text:
Little Orphan Annie
Title: Little Orphan Annie
Subject: Leonard Starr, Annie (musical), Comic strip, Nemo (magazine), Oliver "Daddy" Warbucks
Collection: 1924 Comics Debuts, 2010 Comics Endings, American Comic Strips, American Comics Characters, American Propaganda During World War II, American Radio Dramas, Child Characters in Comics, Child Characters in Film, Comic Strips Ended in the 2010S, Comic Strips Set in the United States, Comic Strips Started in the 1920S, Comics About Women, Comics Adapted Into Films, Comics Adapted Into Plays, Comics Adapted Into Radio Series, Comics Characters, Comics Characters Introduced in 1924, Drama Comics, Fictional Adoptees, Fictional American People, Fictional Orphans, Media Franchises, National Radio Hall of Fame Inductees
Cupples & Leon collection (1933)
Current status / schedule
Syndicate(s)
Tribune Media Services
Humor, Action, Adventure
Little Orphan Annie was a daily American comic strip created by Harold Gray (1894–1968) and syndicated by the Tribune Media Services. The strip took its name from the 1885 poem "Little Orphant Annie" by James Whitcomb Riley, and made its debut on August 5, 1924 in the New York Daily News. It ranked number one in popularity in a Fortune poll in 1937.
The plot follows the wide-ranging adventures of Annie, her dog Sandy and her benefactor Oliver "Daddy" Warbucks. Secondary characters include Punjab, the Asp and Mr. Am. The strip attracted adult readers with political commentary that targeted (among other things) New Deal and communism.
Following Gray's death in 1968, several artists drew the strip and, for a time, "classic" strips were reruns. Little Orphan Annie inspired a radio show in 1930, film adaptations by RKO in 1932 and Paramount in 1938 and a Broadway musical Annie in 1977 (which was separately adapted as a trio of films of the same name, one in 1982, one in 1999 and another in 2014). The strip's popularity declined over the years; it was running in only 20 newspapers when it was cancelled on June 13, 2010.
1929 to World War II 3.1
World War II and Annie's Junior Commandos 3.2
Post-war years 3.3
Gray's death 3.4
Cancellation 3.5
Final resolution: Warbucks calls on Dick Tracy 3.6
Adaptations 4
Radio 4.1
1930s films based on the comic strip 4.2
Broadway 4.3
Film adaptations of the Broadway musical 4.4
Parodies, imitations and cultural citations 5
Episode guide 7
Reprints 8
Audio 12.1
Little Orphan Annie displays literary kinship with the picaresque novel in its seemingly endless string of episodic and unrelated adventures in the life of a character who wanders like an innocent vagabond through a corrupt world. In Annie's first year, the picaresque pattern that characterizes her story is set, with the major players – Annie, Sandy and "Daddy" Warbucks – introduced within the strip's first several weeks.
The story opens in a dreary, Dickensian orphanage where Annie is routinely abused by the cold, sarcastic matron, named Miss Asthma. One day, the wealthy but mean-spirited Mrs. Warbucks takes Annie into her home "on trial." She makes it clear that she does not like her, and tries to send her back to "the Home", but one of her society friends catches her, and she immediately changes her mind, to her disgust.
Her husband Oliver, who returned from a business trip, develops an instant paternal affection for Annie and instructs her to address him as "Daddy." Originally, the Warbucks had a dog named One-Lung, who liked Annie. Their household staff also takes to Annie and they like her.
However, the staff despises Mrs. Warbucks, the daughter of a nouveau riche plumber's assistant. Cold-hearted Mrs. Warbucks sends Annie back to "the Home" numerous times, and the staff hates her for that. "Daddy" (Oliver) keeps thinking of her as his "daughter". Mrs. Warbucks often argues with Oliver over how much he "mortifies her when company comes" and his affection for Annie. A very status-conscious woman, she feels that Oliver and Annie are ruining her socially. However, Oliver usually is able to put her in her place, especially when she criticizes Annie.
After Mrs. Warbucks brings home another orphan, a snobby little boy (who has facial features similar to Mrs. Warbucks) named Selby Adelbert Piffleberry, she blatantly shows her favoritism by giving him Annie's old room and spiriting the girl to another part of the house.
Annie, however, is not fooled in the least by Selby or his polished manners. In fact, she refers to Selby as SAP, his initials, intended as an insult (she called him SAP at a formal dinner to Mr. Warbucks' amusement and Mrs. Warbucks' dismay). She also knows full well the hatred that Mrs. Warbucks has for her. With that in mind, she makes short work of her enemy by thrashing him at various points.
