I say, shake it, madam! Capital "knockers"!

What ho, chaps! Fancy taking a trip back in time with me, to examine a 100 year old postcard? No? That's a bally awful idea, you say? Suggest such a thing again and I shall summon the police, you say? Well, too bad! Take a look at this.

This cartoon appeared on a postcard in the 1920s, depicting the end of gendered segregation on British beaches. The artists are credited only as 'AE & EW'. Note their deliberate choice in showing the lone female bather with a dejected expression while the male oiks look on making fatuous remarks. By Jove!

Those green structures the men are emerging from — clearly 'one at a time' didn't come into play back then — are not changing rooms. They were called bathing machines, and were pulled from the sand into shallow water (hence the wheels) so bathers could change into their bathing suits without being seen by the opposite sex. Bathing machines first appeared in the 1750s and were obsolete by the 1920s, but they were essential in those days of strict public bathing propriety. Well I never, Mavis. What will they think of next?

I am somewhat inclined to believe the two fully-dressed beachgoing fops on the extreme left are 'AE & EW' themselves (despite a total lack of evidence, but — gut instinct, right?). I think the one with the monocle is a bit more sinister, so I had a bash at drawing him.

It looks as though the identities of the erstwhile AE & EW have been lost to time, although there are many examples of their art to be found online. They were decidedly anti-feminist (big surprise) and you can see more here. In one of them, a man asks a suffragette "Don't you wish you were a man, Mrs. Spankhurst?" She replies "Yes, don't you wish you were?" 

Ah, the 1920s, where one could sally forth to take the seaside air of a morning in one's bow tie and boater, paired with cummerbund/coat and tails. What a time to be alive. Which I wasn't. Thankfully.

Weird for the sake of weird

Can't be bothered waiting for your favourite comic strip characters to enter the public domain? No problem! Just draw a comic strip about them anyway! It's all in good fun, and a homage, of course. Here's a round-up of some strips that I thought were great examples of taking a popular comic strip and putting their own spin on the characters. 

First up we have "D.I.L.B.E.R.T. 2147" by Rory Blank. He's taken Scott Adams' Dilbert and taken it to its grotesque future conclusion. 121 years from now, Dilbert, Wally and his fellow cubicle drones are still toiling away in productivity hell, as you always knew they would be. The game never ends and your life means nothing to the corporation.

Here's a weird one — an untitled strip by John Cullen featuring Charlie Brown from Charles Schulz's Peanuts. I was never into Peanuts, I found it annoying, repetitive and not all that funny. Perhaps I didn't really "get" it. But then again, who cares! This tribute to the existential boredom of terminal loser Charles Brown (you have to be wary of cartoonists who give their lead character the same name as themselves) is made more striking by the off-white vintage background colour, the limited palette and the zip-a-tone halftone dots. I'd read a whole compendium of these!

You must have known that Brussels' premier youth reporter would be included in this, and you'd be right. Just as Yves Rodier's completed fanart version of Tintin et l'Alph-Art gave us the closest look as to what Tintin might have looked like in the 1980s, the strip below gives us a 2020s Tintin and Captain Haddock, referencing the Louvre heist in October 2025. That guy in the third panel is 15 year old Pedro Delvaux, a tourist whose presence outside the museum in 1940s detective garb drew widespread attention.

I haven't been able to find out the name of the person who drew this, but they have a Tumblr page called Professor Calculus Stan Account.

This is my favourite: "Looking For A Friend" by Tom McHenry (I'm not sure if the site linked here is his official one). It's a whimsical yet sad look at those exciting early days of The Simpsons, when Bart would crank-call Moe's Tavern, and stuff would happen, and junk. 

 

The character of Moe has been the cause of much heartache and conjecture over the 114 years the show has been on the air. Is he a repulsive gargoyle who gets perverse pleasure from serving watered-down booze to sadsack losers in his crappy dive bar? Or is he an incurable romantic yearning for the soul mate who is never to come his way? Tom McHenry understands this perfectly and articulates it on the page as such.

