Harold Gray’s Little Orphan Annie

(Last Updated On January 22, 2020)

I would guess that most already know who Annie is. For the benefit a few of the younger readers who may not be familiar with her, she is the protagonist of the Little Orphan Annie comic strip. Annie is a young orphan girl who left the orphanage to become the ward of the incredibly rich Oliver “Daddy” Warbucks. She then battled dangerous criminals around the world with the help of Daddy Warbucks and his bodyguards, Punjab and the Asp. Her courage, common sense, and integrity made her one of the most popular fictional characters of the 20th century.

Harold Gray- Little Orphan Annie (1937)

Little Orphan Annie was not in the local newspaper when I was growing up, so it was not one of the comics I read frequently as a child. I read it a few times in out-of-town newspapers, but because Annie’s adventures continued over many issues of the paper, I was never able to follow a complete story. Millions of people did follow Little Orphan Annie from its inception in 1924 until Harold Gray’s death in 1968, and it became one of the most popular comic strips in the world. The strip was continued by other artists until 2010. It has inspired movies and a popular musical. What made Little Orphan Annie loved by so many?

Harold Gray- Little Orphan Annie (1964)

Many believe that the choice of a female protagonist for the strip helped its popularity. Harold Gray stated that he chose a young girl of about eleven years old as his protagonist because there were many more boys than girls in the comics at that time, especially in the adventure strips. A girl would make his strip different and stand out. He modeled the character with frizzy red hair and a red dress after a street urchin he once met. The name Annie is derived from the poem Little Orphant Annie by James Whitcomb Riley. According to the Encyclopedia Britannica, Gray initially planned the strip about a boy called Little Orphan Otto. He changed the character to a girl at the request of the Chicago Tribune Syndicate, which published the strip.

Regardless of whose idea it was to make the strip about a girl, it was a huge success. A girl in the lead role caught the readers’ attention in the 1920s. Feminism was becoming mainstream, but female heros were still relatively rare. Annie’s blank eyes, and the eyes of other characters, also grabbed the reader. I don’t know why Gray decided to draw eyes without pupils, but the vacant orbs drew the viewer into the strip.

In addition to the fact that a girl heroine was unusual, I believe that a girl who is being mistreated, or who is in a dangerous situation, arouses more sympathy than a boy in similar circumstances. It is in our genes that we should feel this way. For a population to survive and reproduce, it is necessary to have sperm cells, egg cells, and wombs. Sperm and eggs are abundant, but wombs are not. Anybody who has a womb, therefore, is more important for the survival of the population than those who do not have wombs (by the reckoning of evolutionary theory). It may be sexist and unfair, but nevertheless true that evolution has hardwired our nervous systems to be more alarmed by a damsel in distress than by a male in a similar plight.

Another advantage of a girl as the heroine is that it may have been easier for children, both boys and girls, to identify with a character whose ability to fight was no greater than an ordinary child. It is socially acceptable for Annie to be an ordinary little girl, relying on Punjab or Asp to provide the muscle when confronted by tough adult male criminals. A boy would be expected to fight for himself. If he beat the bad guy it would be unrealistic and children would have a harder time identifying with him. If he relied on others to fight for him he would be perceived as a wimp.

Note that Punjab and the Asp are both people of color; Punjab from India and the Asp from an unnamed country in East Asia. I believe Gray made these characters non-white to make them exotic, rather than for diversity. Regardless of his reasons, Harold Gray was ahead of his time by including racial diversity in his comic. This is noticeable in the following strip from 1942. Annie had organized a “Junior Commando” unit to help with the war effort on the home front. The strip inspired real children to imitate Annie’s work by forming real Junior Commando organizations. At that time the Women’s Army Auxiliary Corps was not part of the Army. It became the Women’s Army Corps, part of the Army, the following year. Black soldiers were not integrated into the same units as whites until after the war. Annie’s unit had boys and girls in the same unit, and she even made an African-American boy a sergeant with authority over white members of the unit! At the time this was quite radical, and the strip aroused some controversy.

