Monday 23 June 1984 seemed like a normal day. The latest issue of Tammy was out, with the latest instalment of The Forbidden Garden and the new Secret Sisters strip. Little did we know it would be the last issue ever!
Today in pulp I ask: whatever happened to Tammy?
British girls' comics have a long history, starting out as story papers in the 1920s and 30s. Public schools, caddish sorts and lots of healthy outdoor activity were the main staples of the genre...
Postwar the girls' comic template was firmly set in 1951 by Girl, the sister paper to The Eagle. Adventure, duty and jolly hockey sticks were the order of the day.
IPC acquired Girl in 1963, so you can guess what happened next...
...it was merged with Princess the following year. IPC had a reputation for merging successful comics, often on a whim, to keep the market fresh. Princess herself merged with Tina in 1967 to create Princess Tina.
By the late 1960s girls' comic strips were starting to change in Britain, influenced by Emma Peel and other strong female characters on TV. Excitement and adventure were in, school tuck shops were out!
But not in Bunty: D.C. Thomson's best selling title for girls remained an oasis of sensible teens, puppies, ballet dancing and dressing up.
However IPC were about to launch something that would kickstart a comics revolution...
Tammy launched on 6 February 1971, and looked like a traditional comic for girls: free gift, flowery masthead, smiling faces.
The content however was anything but traditional!
"Slaves of War Orphan Farm", "Castaways on Voodoo Island" - Tammy was bringing a grittier type of story to its readers and would continue to do so for the next 13 years.
In essence Tammy was bringing the girls' comic genre down to earth: plucky working class girls fighting the odds; mysterious stories of adventure and horror; drama, tragedy and cruel fate. It was a huge success and influenced many other titles, not just its IPC stablemates.
And as the years went by Tammy started to eat up its rivals.
First to go was Sally, a more traditional comic gobbled up in 1971.
By 1973 the short-lived Sandie had been incorporated into Tammy.
Then in 1974 Tammy swallowed June - one of the bestselling comics of the 60s which had already devoured Poppet, Schoolfriend and Pixie!
By the mid-1970s Tammy had reshaped the girls' comic scene, and not just through mergers: it proved there was an appetite for tougher stories out there. Both Jinty (launched 1974) and Misty (launched 1978) rode this new wave of mystery and terror.
Then the inevitable happened...
It was a terrible day, 19 January 1980, when Misty - the finest supernatural comic ever written - was laid low with the dread phrase "important news for all readers"...
Tammy had taken it over!
What IPC hoped to achieve by this hideous crime is unknown. All we can say is that Misty herself vanished into the world of Christmas Annuals and childhood memory.
More was to come...
Jinty was a powerhouse of girls' science fiction and fantasy. There really was nothing else like it: sales were good and the stories were solidly written imaginative works.
But by the end of 1981 Tammy had merged with it, and Jinty was no more. Could anything stop this juggernaut?
Certainly not the revamped version of Princess IPC launched in 1983. By 1984 Tammy had taken that over too. In short it seemed that nothing could stop the title.
So why did it mysteriously vanish in June '84? What happened?
Well it seems plans were already afoot to merge Tammy into Girl magazine in late 1984. However industrial action at IPC meant the final pre-merger Tammy editions could not be produced. Instead IPC just didn't resume publication of Tammy after the strike ended.
Like many former IPC titles Tammy continued as a stand-alone Christmas Annual for a few years, but without completing any of the stories that had ended mid-run when the original comic closed.
But the story doesn't quite end there...
Because in 2019 Rebellion Comics brought out a new Tammy and Jinty special, including all new Bella At The Bar!
There are many excellent blog sites detailing the history of British girls' comics:
He was the terror of London; a demonic figure with glowing eyes and fiery breath who could leap ten feet high. The penny dreadfuls of the time wrote up his exploits in lurid terms. But who was he really?
Today I look at one of the earliest pulp legends: Spring-Heeled Jack!
London has always attracted ghosts, and in the 19th Century they increasingly left their haunted houses and graveyards and began to wader the capital's streets.
But one apparition caught the Victorian public attention more than most...
In October 1837 a 'leaping character' with a look of the Devil began to prey on Londoners. Often he would leap high into the air and land in front of a carriage, causing it to crash. It would then flee with a high-pitched laugh.
Today in pulp I look back at New Zealand's home-grow microcomputer, the 1981 Poly-1!
Press any key to continue...
The Poly-1 was developed in 1980 by two electronics engineering teachers at Wellington Polytechnic, Neil Scott and Paul Bryant, who wanted to create a computer for use in New Zealand schools. Education Minister Merv Wellington liked the idea and gave it the green light.
Backed by government finances, and in partnership with Progeni Computers, Polycorp was formed in 1980 to began work on the prototype for the official Kiwi school computer.
It was the biggest manhunt in Britain: police, the press, aeroplanes, psychics all tried to solve the disappearance. In the end nobody really knew what happened. It was a mystery without a solution.
This is the story of Agatha Christie's 11 lost days...
By 1926 Agatha Christie's reputation as a writer was starting to grow. Her sixth novel - The Murder of Roger Ackroyd - had been well-received and she and her husband Archie had recently concluded a world tour. But all was not well with the marriage.
In April 1926 Agatha Christie’s mother died. Christie was very close to her: she had been home-schooled and believed her mother was clairvoyant. The shock of her sudden death hit the author hard.
Many readers have asked me over the years what my definition of pulp is. I've thought about it a lot, and the definition I keep coming back to... well it may surprise you.
Let me try and set it out.
There are lots of definitions of pulp out there: in books, in academic papers and on the web. And most circle back to the same three points: the medium, the story type and the method of writing.
Pulp is of course a type of cheap, coarse paper stock. Its use in magazine production from the 1890s onwards led to it becoming a shorthand term for the kind of fiction found in low cost story magazines.
let's take a look at the extraordinary work of Victorian illustrator and cat lover Louis Wain!
Louis Wain was born in London in 1860. Although he is best known for his drawings of cats he started out as a Victorian press illustrator. His work is highly collectable.
Wain had a very difficult life; born with a cleft lip he was not allowed to attend school. His freelance drawing work supported his mother and sisters after his father died. Aged 23 he married his sisters' governess, Emily Richardson, 10 years his senior.
Over the years a number of people have asked me if I have a favourite pulp film. Well I do. It's this one.
This is the story of Alphaville...
Alphaville: une étrange aventure de Lemmy Caution (1965) was Jean-Luc Godard’s ninth feature film. A heady mix of spy noir, science fiction and the Nouvelle Vague at its heart is a poetic conflict between a hard-boiled secret agent and a supercomputer’s brave new world.
British writer Peter Cheyney had created the fictitious American investigator Lemmy Caution in 1936. As well as appearing in 10 novels Caution featured in over a dozen post-war French films, mostly played by singer Eddie Constantine whom Godard was keen to work with.