Oliver later realizes that Selby is a flunky to a crooked grafter named Count De Tour, who has his eyes on the Warbucks' fortune. He maneuvers his way into the house by telling Mrs. Warbucks what she wants to hear, with the ultimate intent of stealing Warbucks' fortune. He tries to achieve this aim by playing cards with Warbucks and cheating. With Annie's help, Warbucks outwits the crooked duo and they throw them out of the mansion. At the end, De Tour thrashes Selby for the defeat.
The strip developed a series of formulas that ran over its course to facilitate a wide range of stories. The earlier strips relied on a formula by which Daddy Warbucks is called away on business and through a variety of contrivances, Annie is cast out of the Warbucks mansion, usually by her enemy, the nasty Mrs. Warbucks. Annie then wanders the countryside and has adventures meeting and helping new people in their daily struggles. Early stories dealt with political corruption, criminal gangs and corrupt institutions, which Annie would confront. Annie ultimately would encounter troubles with the villain, who would be vanquished by the returning Daddy Warbucks. Annie and Daddy would then be reunited, at which point, after several weeks, the formula would play out again. In the series, each strip represented a single day in the life of the characters. This device was dropped by the end of the '20s.
By the 1930s, during the Great Depression, the formula was tweaked: Daddy Warbucks lost his fortune due to a corrupt rival and ultimately died from despair at the election of Franklin D. Roosevelt. Annie remained an orphan, and for several years had adventures that involved more internationally based enemies. The contemporary events taking place in Europe were reflected in the strips during the 1940s and World War II. Daddy Warbucks was reunited with Annie, as his death was changed to coma, from which he woke in 1945.
By this time, the series enlarged its world with the addition of characters such as Asp and Punjab, bodyguards and servants to Annie and Daddy Warbucks. In globe-trotting adventures, the characters traveled around the world, with Annie having adventures on her own or with her adopted family.
The series ended with a cliffhanger due to the abrupt nature of the strip's cancellation. Annie is presumed dead at sea, but is found by a wanted war criminal from the Baltic, who was hiding in South America. The criminal announces his intention to raise Annie as his own flesh and blood; he is reluctant to kill her and does not want to release her, for fear of revealing to the world that he is alive. The final strip shows a heartbroken Daddy Warbucks, shocked with grief, looking out a window as authorities tell him that they are declaring Annie legally dead.
Annie is an 11-year-old orphan. Her distinguishing physical characteristics are a mop of red, curly hair, a red dress and vacant circles for eyes. Her catchphrases are "Gee whiskers" and "Leapin' lizards!" Annie attributes her lasting youthfulness to her birthday on February 29 in a leap year, and ages only one year in appearance for every four years that pass. Annie is a plucky, generous, compassionate, and optimistic youngster who can hold her own against bullies, and has a strong and intuitive sense of right and wrong.
Sandy enters the story in a January 1925 strip as a puppy of no particular breed which Annie rescues from a gang of abusive boys. The girl is working as a drudge in Mrs. Bottle's grocery store at the time and manages to keep the puppy briefly concealed. She finally gives him to Paddy Lynch, a gentle man who owns a "steak joint" and can give Sandy a good home. Sandy is a mature dog when he suddenly reappears in a May 1925 strip to rescue Annie from gypsy kidnappers. Annie and Sandy remain together thereafter.
Oliver "Daddy" Warbucks first appears in a September 1924 strip and reveals a month later he was formerly a small machine shop owner who acquired his enormous wealth producing munitions during World War I. He is a large, powerfully-built bald man, the idealized capitalist, who typically wears a tuxedo and diamond stickpin in his shirtfront. He likes Annie at once, instructing her to call him "Daddy", but his wife (a plumber's daughter) is a snobbish, gossiping nouveau riche who derides her husband's affection for Annie. When Warbucks is suddenly called to Siberia on business, his wife spitefully sends Annie back to the orphanage.
Other major characters include Warbucks' right-hand men, Punjab, an eight-foot native of India, introduced in 1935, and the Asp, an inscrutably generalized East Asian, who first appeared in 1937. There was also the mysterious Mister Am, a friend of Warbucks' who wore a Santa Claus–like beard and was of a jovial personality. He claimed to have lived for millions of years and even had supernatural powers. Some strips hinted that he may even be God.