Harold Gray- Little Orphan Annie (1942)

Don’t think this means that Gray was the kind of person who would be considered “woke” today. He was the opposite; a rugged individualist who despised government programs, socialism, labor unions, the New Deal, and President Roosevelt. The characters in Little Orphan Annie echo Gray’s personal and political philosophy. Note that in the first strip in this post, the Asp even disdains the role of government in enforcing the law and punishing criminals. Asp, like Annie, Daddy Warbucks, and Harold Gray himself, would rather do it himself than depend on the government. Daddy Warbucks died of despair in 1944 because Franklin Roosevelt was reelected. In 1945 his death was changed to a coma. He recovered and was back in the strip.

Little Orphan Annie was adapted as a movie in 1932, 1938, 1982, 1999, and 2014. It was a Broadway musical in 1977. Little Orphan Annie is also featured in many children’s books and toys. Annie has appeared in the Dick Tracy comic strip after Little Orphan Annie was discontinued. The following illustrations are a Little Orphan Annie strip from 1970, drawn by Tex Blaisdell, and Aileen Quinn as Annie in the 1982 movie.

Tex Blaisdell- Little Orphan Annie (1970)

Columbia Pictures- Aileen Quinn as Annie (1982)

Photographing Flowers: Jacques Bourboulon

(Last Updated On January 10, 2020)

by C. Madaio

Jacques Bourboulon was born in 1946 in Vautorte (Northwestern), France. Had he not narrowly escaped death when he was 12, the world would not have seen his stunning landscape and glamour pictures because it was his near-death experience that led him to a photographic career earning him accolades and enormous satisfaction. He points to a scar on his head and explains, in heavy French-accented English, how an accident he had when he was 12 caused him to slip into a three-month coma. It was a miracle he survived as his doctors said that 99 percent of people with such head injuries usually die or become a vegetable.

Jacques Bourboulon- From Mélodies (page 8)

Although photography was of greater interest to Bourboulon, after graduating from school he decided to travel to New York and earn a living for a while playing the organ in the neighborhood church. However, upon returning to France in 1967, he returned to his first love, photography (although he continues to stay interested in music to this day). As he’d stated:

When I was 19 or 20, I decided that I couldn’t make a career in music. At about that time I saw a picture ‘The Apple and the Peas’ taken by Sam Haskins with a Pentax. It was a very memorable picture and I promptly went out to buy my first camera. …. For the first ten years I was very poor. I spent every penny I had on films, products and chemicals to produce photos.

…and from a 2010 Interview:

Without any knowledge of photography, he simply reads the instruction manual. “I’ve never taken a course, never been an assistant. But when one begins to immerse oneself in the photo world, one must be prepared to die for it. It’s a passion which can cost dearly; and it’s necessary to keep on doing it and doing it.”

Bourboulon’s big break came when he was given the opportunity to try fashion photography. His “eye” was so good it was featured in leading French fashion magazines like Vogue. That also earned him the chance to work for renowned couturiers (specialized fashion designers) such as Dior, Feraud and Carven.

Jacques Bourboulon- From Mélodies (page 56)

After several years, he found this work too restrictive and sometime around 1974 began doing erotic/nude photography with young women and girls. This subject was, as always, his first love, an avocation that began during his teens with him taking photos of classmates. With respect to leaving fashion photography, he stated an interview with Rebel (circa 2004/2005), “…Fashion was a world too closed-up, too ‘codified’ for me. I needed space to dedicate (myself) to erotic photography”.

Jacques Bourboulon- From Mélodies (page 6)

He’s had numerous models, but one of his earliest and most famous was Eva Ionesco¹ – daughter of Irina Ionesco (who’s had several portfolios of Eva published herself). Eva, as photographed by Jacques Bourboulon, has been published in a number of books and magazine pictorials. The more significant of these (with or without Eva) were: A Portfolio of Eva (Ionesco) published in 1981—Eva is approximately 14 in this portfolio; Coquines, published in 1982; Attitudes, published in 1984; 17 by Stevenson, published in 1985; and Mélodies, published in 1987.

