid, Pulitzer was able to hire George Luks to continue drawing the original (and now less popular) version of the strip for the World and hence the Yellow Kid appeared simultaneously in two competing papers for about a year. [8] Luks's version of the Yellow Kid introduced a pair of twins, Alex and George, also dressed in yellow nightshirts. [9] Outcault produced three subsequent series of Yellow Kid strips at the Journal, each lasting no more than four months:
Publication of both versions stopped abruptly after only three years in early 1898, as circulation wars between the rival papers dwindled. Moreover, Outcault may have lost interest in the character when he realized he could not retain exclusive commercial control over it. [10] The Yellow Kid's last appearance is most often noted as 23 January 1898 in a strip about hair tonic. On 1 May 1898, the character was featured in a rather satirical cartoon called Casey Corner Kids Dime Museum but he was drawn as a bearded, balding old man wearing a green nightshirt which bore the words: "Gosh I've growed old in making dis collection." [11]
The Yellow Kid appeared sporadically in Outcault's later cartoon strips, most notably Buster Brown . [12]
The two newspapers that ran the Yellow Kid, Pulitzer's World and Hearst's Journal, quickly became known as the yellow kid papers. This was contracted to the yellow papers and the term yellow kid journalism was at last shortened to yellow journalism , describing the two newspapers' editorial practices of taking (sometimes even fictionalized) sensationalism and profit as priorities in journalism. [13] [14] [7]
The Yellow Kid's image was an early example of lucrative merchandising and appeared on mass market retail objects in the greater New York City area such as "billboards, buttons, cigarette packs, cigars, cracker tins, ladies' fans, matchbooks, postcards, chewing gum cards, toys, whiskey and many other products". [15] With the Yellow Kid's merchandising success as an advertising icon, the strip came to represent the crass commercial world it had originally lampooned.
Entertainment entrepreneur Gus Hill staged vaudeville plays based on the comic strip. [16] His version of McFadden's Flats was made into films in 1927 and 1935.
The Yellow Kid made an appearance in the Marvel Universe in the Joss Whedon-written Runaways story (volume 2, issue 27). [17] In this take on the character, he exhibits superhuman powers.
In the Ziggy of 16 February 1990, Ziggy points to a smiling old man seated next to him on a park bench and says, "No kidding... You were The Yellow Kid!" [18]
Writer Chris Yambar and editorial cartoonist Randy Bish attempted to revive the series in 2020 as a comic book for the character's 125th anniversary, [19] [20] in which The Yellow Kid is pulled into the modern day by a magician; however, only one issue was published before Yambar's death in March of 2021. [21]
The Yellow Kid Awards are Italian comics awards presented by the Italian International Comics and Cartooning Exhibition [22] and distributed at the annual Italian comic book and gaming convention Lucca Comics & Games.
A comic strip is a sequence of cartoons, arranged in interrelated panels to display brief humor or form a narrative, often serialized, with text in balloons and captions. Traditionally, throughout the 20th and into the 21st century, these have been published in newspapers and magazines, with daily horizontal strips printed in black-and-white in newspapers, while Sunday papers offered longer sequences in special color comics sections. With the advent of the internet, online comic strips began to appear as webcomics.
The Katzenjammer Kids is an American comic strip created by Rudolph Dirks in 1897 and later drawn by Harold Knerr for 35 years. It debuted on December 12, 1897, in the American Humorist, the Sunday supplement of William Randolph Hearst's New York Journal. The comic strip was turned into a stage play in 1903. It inspired several animated cartoons and was one of 20 strips included in the Comic Strip Classics series of U.S. commemorative postage stamps.
Little Nemo is a fictional character created by American cartoonist Winsor McCay. He originated in an early comic strip by McCay, Dream of the Rarebit Fiend, before receiving his own spin-off series, Little Nemo in Slumberland. The full-page weekly strip depicted Nemo having fantastic dreams that were interrupted by his awakening in the final panel. The strip is considered McCay's masterpiece for its experiments with the form of the comics page, its use of color and perspective, its timing and pacing, the size and shape of its panels, and its architectural and other details.
In journalism, yellow journalism and the yellow press are American newspapers that use eye-catching headlines and sensationalized exaggerations for increased sales. The English term is chiefly used in the US. In the United Kingdom, a similar term is tabloid journalism. Other languages, e.g. Russian, sometimes have terms derived from the American term. Yellow journalism emerged in the intense battle for readers by two newspapers in New York City in 1890s. It was not common in other cities.
