Love (or lack thereof) in El Barrio - Young Romance's "The Wall Between Us"

"The Wall Between Us"
Young Romance #175 (October 1971)
Pencils: Art Saaf, Inks: Vince Colletta

This evening's story, "The Wall Between Us" from Young Romance #175 (October 1971) is a romance tale filled with rejection and confusion for leading lady, Ruth Hagan who works as a social worker in "El Barrio." In an effort to help the (in her eyes) downtrodden Ramirez family, Ruth takes a special interest in the family's handsome son, Carlos. Carlos, however, wants nothing to do with Ruth and her charitable ways.


In an effort to forget about Carlos and his disdain for her profession, Ruth calls up her boyfriend, Win, to hang out. While Win kisses her, all Ruth can think about is Carlos. Win senses her distance and inquires as to its source. She tries to brush it off as a problem with a "client," but Win knows that she is referring to Carlos -- he has obviously come up before in their conversations. Win makes his feelings about Carlos heard loud and clear when he says, "He's just like the rest -- they're lazy trouble-makers..." Ruth sticks up for Carlos and contends that he only needs to be given a chance.


In an effort to patch things up with Carlos, Ruth heads back to his neighborhood. She offers him some money as a "loan" -- worsening the situation.


It becomes apparent in a dream sequence that not only does Ruth want to help Carlos; she wants him to view her as worthy of his affection.


Not one to give up, Ruth attempts to make her dream a reality. The next day, she ambushes Carlos in his apartment lobby and declares her undying love for him. He basically tells her to scram, but she continues to go on and on that her love is there for the taking. Carlos has a different take on her declaration of adoration...


Carlos tells Ruth to get on with her life -- he has found work and he plans to move on with his. Ruth unenthusiastically goes back to Win who tries to make her forget about Carlos. But Ruth can't forget and when Carlos calls a few months later to invite her to a celebratory party, she jumps at the chance to see him again. Literally, she jumps on Carlos, and wraps her arms around him as she exalts, "Oh, Carlos! It's been so long! I knew you wouldn't forget me! Say you love me!" But Carlos doesn't love her -- still. He invited her to the party in hopes that she would help celebrate in his success. With a friendly peck on the cheek, Carlos leaves Ruth with the following advice:

"Hold out your hand to my people, Ruth.
That's all they ask, really. Goodbye -- and good luck!"

Confused and alone, Ruth stands on the stoop of the Ramirez family's building. Suddenly, Win drives up and offers not only a ride, but an explanation. It was he who gave Carlos a job in an effort to pull him away from Ruth. Only, Win wasn't expecting Carlos to excel and he also wasn't expecting to find himself realizing what a "bigoted fool" he had been.


And as a random officer of the law looks on, Win and Ruth reconnect and revel in the gift that Carlos Ramirez gave them -- the gift of love.


Though I appreciate "The Wall Between Us" and its attempt to include diversity and an admirable (and rare) Hispanic character, I am not sure about the story's effectiveness in conveying racial tensions of mid-century America. Carlos seems to be more of a catalyst for a convenient happy ending between Ruth and Win than a primary focus. Stories such as "Black + White = Heartbreak!" and "Full Hands - Empty Heart!" in my opinion, were more effective in eliciting the heart-wrenching emotions associated with love and loss. I would really like to hear your thoughts, though -- were you moved by "The Wall Between Us," or not so much? Please share!

Brad and Maria - From Different Sides of the Tracks in "Strangers in Love!"

Cover art: Don Heck/Dick Giordono
Young Romance #171
(April/May 1971)

I purchased this issue of Young Romance on Ebay last spring, primarily because the cover is just so cool! I just sort of assumed the corresponding interior story, "Strangers in Love!" would be an original '70s story. As it turns out, it is a retouched reprint (pencils by John Romita). Unfortunately, I do not have the original story, so I can't tell you if it is similar in plot or not. But, I just had to share this one not only for the groovy cover, but because it appears that leading lady Maria, and her family are Hispanic. Diverse characters (being few and far between in romance comics) are always exciting!


Maria decides to take a break from her urban life, and goes to visit her Aunt and Uncle. Though the change of scenery is nice, her extended family still lives on the "wrong side of the tracks." This fact comes to the forefront when Maria meets Brad, a handsome and wealthy local. The differences between them have no bearing on their attraction, and the two spend a lovely afternoon smooching and getting to know one another.