Although Eva Ionesco was the most well-known of his models, she wasn’t the only one—a list that includes Alicia, Jutta, Valerie, Lea, Vera, Carita, Maria, Suzanna, etc.

Jacques Bourboulon- From Mélodies (page 12)

Jacques Bourboulon always preferred non-professional models; as he himself describes in an interview with Zoom on what he looks for in a model:

As far as the young girls, my affinity for them is how I choose them. It is also possible that the act of working with young girls lets me express myself more easily. First, I must say that I detest [professional] models, not as women but because it’s their profession. There’s nothing of naturalness, of freshness; they have a way of expressing themselves, of moving about, without any freshness whatsoever. I watch myself that I don’t push the girls I work with to become like that. …

…[I select] only those girls who are from school, who are hired, and then whom return to school. I work with all these girls, not only one time, but for years. I know them, I know their parents, they receive me, it’s a continual contact. The first that I’d discovered; it was 7 years ago. She was 12 years old, 19 now. She’s continued to come see me at Ibiza, not forcibly to take photos; there was never any ambiguity.

With respect to continuing photo sessions: “I explain to them what I do, I show them the photos. They are at times astonished, but two months after they’ve received the photos, I write them, and when they re-see them, everything becomes simpler.”

Jacques Bourboulon- From Mélodies (page 58)

Most appropriately, he also states about his erotic photography: “I enjoy it. I love it and it [helps] cultivate happiness,” he says. “For me I photograph flowers and I photograph girls. I photograph girls like I photograph flowers because they are both beautiful.”

And, quoting from an interview in another magazine, “He prefers young girls he finds by chance on a voyage, a night out, or crossing the street.”

Jacques Bourboulon- From Mélodies (page 10)

As far as technique is concerned, he uses (from another interview) primarily:
“…a Pentax,” (later a Contax RTS) an 85mm lens, and Kodachrome 25 (later Agfachrome RS)…. 5 months a year in Ibiza, in an old farm of the 13th century, lost (hidden) in the back-country that he has rents and has lovingly restored (almost stone by stone) …. Ibiza, which he loves profoundly because of climate, the superb lighting, and the possibility of taking different photos. He passes almost twelve months of the year there—the sea and the mountains in sight, the ease of access (next to Paris), and it’s not too expensive!

Bourboulon took most of his glamour photography during this period (the next 12 years) in Ibiza (Spain); which became his natural studio.

Jacques Bourboulon- From Mélodies (page 5)

In 1980 he published his first book, Des Corps Naturels. He has since published another 20 books (6 in Japan) of which 400,000 copies have been sold worldwide. For the next 30+ years, he also produced calendars, (Pentax 1987, BASF 1988, 1992, etc), postcards, posters, illustrations, photos for publicity and over 160 exhibitions around the world.

Around 1985, having received hundreds of letters from amateur photographers familiar with his work through his publications, exhibitions and books, Bourboulon decided to dedicate part of his time to the public with a passion for photography. For the big international photographic shows, he organizes conferences, workshops, diaporamas and exhibitions in Tokyo, Sydney, Auckland, Cyprus, Cologne, Brussels, Stockholm, Paris, Madrid, Barcelona etc. His public appeal draws crowds and the photographic magazines regularly publish his work. These workshops continue to this day.

Jacques Bourboulon- From Mélodies (page 9)

In the late ’80s, Bourboulon, preoccupied more and more with perfection, turned toward landscapes. As he stated in a 1996 interview in Chasseur d’Images (French photo magazine):

“I didn’t choose to become a landscape photographer; it is the landscapes themselves that drew me in. In fact, I feel now the same emotions towards nature that give me the same feelings as in my past career. Three years have passed in which I’ve traveled through the world looking for unique scenics…on foot, in a vehicle, on small roads, under the rain, sun or under the last rays of light” … New style, new habits, JB has discovered his new subject: “Contrary to the woman, where one can repeat the same poses indefinitely in the same place, nature never repeats itself. … The magic instants only last for a few a seconds.”