 

Note: All artwork is copyright of their respective authors. As for the characters they're drawing, I don't wanna get into that! They drew it, not me. I'm not a lawyer, man!

If only there was a word for finding something while looking for something else

Twenty years ago today, I met a girl at tafe named Maya. She just randomly came in from another classroom and started talking to me. At the time I was working on designing characters for a series of comics called Airbury Academy (not at that exact time of course), and I later designed a character based on her looks and personality. 

I called this character Maya even though I try to avoid giving names of people I know to characters. In Maya's first appearance in the comic, she just randomly comes up to the two main characters and starts talking to them. She is also the last character to say goodbye to them in the series' final scenes.
 

As it turned out though, I had misheard when my graphic design teacher told me the girl from the other class's name. I found out a few weeks later that her name wasn't Maya. Phew! Lawsuit averted.

 

A trashy poem

The perturbing irony
Of
A heavy metal band's logo
Crudely daubed on the side
Of 
A rusty pink dumpster
Flesh-coloured ego inviting inevitability 
A scenic route to senility
Rust lines etched like varicose veins
Across the garbage receptacle that is your soul
And so remember this
Metallica – synonymous with thrash
But in this place it equates to trash

 

R.I.P. Nathan Robertson

I got to know Nathan through the comments section of Gavin Scott's blog Chart Beats (now a full-blown website), when Gavin was recapping charts of the early 1990s. Often Nathan and I would be the only two people commenting. Although we never met personally, I got to know him and we communicated by email now and then, usually about music or chart-related stuff. (Actually I think we might have exchanged comments on Youtube years before that, but anyway...)

Nathan and I were born in the same year, so although our musical tastes were not the same, the early-to-mid-'80s through to the mid-to-late '90s were the heyday of our music listening. We both used to write the chart listings down each week, although his were more detailed than mine. Our interest in the charts also waned at the same time, at the end of the '90s.

As well as a music lover, Nathan was a charts man. Specifically, the Australian charts – as compiled by the Australian Record Industry Association (ARIA) – was his thing. He had a contact at ARIA who he regularly asked for chart stats for particular artists, a few at a time, until he had amassed a sizeable database.

He added me to a mailing list where fellow chart nerds shared their findings, and he shared with me heaps of chart info — albums and singles charts spreadsheets, scans of the Kent Music Report (who compiled the charts prior to ARIA) charts, lists of new releases, and ARIA's own music reports.

Nathan was also a fan of the music video as an art form. He had thousands in his collection, digitized from recording hours and hours of the music video show Rage, many peoples' videotape sources (including mine) and VHS compilations, and was dedicated to preserving the best quality versions of little-known and obscure videos on his Youtube channels. While record company neglect let certain artists and videos fall into obscurity, Nathan and his archives kept their memories alive.

He once said to user AcerBenII on the PopJustice forum, "I think music videos really capture a moment in time; more than just listening to the song. A song can be 'timeless', but a music video rarely is – they're usually quite of their time, which adds a nostalgic element." 

If there's an Australian pop song that exists, chances are Nathan uploaded its video to Youtube at some point. He once won a competition to guest-program an hour of Rage, which went to air on May 1, 2010. Although he wasn't seen on screen like a previous winner, the Rage chyrons included the line "Playlisted by Nathan fron Highton, VIC".

In 2020, Nathan started his own chart recap blog, called Bubbling Down Under, where he recapped only releases that peaked outside the top 100. I designed the logo and background image for the blog. He described it as something of a companion blog to Chart Beats, whose tagline was "A journey through pop", and made his tagline "A journey through flop".

I've never known anyone else with as much knowledge of pop music, chart stats, single releases and music videos as Nathan had. Sadly he lost his battle with cancer on August 9th 2025 at the age of 46, and we are poorer for his loss. My condolences to all of the members of his family. May he rest in peace.