Zenas Winsor McCay was an American cartoonist and animator. He is best known for the comic strip Little Nemo and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
Richard Felton Outcault was an American cartoonist. He was the creator of the series The Yellow Kid and Buster Brown and is considered a key pioneer of the modern comic strip.
The New York World was a newspaper published in New York City from 1860 to 1931. The paper played a major role in the history of American newspapers as a leading national voice of the Democratic Party. From 1883 to 1911 under publisher Joseph Pulitzer, it was a pioneer in yellow journalism, capturing readers' attention with sensation, sports, sex and scandal and pushing its daily circulation to the one-million mark. It was sold in 1931 and merged into the New York World-Telegram.
Buster Brown is a comic-strip character created in 1902 by Richard F. Outcault. Adopted as the mascot of the Brown Shoe Company in 1904, Buster Brown, along with Mary Jane, and with his dog Tige, became well known to the American public in the early 20th century; the character's name was applied to a popular style of suit for young boys, the Buster Brown suit, that reflected his outfit.
The New York Journal-American was a daily newspaper published in New York City from 1937 to 1966. The Journal-American was the product of a merger between two New York newspapers owned by William Randolph Hearst: the New York American, a morning paper, and the New York Evening Journal, an afternoon paper. Both were published by Hearst from 1895 to 1937. The American and Evening Journal merged in 1937.
Rudolph Dirks was one of the earliest and most noted comic strip artists, well known for The Katzenjammer Kids.
The Sunday comics or Sunday strip is the comic strip section carried in most Western newspapers. Compared to weekday comics, Sunday comics tend to be full pages and are in color. Many newspaper readers called this section the Sunday funnies, the funny papers or simply the funnies.
This is a timeline of significant events in comics prior to the 20th century.
Hogan's Alley is a magazine devoted to comic art, published on an irregular schedule since 1994 by Bull Moose Publishing in Atlanta, Georgia, United States. Subtitled "the magazine of the cartoon arts", it covers comic strips, comic books, cartoons, and animation. Originally planned as a quarterly, the frequency is closer to that of an annual, with 20 issues published in 22 years.
Comics journalism is a form of journalism that covers news or nonfiction events using the framework of comics, a combination of words and drawn images. Typically, sources are actual people featured in each story, and word balloons are actual quotes. The term "comics journalism" was coined by one of its most notable practitioners, Joe Sacco. Other terms for the practice include "graphic journalism," "comic strip journalism", "cartoon journalism", "cartoon reporting", "comics reportage", "journalistic comics", "sequential reportage," and "sketchbook reports".
Truth magazine was both a weekly magazine and a monthly reader published from 1881 until 1905 in the United States. Its subtitle was "The Brightest of Weeklies".
Little Sammy Sneeze was a comic strip by American cartoonist Winsor McCay. In each episode the titular Sammy sneezed himself into an awkward or disastrous predicament. The strip ran from July 24, 1904 until at least May 26, 1907 in the New York Herald, where McCay was on the staff. It was McCay's first successful comic strip; he followed it with Dream of the Rarebit Fiend later in 1904, and his best-known strip Little Nemo in Slumberland in 1905.
The history of American comics began in the 19th century in mass print media, in the era of sensationalist journalism, where newspaper comics served as further entertainment for mass readership. In the 20th century, comics became an autonomous art medium and an integral part of American culture.
Charles William Saalburg was an American cartoonist and illustrator who lived in San Francisco, and whose work appeared in the San Francisco Wasp and Examiner, the New York World, as well as periodicals in Paris and London. In 1894, he created The Ting Ling Kids comic strip for the Chicago Inter Ocean, which is typically considered the earliest regular American newspaper comic strip to be printed in color. As chief of the World's color department, he is also credited with giving the bright yellow color to R. F. Outcault's character The Yellow Kid. Inn 1895, he used the Kid's characteristic oversized shirt to test a new, quick-drying yellow ink. The Yellow Kid, originally drawn with a blue shirt or in black and white, would give rise to the term "yellow journalism".
The New York World was one of the first newspapers to publish comic strips, starting around 1890, and contributed greatly to the development of the American comic strip. Notable strips that originated with the World included Richard F. Outcault's Hogan's Alley, Rudolph Dirks' The Captain and the Kids, Denys Wortman's Everyday Movies, Fritzi Ritz, Gus Mager's Hawkshaw the Detective, Victor Forsythe's Joe Jinks, and Robert Moore Brinkerhoff's Little Mary Mixup.
May 5th is National Cartoonist Day, a world-wide celebration of cartoonists and their work. The National Cartoonist Society declared the date in the 1990s to promote support for the cartooning industry, and to recognize the impact they have had on society.