However, he continued to stay involved with glamour/erotic photography. At the turn of the century much of his new and prior glamour/erotic photography was published on a well-known erotic website known as mosteroticteens or MET. He also had his own website from 2003–2008 (remnants of which can be found here).

Jacques Bourboulon- From Mélodies (page 57)

Nowadays, Bourboulon has continues to receive acclaim for his photography of young women/girls and landscape photography. However, he’s had his detractors both then and now, and as the hysteria (and legal pressure) continues to grow regarding nude photography of teenage girls, the detractors become louder and more obtrusive.

In answer to the question of publishing books beyond the existing 24, he has no other plans but to inspire others to look at the world differently more. He states that he had spent about five years on research before the publication of each book. For the time being he is pretty contented with life on the lecture circuit and doing his own personal photographic research.

Jacques Bourboulon- From Mélodies (page 3)

What about inspiring others to take up photography seriously? Jacques says it is not at all easy. There is no tried and tested formula. You have to,

Follow your passion. And you must be ready to die for your passion. You must be prepared not to sleep for six days for your passion. And you cannot be an artist if you cannot dream or be passionate. -Benard Quek

Many thanks go out to the people who contributed to this article: The artist’s agent who provided the background materials; the two French readers who transcribed the hard-copy materials; Mr. Madaio for translating and then composing this article; and whoever it was who scanned the Mélodies images saving me the trouble. Without their help, this post would certainly have remained unpublished for a while.

Because this artist’s age range lies mostly outside the purview of this site, images posted in this article come exclusively from Mélodies which features the youngest girls from his portfolio. -Ron

Selected Photo credits of Jacques Bourboulon:
Zoom (French photo magazine) published Jan 1976 (Issue 34)
• Oct 1976 – Playboy (Italian Ed.) – Classe del 1965 (the Class of 1965) – a major pictorial of Eva Ionesco. At 11 years old, she is the youngest to ever appear in Playboy (Italian Edition only)
Zoom (French photo magazine) published September 1979 (Issue 64) – Images des Petites Filles (Images of Little Girls) – including Eva
• 1980 – His first photo book, Des Corps Naturels, (Natural Bodies) is published in France by Filipacchi. It included sonnets by Serge Gainsbourg -noted French singer, songwriter, poet, painter, writer, etc.
• 1980 – Conte des Fées (Tale of the Fairies), a lower quality book of photos by Bourboulon is published in Japan
• 1981 – Portfolio of Eva (Ionesco). She’s approximately 14 in this portfolio
Coquines – Photobook published in 1982
Photo Reporter Features & Interviews – Nov 1982 (Issue 49) & Nov 1984 (Issue 73)
Attitudes – Photobook published in 1984
17 – by Stevenson – Photobook published in 1985 (a few photos of Eva)
Mélodies – Photobook published in 1987
• 1994 – Jacques Bourboulon photo book
• 1996 – Photografier le nu (Photograhing the Nude)
• 1996 – PhotoArgus – Interview and feature
• 2004/2005 – Rebel magazine feature and interview

¹ Eva Ionesco herself has been the subject of numerous articles and a 2015 book, Eva, written by her current husband, Simon Liberati. In the book, written entirely from Liberati’s observations and point of few, but with a few 2nd-hand quotations from Eva, her tumultuous childhood as a nude child model from the age of 5 and “loose” lifestyle is portrayed. How her youthful lifestyle has led to her current persona is also described. Liberati focuses mainly on Eva’s relationship with her mother, Irina Ionesco, upon whom both he and Eva have heaped a considerable amount of scorn for her profiteering from her daughter. Jacques Bourboulon is only briefly described in this book as one of the “nude photographers”, but no insight is given in this book on her relationship with photographers other than her mother.

