I first saw Bauhaus in early 1980 at a small club in Nottingham. I had no idea what to expect. Don’t forget that ‘Goth’ didn’t exist as a movement. The early Bauhaus fans were a mixture of Bowie fans, Banshee followers, Rocky Horror fans and Punks who had moved on in search of something new. The only thing we seemed to have in common was a sense of romantic horror - and we were all amazingly dressed in black. Then everything came together as Bauhaus came on stage. Pete was dressed in long Johns and cut off boots. Full make up and cheek bones that would cut. And then Danny - God!! Even as a straight man, I instantly fell in love!! His unearthly beauty stunned the whole audience. Wearing a toga style off the shoulder top, a string of pearls and leather trousers. Then straight into Dark Entries. God yeah!!
when lovebug is playing and it sounds like an acapella group from a college in the fifties and then they hit that high note and then joe screams NOW IM! and the guitar breakdown comes and u ascend to another spiritual plane
Opening panels of JOSIE/JOSIE AND THE PUSSYCATS by Dan DeCarlo. 1960s/70s.
DeCarlo would often use the luxurious size of the opening panel to showcase the characters’ outfits, so you got a good look at them, which wasn’t always possible in the stories. Melody usually got his best designs (I suspect his wife Josie, a former model, had a hand in designing them), like the one in the third image, which you only see once. Other times it was a striking pose that attracted attention, but seldom exciting action or a teaser.
There’s a funny thing though. The other female characters (Josie, Pepper, and later Valerie) often commented on Melody’s perfect figure, enviously contrasting it with their own. And yet all female characters have the exact same figure and pretty much the same face, even Pepper, who was meant to be less than attractive. The difference mainly is in the poses of course. Unlike the others’, Melody’s are always graceful, like when she walks her dainty walk:
It makes all the difference. It sounds obvious—but it isn’t always.
Sometimes the other characters, dying for some male attention too, would cover up Melody, dress her in ugly clothes, disguise her (the dog costume was a low), yet she’d always attract lovers who would freak out over her: simply because her posture—her essence—remained the same.
Or look at the first image: in the background a man is looking over his shoulder. Even though we might not consciously see it (we glimpse it as we read the balloon right above him), it gives us the idea that Melody is a sight to see—makes heads turn. Just another effective way to establish the character without too much fuss.