After World War I, cartoonist Harold Gray joined the Chicago Tribune which, at that time, was being reworked by owner Joseph Medill Patterson into an important national journal. As part of his plan, Patterson wanted to publish comic strips that would lend themselves to nationwide syndication and to film and radio adaptations. Gray's strips were consistently rejected by Patterson, but Little Orphan Annie was finally accepted and debuted in a test run on August 5, 1924 in the New York Daily News, a Tribune owned tabloid. Reader response was positive, and Annie began appearing as a Sunday strip in the Tribune on November 2 and as a daily strip on November 10. It was soon offered for syndication and picked up by the Toronto Star and The Atlanta Constitution.[1]
Gray reported in 1952 that Annie's origin lay in a chance meeting he had with a ragamuffin while wandering the streets of Chicago looking for cartooning ideas. "I talked to this little kid and liked her right away," Gray said, "She had common sense, knew how to take care of herself. She had to. Her name was Annie. At the time some 40 strips were using boys as the main characters; only three were using girls. I chose Annie for mine, and made her an orphan, so she'd have no family, no tangling alliances, but freedom to go where she pleased."[1]
In designing the strip, Gray was influenced by his midwestern farm boyhood, Victorian poetry and novels such as Charles Dickens's Great Expectations, Sidney Smith's wildly popular comic strip The Gumps, and the histrionics of the silent films and melodramas of the period. Initially, there was no continuity between the dailies and the Sunday strips, but by the early 1930s the two had become one.[1] The strip (whose title was borrowed from James Whitcomb Riley's 1885 poem "Little Orphant Annie") was "conservative and topical", according to the editors of The Great Depression in America: A Cultural Encyclopedia, and "represents the personal vision" of Gray and Riley's "homespun philosophy of hard work, respect for elders, and a cheerful outlook on life". A Fortune popularity poll in 1937 indicated Little Orphan Annie ranked number one and ahead of Popeye, Dick Tracy, Bringing Up Father, The Gumps, Blondie, Moon Mullins, Joe Palooka, Li'l Abner and Tillie the Toiler.[2]
1929 to World War II
Gray was little affected by the stock market crash of 1929. The strip was more popular than ever and brought him a good income, which was only enhanced when the strip became the basis for a radio program in 1930 and two films in 1932 and 1938. Predictably, Gray was reviled by some for preaching in the strip to the poor about hard work, initiative, and motivation while living well on his income.
In 1935 Punjab, a gigantic, sword-wielding, beturbaned Indian, was introduced to the strip and became one of its iconic characters. Whereas Annie's adventures up to the point of Punjab's appearance were realistic and believable, her adventures following his introduction touched upon the supernatural, the cosmic, and the fantastic.[3]
In November 1932 Franklin Delano Roosevelt was elected President and proposed his New Deal. Many, including Gray, saw this and other programs as government interference in private enterprise. Gray railed against Roosevelt and his programs. (Gray even killed Daddy Warbucks off in 1945, believing that Warbucks could not coexist in the world with FDR. But following FDR's death, Gary resurrected Warbucks, who said to Annie, "Somehow I feel that the climate here has changed since I went away."[4]) Annie's life was complicated not only by thugs and gangsters but also by New Deal do-gooders and bureaucrats. Organized labor was feared by businessmen and Gray took their side. Some writers and editors took issue with this strip's criticisms of FDR's New Deal and 1930s labor unionism. The New Republic described Annie as "Hooverism in the Funnies", arguing that Gray's strip was defending utility company bosses then being investigated by the government.[5] The Herald Dispatch of Huntington, West Virginia stopped running Little Orphan Annie, printing a front page editorial rebuking Gray's politics.[6] A subsequent New Republic editorial praised the paper's move,[7] and The Nation likewise voiced its support.[8]
First Little Orphan Annie Sunday page (November 2, 1924)
In the late 1920s, the strip had taken on a more adult and adventurous feel with Annie encountering killers, gangsters, spies, and saboteurs. It was about this time that Gray, whose politics seem to have been broadly conservative and libertarian with a decided populist streak, introduced some of his more controversial storylines. He would look into the darker aspects of human nature, such as greed and treachery. The gap between rich and poor was an important theme. His hostility toward labor unions was dramatized in the 1935 story "Eonite". Other targets were the New Deal, communism, and corrupt businessmen.[9]
Gray was especially critical of the justice system, which he saw as not doing enough to deal with criminals. Thus, some of his storylines featured people taking the law into their own hands. This happened as early as 1927 in an adventure named "The Haunted House". Annie is kidnapped by a gangster called Mister Mack. Warbucks rescues her and takes Mack and his gang into custody. He then contacts a local senator who owes him a favor. Warbucks persuades the politician to use his influence with the judge and make sure that the trial goes their way and that Mack and his men get their just deserts. Annie questions the use of such methods but concludes, "With all th' crooks usin' pull an' money to get off, I guess 'bout th' only way to get 'em punished is for honest police like Daddy to use pull an' money an' gun-men, too, an' beat them at their own game."