Random Images: Mathieu Faria-Fernandes

(Last Updated On January 7, 2020)

Mathieu Faria-Fernandes is a recent entry into the world of photography having only begun in 2010. There is not much about this artist except that he is exhilarated to capture the images of real people:

I started taking photographs in 2010, I get inspired by true people who give me the opportunity to catch their soul. The world is a great playground, and I can not wait to do it again … -From his website (2011)

Mathieu Faria-Fernandes – The little girl with bewitching eyes (2011)

I find images of children behind fences is so very compelling and loaded with symbolism. Not only are children somewhat segregated from the adult world, but since they are largely powerless in our society, the child’s body is a kind of prison until they finally grow up. And yet, through their eyes, one can see there is a living, breathing sentience.

Random Images: Willi Gunthart

(Last Updated On January 7, 2020)

Willi Gunthart was a Swiss photographer featured in a 1955 issue of Camera. It is possible that this artist is the same one referred to as Willi Günthart  “also” known for his award-winning poster designs, especially of plant life. Perhaps someone can take a careful look and confirm or refute this conjecture.

Whatever the case, the photographer here took some lovely shots of naked little girls in a garden. The idea was to capture the Victorian sensibility in composition and execution.

These consciously sentimental images owe their charm and freshness to the courage of a twentieth century photographer in reviving an older convention. Interestingly, some such revival has dominated a great deal of fashion photography in the U.S. where the large camera studio techniques of the Victorian portraits have been used to intensify the often vapid subject matter of the fashion magazines. – Camera Magazine (1955)

Willi Gunthart – Girls in a Garden (1) (c1955)

Willi Gunthart – Girls in a Garden (2) (c1955)

Random Images: Women’s Suffrage

(Last Updated On January 5, 2020)

Among the images in Pip’s digital collection are a number of political postcards. Regarding the subject of women’s suffrage, like most political movements, there is much fodder for humor.

Women’s Suffrage Postcard (date unknown)

Rather than expressing the indoctrination of young girls into the movement, the above postcard was simply observing the practice of putting a child as a stand-in for an adult character. The postcard below probably reflects the very real concern men had about allowing women into public life. Of course this assumes that men have a general distaste for children.

Election-Day Postcard

Random Images: Carl Mydans

(Last Updated On January 5, 2020)

When one thinks of Depression-era photographs of the poor, the names Lewis Hine and Dorothea Lange come foremost to mind. But there are many, like Carl Mydans, whose work shows the same skill, commitment and emotional resonance. Like Lange, he was a photographer with the Farm Security Administration.

Carl Mydans – Poor Whites, Georgetown, D.C. (1935)

The Kumari Devi and Children in Religion

(Last Updated On January 6, 2020)

by Amanda

Throughout history, children have played a significant role in religion. They are often symbolic of purity and innocence. Often times, however, the relationship between children and religion is far more complex. The Christ child is the most famous example. A deity who came to earth in the form of a child to suffer the wrath of a just God on our behalf.

The Christ Child

The Kumari Devi is also an example of the complex relationship between children and religion. In Nepal, Hindus and Buddhists have the tradition of worshiping a pre-pubescent girl. Much like the Christ child, the girl who is chosen to be the Kumari becomes the earthly manifestation of Taleju, a goddess who represents feminine energy. While several Kumaris exist throughout Nepal, the most well-known is the Royal Kumari, who spends most of her days in a temple known as the Kumari Ghar. She is often taken to represent Nepal on state visits as well as religious outings.

There are several myths surrounding how the tradition of the Kumari began. One of these myths is that Taleju and Trailokya, King of Nepal in 1847, parlayed every night to play games and discuss the welfare of Nepal. One evening, the king began flirting with Taleju, which angered her and she disappeared. After many long nights of prayer and worship, she returned to him, taking the form of a virgin child.

