Li'l Abner - Popularity and Production

Popularity and Production

Li'l Abner made its debut on August 13, 1934 in eight North American newspapers, including the New York Mirror. Initially owned and syndicated through United Feature (now known as United Media), a division of the E.W. Scripps Company, it was an immediate success. According to publisher Denis Kitchen, Capp's "hapless Dogpatchers hit a nerve in Depression-era America. Within three short years Abner's circulation climbed to 253 newspapers, reaching over 15,000,000 readers. Before long he was in hundreds more, with a total readership exceeding 60,000,000." At its peak, the strip was read daily by 70 million Americans (when the U.S. population was only 180 million), with a circulation of more than 900 newspapers in North America and Europe.

During the extended peak of the strip, the workload grew to include advertising, merchandising, promotional work, comic book adaptations, public service material and other specialty work — in addition to the regular six dailies and one Sunday strip per week. Capp had a platoon of assistants in later years, who worked under his direct supervision. They included Andy Amato, Harvey Curtis, Walter Johnson and, notably, a young Frank Frazetta, who penciled the Sunday continuity from studio roughs from 1954 to the end of 1961 — before his fame as a fantasy artist.

Sensitive to his own experience working on Joe Palooka, Capp frequently drew attention to his assistants in interviews and publicity pieces. A 1950 cover story in Time even included photos of two of his employees, whose roles in the production were detailed by Capp. Ironically, this highly irregular policy has led to the misconception that his strip was "ghosted" by other hands. The production of Li'l Abner has been well documented, however. In point of fact, Capp maintained creative control over every stage of production for virtually the entire run of the strip. Capp himself originated the stories, wrote the dialogue, designed the major characters, rough penciled the preliminary staging and action of each panel, oversaw the finished pencils, and drew and inked the faces and hands of the characters. "He had the touch," Frazetta said of Capp in 2008. "He knew how to take an otherwise ordinary drawing and really make it pop. I'll never knock his talent."

Li'l Abner lasted until November 13, 1977, when Capp retired with an apology to his fans for the recently declining quality of the strip, which he said had been the best he could manage due to advancing illness. "If you have any sense of humor about your strip — and I had a sense of humor about mine — you knew that for three or four years Abner was wrong. Oh hell, it's like a fighter retiring. I stayed on longer than I should have," he admitted. "When he retired Li'l Abner, newspapers ran expansive articles and television commentators talked about the passing of an era. People magazine ran a substantial feature, and even the comics-free New York Times devoted nearly a full page to the event," according to publisher Denis Kitchen. Capp, a lifelong chain smoker, died from emphysema two years later at age 70, at his home in South Hampton, New Hampshire on November 5, 1979.

In 1988 and 1989 many newspapers ran reruns of Li'l Abner episodes, mostly from the 1940s run, distributed by Newspaper Enterprise Association and Capp Enterprises. Following the 1989 revival of the Pogo comic strip, a revival of Li'l Abner was also planned in 1990. Drawn by cartoonist Steve Stiles, the new Abner was approved by Capp's widow and brother, Elliott Caplin, but Al Capp's daughter, Julie Capp, objected at the last minute and permission was withdrawn.