Brad takes Maria home to meet his elderly uncle Josh -- Brad's legal guardian since early childhood. Brad warns Maria that his uncle is intimidating, but nothing to worry about. Unfortunately, Uncle Josh's reaction to Maria does not help put her at ease in Brad's wealthy and unfamiliar surroundings, but Brad's goodnight kiss assures her all will work out for the best.


Giddy with love, Maria eagerly tells her aunt and uncle about her new found romance. Sadly, her relatives are just as uptight about the relationship as Brad's uncle.


Ignoring those around them, Brad and Maria continue to date and fall madly in love. Brad ultimately pops the question, to which Maria says "Yes." Uncle Josh gives a resounding "No." He has already arranged a future wife for Brad, and it isn't Maria. Uncle Josh goes on to tell Brad that if he chooses to go through with his marriage to Maria, he will be cut out of his will.

You may notice that in a few panels Maria was
mistakenly not recolored for this reprint -- Oops!

Seeing as Brad has lived a life of luxury and never had to work, he doubts his abilities to support Maria without his uncle's help. Ultimately, Brad decides to call the engagement off.

Devastated, Maria tries to forget about Brad, but she can't stop thinking about how it was prejudice that ripped them apart. Or was it? Did Brad just not love her enough?

Just as the swirling questions and doubts cloud her mind, Brad comes up to Maria and declares that he cannot live without her and that nothing matters -- except for their love. Maria knows that is all true, but she wonders if Brad can handle living a life that he is unaccustomed to.


In an unexpected turn of events, Uncle Josh's chauffeur comes to Maria's house and announces to Brad that his uncle has passed away. In a last act of compassion, Uncle Josh scribbled a note to Brad accepting the marriage. And just like that, Brad and Maria are given the Happily Ever After they so deserve!


Love between boy and girl from opposite sides of the tracks was a common theme in the romance comics. In "Strangers in Love!" Maria and Brad's geographical relation to one another is used not only to denote social class, but ethnicity as well. I am guessing that the original printing of this story involved just a class division between the characters and that Maria was added in the '70s for diversification. If and when I do find the original story, I will be sure to let you all know!

Time Travel Tuesdays - "Rancho of Golden Dreams" Cowgirl Romances #2 (1950)

It's that time again, Time Travel Tuesday! Today's story, "Rancho of Golden Dreams" is from the Fiction House publication, Cowgirl Romances #2 (1950). It is currently National Hispanic Heritage Month, so this epic romance tale set in "Old California" is quite fitting. One of the few representations of Hispanics in romance comics, this story is less about leading lady Dolores and her search for romance and more about her quest to save her father's estate. The story (credited to Augustine Martinez) is a little intricate, so here it is in its entirety -- courtesy of the Digital Comic Museum!

Click to enlarge!

I have a few other stories for Hispanic Heritage Month planned, so be sure to check back through October!

The Mammy Archetype in DC's "Someone to Love!"- Girls' Love Stories #159 (May 1971)

Earlier in the week I mentioned the appearance of an African-American character in the 1950 Fawcett story, "Tears in the Night" that embodied the stereotypical "mammy" character so popular in antebellum and early 20th century American culture.

Fast forward twenty years to 1971 and shift your attention to the DC romance comics line -- could this "mammy archetype" still live on, even after the events of the Civil Rights Movement?

As you will see in "Someone to Love!" from DC's Girls' Love Stories #159 (May 1971) (pencils by Werner Roth) the stereotype of African-American women as inherently motherly figures (especially to their white charges) curiously lingers on -- despite the story's good intentions and attempts at diversification and inclusion.


When the Adams family moved into Greenville Heights, twelve year old Celia Johnson was anxious to meet her new neighbors. The rest of the neighborhood, however; was less than amused by an African-American family in their midst; relentlessly picketing and harassing the new family.

No, you are not imaging things.
You have seen that handshake before --
in the saga of Margo and Chuck, also
penciled by Werner Roth.

Accompanied by little Celia, Mr. and Mrs. Johnson are welcomed into the Adams home for a snack of coffee and cake. Celia and fellow twelve year old -- Angela, become fast friends and together, graduate from an interest in dolls to a fascination with boys and romance.