Devi (goddess)

The selection process for the living goddess is rigorous and time consuming. It takes place on the 8th day of Dashain. There is a very long list of criteria. The young girl must come from an eligible family. The choosing is overseen by several Buddhist priests, including the Royal Priest among other religious leaders. Aside from health, there are many physical signs the child must display, such as ‘eyelashes like a cow’, ‘chest of a lion’ and black hair and dark eyes, just to name a few. The child must also show courage in the face of fear.

The Kumari is generally chosen at a very young age and retains her position until her first menstruation. At that point, it is believed that Taleju has vacated the child’s body and she is immediately sent from the temple back into society. While puberty is the primary sign that the child is no longer divine, serious illness or wounds that draw blood are also signs that the deity has left. Therefore, great care is taken to protect the Kumari. She is always guarded, and her feet can never touch the ground.

The Kumari Devi

She is constantly being visited by the worshipers, who bring her offerings. Everything ranging from trinkets to alcohol. During their visit, they will often ask for the Kumari’s blessing, anything ranging from healing to academic success. Unusual responses from the child can mean different things. For example, if the child cries or laughs loudly, serious illness will befall you or your family. Rubbing of the eyes is an indicator of imminent death. If she trembles, you will face imprisonment at some point. If she begins picking at food offerings, your family will suffer financially.

Today, questions are being raised as to whether or not becoming the living goddess is actually harmful to a child. All too often, the shock of being returned to society is too much for these girls to handle and they withdraw themselves, believing that the goddess still lives within them. Some live out the remainder of their days unable to return to a normal life. Due to her status as a goddess, the Kumari is forbidden to associate with other people or children her age outside of accepting offerings. She must live in the temple, raised only by priests. Even when her family visits, it is only to worship. While this seems like a lonely existence, most former Kumaris say that over time, as they grew to understand the importance of the role they played, they had grown to accept these circumstances as facts of life. The early years of childhood are the most critical for building a foundation for learning social skills. Since the Kumari is chosen at such a young age, the isolation often hinders social development. All of this has drawn the attention of human rights activists.

Trishna Shakya

The Kumari is not very well known outside of Nepal’s Hindu and Buddhist circles. A documentary on BBC brought some light to the Kumari and the traditions surrounding her. The current Kumari is Trishna Shakya, who was chosen in September of 2017 at the age of 3.

With All Due Modesty: Marc Riboud

(Last Updated On January 3, 2020)

A reader sent me these images by Marc Riboud (1923–2016) from a 1955 issue of Camera. Although he was not known for his photographs of children, Riboud did capture these two spontaneous shots.

Marc Riboud -Two Girls (c1955)

A strong wind was blowing but that did not phase them. They were so interested in their game of make-believe, they were not even aware when I took this picture and a few others at the same time. -Marc Riboud for Camera Magazine (1955)

The two girls below were pupils in a children’s home.

Marc Riboud – Girls After Swimming (c1955)

They had been bathing and had just come out to put on their clothes. In their modesty, they stood back to back so as not to embarrass one another. -Marc Riboud for Camera Magazine (1955)

I know Pip did a post on the above image but I thought it would be nice to have some the artist’s commentary to go with it. -Ron

Maiden Voyages: January 2020

(Last Updated On January 1, 2020)

Happy New Year to you all!

Nymphets in the Movies: A little while back I mentioned a book that had an extensive listing of coming-of-age girls in film (It was quite disappointing and I won’t even dignify it by mentioning its name here). But alas, there are others out there making a more serious effort and, at long last, one can purchase Quilty’s Guide to Nymphets in the Movies (2019). This publication has been a long time coming. Attempts to published in the past have failed mainly due to its controversial focus.This is a no-holds-barred coverage of over 1000 films dated up to the year 2000.