Warbucks became much more ruthless in later years. After catching yet another gang of Annie kidnappers he announced that he "wouldn't think of troubling the police with you boys", implying that while he and Annie celebrated their reunion, the Asp and his men took the kidnappers away to be lynched. In another Sunday strip, published during World War II, a war-profiteer expresses the hope that the conflict would last another 20 years. An outraged member of the public physically assaults the man for his opinion, claiming revenge for his two sons who have already been killed in the fighting. When a passing policeman is about to intervene, Annie talks him out of it, suggesting, "It's better some times to let folks settle some questions by what you might call democratic processes."
World War II and Annie's Junior Commandos
As war clouds gathered, both the Chicago Tribune and the New York Daily News advocated neutrality; "Daddy" Warbucks, however, was gleefully manufacturing tanks, planes, and munitions. Journalist James Edward Vlamos deplored the loss of fantasy, innocence, and humor in the "funnies", and took to task one of Gray's sequences about espionage, noting that the "fate of the nation" rested on "Annie's frail shoulders". Vlamos advised readers to "Stick to the saner world of war and horror on the front pages."[10]
When the US entered George Foster Peabody Award.
A remake of the Annie film was produced by Jay-Z and Will Smith. It stars Quvenzhané Wallis in the title role and Jamie Foxx in the role of Will Stacks (an update of Daddy Warbucks). It was released on December 19, 2014.
Parodies, imitations and cultural citations
Between 1936 and October 17, 1959, the comic strip Belinda Blue-Eyes (later shortened to Belinda) ran in the United Kingdom in the Daily Mirror. Writers Bill Connor and Don Freeman and artists Stephen Dowling and Tony Royle all worked on the strip over the years. In The Penguin Book of Comics Belinda is described as "a perpetual waif, a British counterpart to the transatlantic Little Orphan Annie."[21][22]
The strip also influenced Little Annie Rooney (Jan. 10, 1927-1966) and Frankie Doodle (1934-1938).
In 1995, Little Orphan Annie was one of 20 American comic strips included in the Comic Strip Classics series of commemorative U.S. postage stamps.
Little Orphan Annie lent itself easily to parody, which was taken up by both Walt Kelly in Pogo (as "Little Arf 'n Nonnie" and later "Lulu Arfin' Nanny") and by Al Capp in Li'l Abner, where Punjab became Punjbag, an oleaginous slob.
Harvey Kurtzman and Wally Wood satirized the strip in Mad #9 as "Little Orphan Melvin", and later Kurtzman produced a long-running series for Playboy, Little Annie Fanny, in which the lead character is a busty, voluptuous waif who continually loses her clothes and falls into strange sexual situations.
In The Fabulous Furry Freak Brothers, Gilbert Shelton satirized the strip as "Little Orphan Amphetamine", who is a 1960s teenager who runs away from home, and after being scarred by a series of sexual experiences, returns only to tell "Daddy" that he is a "capitalist pig" who should "drop acid".
Children's television host Chuck McCann became well known in the New York/New Jersey market for his imitations of newspaper comic characters; McCann put blank white circles over his eyes during his over-the-top impression of Annie.
Little Orphan Annie was also parodied in an episode of the stop-motion television series Robot Chicken in which Little Orphan Annie fails to grasp the true meaning of a hard knock life when a fellow orphan shows that their lives are relatively decent compared to orphans around the world. Annie reappears in another episode as a vulgar, demanding, and spoiled teenager featured in a parodic documentary chronicling her preparations for her ostentatious upcoming sixteenth birthday celebration in a sketch lampooning reality programs based on the same concept. She quickly tires of her gift from Daddy Warbucks— the planet Mars— and soon winds up suffocating to death after losing her helmet while exploring the planet.
The 1980s children's television program You Can't Do That on Television in its later banned "Adoption" episode, parodied the character as "Little Orphan Andrea". Andrea, like Annie, sported curly red hair and a red dress but unlike her, was a very naughty orphan who had a habit of beating up other kids. A less well-known (or rather, notorious) example was the 'Daddy Fleshbucks' side-story from American Flagg!. The title was parodied in The Simpsons' episode Little Orphan Millie. In the early 1970s, a flavored ice treat for children called Otter Pops (with cartoon otters as flavored mascots such as "Alexander the Grape") featured a character dubbed "Little Orphan Orange."