Though it seemed neither one of them would ever find a boy to date, before long Celia woos studly and sensitive Philip. Angela, however; has not yet met anyone and wonders if she ever will.


Love isn't far behind for Angela luckily. When an errant football collides with Angela's hand, dreamy football player Lee Stanley rushes over to comfort her and a romance between the two is quickly ignited.


Ecstatic about their new situations and their packed social calendars, Angela and Celia can hardly contain their joy. As the weeks fly by, the boys suddenly seem to gain popularity with the other young females of the school -- leaving little time for Angela and Celia. Celia racks her brain to think of what they may have done to obscure the attention of their guys. Angela explains that it isn't their fault, but that "...some men are like that! Once they know we love them, they take us for granted!"

Refusing to give up on Lee, Angela is there for him when his adoring female fans leave him in the dust after he costs the school the football game against their rival, Fairfield. Appreciating her loyalty and love, Lee apologizes for his behavior and promises to never hurt Angela again. Philip still hasn't come around to Celia, but Angela promises her friend that she will try to make things right between the two.


Celia is unsure what Angela has up her sleeve, but trusts Angela, who declares, "Never you mind, you just leave everything to Auntie Angela!" It is in this panel that Angela embodies characteristics of the dutiful "mammy."


In the end, Angela's scheme of persuading another boy at school to write a love note to Celia and drop it within eyesight of Philip to make him jealous works like a charm. It isn't long before the two couples are back to double dates and warm embraces.


Overall, while "Someone to Love" is a cute story that attempts to show that skin color has no bearing on friendship and comradery between women, it simultaneously very subtly (and most likely unintentionally) pegs African-American Angela into a motherly role in relation to her white friend Celia. Surprisingly, this "mammy" type character shows up in quite a few romance stories from the 1970s. Though DC made sincere strides in presenting diversity in their romance comics, they were unable to completely shake the specters of the past.

Selling Romance - Diversity in Wigs!

Any casual reader of romance comics from the 1960s and '70s is aware of the fact that wig advertisements were never in short supply! This ad for "Permanently Styled" S-T-R-E-T-C-H wigs from a company called Valmor out of Chicago appeared in Charlton's Secret Romance #29 (October 1974).


This ad is particularly cool because of the variety of wigs including the "Afro American" and the "Afro Puffs" style -- "the latest rage" which could be worn three different ways. The Afro hairstyle is of course associated with the 1960s and '70s, born out of the "Black is Beautiful" movement.

Valmor, the company that produced these wigs, sold beauty products aimed at African-American women since the 1930s -- including skin-lightening creams. Author Juliann Sivulka explains in her excellent book, Stronger Than Dirt: A Cultural History of Advertising Personal Hygiene in America, 1875 to 1940 that Valmor's early advertisements for the African-American female consumer were, "centered on achieving beauty to attract a man, rather than female dignity and racial advancement." It is obvious from this romance comic ad that by the 1970s, Valmor had engaged with both the political and beauty needs of the mid-century woman.

♥♥♥

Join me this weekend to find out --
What is wrong with Angela and Celia?

African-American Couples on the Covers of 1970s Romance Comics

At first glance, these ten covers seem to have no apparent unifying theme, other than that they are quite lovely and from a relatively short range of time -- late 1971 to Spring of 1973. Take a closer look at them and you will see that in the background, each has an African-American couple as witness or participant to the focal events. Interestingly, the majority of these ten issues have stories in which African-American characters are either the main characters or primary supporting characters in at least one of the interior stories. More interestingly, the issues from this time period that do not have African-American characters on the covers tend not to have African-American characters featured in the interior. While necessarily not always the case, it is a rather striking trend. As covers are generally the first thing a reader sees when they come in contact with a comic, the African-American couple on each acts almost as a type of "signal" that African-American characters will be found underneath the cover.

Falling in Love #127
(December 1971)

Young Love #92
(February 1972)

Heart Throbs #140
(April 1972)

Girls' Love Stories #169
(May 1972)

Girls' Love Stories #170
(June 1972)

Falling in Love #135
(August 1972)

Girls' Love Stories #172
(August 1972)

Heart Throbs #145
(September 1972)

Young Love #100
(October 1972)

Love Stories #149
(March/April 1973)