For some in our hyper-refined culture, garb is an important part of their response to a female … So I have added ‘fashion’ notes for anyone with an interest in costume (10% of the films include school uniforms), including the occasional panty flash. Such notations are for those who share my puerile enthusiasm for frippery, others may skip gaily ahead. Not everyone will share my toleration of wretched movies hoping for a glimpse of stocking-top or flash of drawers. -From the Introduction to Quilty’s Guide to Nymphets in the Movies

In the Introduction, there is a detailed history of the project so readers will know that this was not just thrown together hastily. And although the author admits to not having seen every single film listed, Quilty has watched a great deal of them including many that cannot even be purchased on DVD today. There is always some subjectivity in what to include so teenage movies have been mostly excluded unless the girl in question also did earlier work in TV or magazines. Quilty also professes a passion for the work of undeservedly obscure actresses whose film careers have been completely forgotten. Some bad films have been deliberately included as well to help readers steer clear.

So if you want an extensive list of nymphet films that has more than a perfunctory summary of the plot, order your copy of Quilty’s Guide to Nymphets in the Movies at blurb.com.

Quilty’s Guide (cover) (2019)

How to Marginalize Small Organizations: A disturbing article about the ownership of .org domains came to my attention. There is every chance that if this sale goes through organizations like Pigtails in Paint will not be able to use the .org suffix. This has not yet been stated explicitly, but the fact of the matter is that large money-making enterprises have a tendency to err on the side of caution and so, at some point, Pigtails will become an embarrassment and be cut off—all perfectly legal, of course. There is a protest movement so there is still time to make yourself heard at SaveDotOrg.

Too Hot to Handle: It seems appropriate during the new year to summarize my findings about Steff Gruber’s Passion Despair. I have been looking for a copy of this film for a few years now and I have asked readers to inquire into its status. A lot of details have trickled in over the past year and I think I can come to a conclusion as to what is happening. The production of this film caused a stir and possible legal complications because it surrounds the ethics of exploiting young girls for commercial gain. As explained in the press kit, Gruber’s interest is purely academic (as is mine), but that does not stop others from making accusations of sinister intent. The dilemma is that we do not live in a perfect world. The girls in question live in Transnistria (ethnic Russians) which is politically part of Moldova (ethnic Romanians). The argument is that the political dynamics of this region and the poverty of the area means that modeling affords the girls an opportunity to earn some money and break up the monotony of life there. I have therefore concluded that this film will not be made available to the general public for at least a few years until this whole thing blows over.

Thank You for Your Support: I wish to thank the Prostasia Foundation for covering the police debacle over our publishing of Debbie Dreschler images. With the current witch-hunt mentality, it is critical that law enforcement be kept under public scrutiny and not allowed to overstep their bounds.

Who Stands for the Underdog? Lost in the shuffle over the Dreschler images fiasco, I forgot to mention that there is an organization dedicated to the legal defense of comic book art, Comic Book Legal Defense Fund (CBLDF). I encourage readers interested in this cause to become members and to help keep them apprised of the latest developments with Pigtails.

Our Expanding Database: One of the reasons there have not been a lot of new posts is because I am building up the site’s public database. Recently, the list of movies (and other films) has been updated and I am currently working on the list of ‘Artists by Name’. There are also images that need identification currently found on ‘Little Orphan Images’ (I will be adding a lot more soon). There are also a number of transcriptions and other goodies also found in our archive. It occurs to me that those who are less technically savvy are not aware of these pages and don’t know to get to them (also, there is some confusion over the use of the word ‘archive’). Therefore, I have added a screenshot showing how to access these pages. Please play with these pull-down menus so that you may explore this site fully. I have made completing the database a higher priority given the ongoing looming danger of being shut down.

Merry Christmas: Pierre-Auguste Renoir

(Last Updated On January 11, 2020)

The last couple of years, Christian has taken to sending me an on-topic holiday card. This year’s card was simply a Renoir reproduction. Thank you Christian and Pigtails in Paint wishes everyone a safe and happy holiday. -Ron

Pierre-Auguste Renoir – L’enfant à l’oiseau (1882)

Official Renoir website