In the 1983 film A Christmas Story, the main character Ralph is a fan of the Little Orphan Annie radio drama, listening to the show religiously while waiting for his Ovaltine decoder pin. Once he receives the pin, he anxiously copies the show's secret code, but is frustrated upon decoding it to Ovaltine's slogan "Be sure to drink your Ovaltine".
Rapper Jay-Z has referenced Little Orphan Annie in at least two of his songs,[23][24] as well as sampled "It's the Hard Knock Life" for "Hard Knock Life (Ghetto Anthem)".
In the film Bad Teacher, Elizabeth (Cameron Diaz) wears a "Little Orphan Annie's wig" when, pretending she is a journalist, she meets the state professor who is in charge of creating and distributing the exams forms, to seduce and put him to sleep. Her short tousled girlish hair-cut, along with the strict tailor-suit she dons, enhances her air of hidden perversion and makes it easy for her (with the help of a big glass of chardonnay mixed with two roofies) to put the professor on his knees. The wig is afterward missing from the school props box, and was much sought, before being retrieved in Elizabeth's drawer.
In medicine, "Orphan Annie eye" (empty or "ground glass") nuclei are a characteristic histological finding in papillary carcinoma of the thyroid gland.
Harold Gray's work is in the Howard Gotlieb Archival Research Center at Boston University. The Gray collection includes artwork, printed material, correspondence, manuscripts and photographs. Gray's original pen and ink drawings for Little Orphan Annie daily strips date from 1924 to 1968. The Sunday strips date from 1924 to 1964. Printed material in the collection includes numerous proofs of Little Orphan Annie daily and Sunday strips (1925–68). Most of these are in bound volumes. There are proofsheets of Little Orphan Annie daily strips from the Chicago Tribune-New York Times Syndicate, Inc. for the dates 1943, 1959–61 and 1965–68, as well as originals and photocopies of the printed versions of Little Orphan Annie, both daily and Sunday strips.[25]
1924: From Rags to Riches (and Back Again); Just a Couple of Hurried Bites
1925: The Silos; Count De Tour
1926: School of Hard Knocks; Under the Big Top; Will Tomorrow Never Come?
1927: The Blue Bell of Happiness; Haunted House; Other People's Troubles
1928: Sherlock, Jr.; Mush and Milk; Just Before the Dawn
1929: Farm Relief; Girl Next Door; One Blunder After Another
1930: Seven Year Itch; The Frame, the Farm & the Flood; Shipwrecked
1931: Busted!; Good Neighbor Policy; Down, But Not Out; And a Blind Man Shall Lead Them; Distant Relations; A Hundred to One
1932: Don't Mess with Cupid; They Call Her Big Mama; A House Divided; Cosmic City
1933: Pinching Pennies; Retribution; Who'd Chizzle a Blind Man?
1934: Bleek House; Phil O. Blustered; The One-Way Road to Justice; Dust Yourself Off
1935: Punjab the Wizard; Beware the Hate Mongers; Annie in Hollywood
1936: Inkey; On the Lam; The Sole of the Matter; The Gila Story; Those Who are About to Die
1937: The Million-Dollar Voice; The Omnipotent Mr. Am; Into the Fourth Dimension; Easy Money
1938: A Rose, per Chance; The Last Port of Call; Men in Black
1939: At Home on the Range; Assault on the Hacienda; Three Face East; Justice at Play
1940: In the Nick of Time; Billy the Kid; Peg O' their Hearts
1941: The Happy Warrior; Saints and Cynics; Never Trouble Trouble; On Needles and Pins
1942: The Junior Commandos; Out on a Limb
1943: The Rat Trap, Next Stop—Gooneyville
1944: In a Den of Thieves, Death be Thy Name, Mrs. Bleating-Heart
Between 1926–34, Cupples & Leon published nine collections of Annie strips:
Little Orphan Annie (1925 strips, reprinted by Dover and Pacific Comics Club)
In the Circus (1926 strips, reprinted by Pacific Comics Club)
Haunted House (1927 strips, reprinted by Pacific Comics Club)
Bucks the World (1928 strips, reprinted by Pacific Comics Club and in Nemo # 8)
Never Say Die (1929 strips, reprinted by Pacific Comics Club)
Shipwrecked (1930 strips, reprinted by Pacific Comics Club)
A Willing Helper (1931 strips, reprinted by Pacific Comics Club)
In Cosmic City (1932 strips, reprinted by Dover)
Uncle Dan (1933 strips, reprinted by Pacific Comics Club)
Arf: The Life and Hard Times of Little Orphan Annie (1970): reprints approximately half the daily strips from 1935-1945. However, many of the storylines are edited and shortened, with gaps of several months between some strips.
Dover Publications reprinted two of the Cupples & Leon books and an original collection Little Orphan Annie in the Great Depression which contains all the daily strips from January to September, 1931.
Pacific Comics Club has reprinted eight of the Cupples & Leon books. They have also published a new series of reprints, with complete runs of daily strip, in the same format at the C&L books, covering some of the daily strips from 1925 to 29:
The Sentence, 1925 strips
The Dreamer, strips from January 22, 1926 to April 30, 1926
Daddy, strips from September 6, 1926 to December 4, 1926.
The Hobo, strips from December 6, 1926 to March 5, 1927.
Rich Man, Poor Man, strips from March 7, 1927 to May 7, 1927.
The Little Worker, strips from October 8, 1927 to December 21, 1927.
The Business of Giving, strips from November 23, 1928 to March 2, 1929.
This Surprising World, strips from March 4, 1929 to June 11, 1929.
The Pro and the Con, strips from June 12, 1929 to September 19, 1929.
The Man of Mystery, strips from September 20, 1929 to December 31, 1929.
Considering both Cupples & Leon and Pacific Comics Club, the biggest gap is in 1928.
All of the daily and Sunday strips from 1931–1935 were reprinted by Fantagraphics in the 1990s, in five volumes, each covering a year, from 1931 to 1935.
Picking up where Fantagraphics left off, Comics Revue magazine reprinted both daily and Sunday strips from 1936 to 1941, starting in Comics Revue #167 and ending in #288.
Pacific Comics Club reprinted approximately the first six months of the strips from Comics Revue, under the title Home at Last, December 29, 1935 to April 5, 1936.
Dragon Lady Press reprinted daily and Sunday strips from September 3, 1945 to February 9, 1946.
In 2008, IDW Publishing started a reprint series The Complete Little Orphan Annie, under its Library of American Comics imprint.[26]
Will Tomorrow Ever Come? (daily strips, August 1924 – October 1927)
Darkest Hour is Just before the Dawn (daily strips, October 1927 – December 1929; Sundays 1928)
And a Blind Man Shall Lead Them (daily strips, December 1929 – December 1931; Sundays April, 1930 – December 1931)
A House Divided (or Does Fate Trick Trixie?) (dailies and Sundays, January 1932 – July 1933)
The One-way Road to Justice (dailies and Sundays, July 1933 – February 1935)
Punjab the Wizard (dailies and Sundays, February 1935 – September 1936)
The Omnipotent Mr. Am (dailies and Sundays, October 1936 – June 1938)
The Last Port of Call (dailies and Sundays, June 1938 – February 1940)
Saints and Cynics (dailies and Sundays, March 1940 – November 1941)
Junior Commandos (dailies and Sundays, November 1941 - August 1943)
Death Be Thy Name (dailies and Sundays, August 1943 - April 1945)
TBA (dailies and Sundays, April 1945 - January 1947)
^ a b c Gray Harold (2008). The Complete Little Orphan Annie Volume One: Will Tomorrow Ever Come? Daily Comics 1924–1927. IDW Publishing. pp. 23–7.
^ Young, William H. and Nancy K. (2007). The Great Depression in America: A Cultural Encyclopedia. Greenwood. pp. 107, 297–8.
^ Gray, Harold; Heer, Jeet (2010). Punjab and Politics. The complete Little Orphan Annie Volume Six: Punjab the Wizard Daily and Sunday Comics 1935–1936 (IDW Publishing). pp. 5–13.
^ #7, 1999Hogan's Alley"Big Deals: Comics' Highest-Profile Moments,"
^ Clendenin, James. Herald Dispatch: 1.
^ "Fascism in the Funnies". The New Republic: 147. September 18, 1935.
^ "Little Orphan Annie". The Nation. October 23, 1935.
^ Cagle, Daryl. "The New Deal Kills Daddy Warbucks".
^ a b c d e f g h i j k Smith, Bruce (1982). The History of Little Orphan Annie. Ballantine Books. pp. 43–63.
^ Monchak, S. J. (September 19, 1942). "War Work of the Cartoonists: Cartoonists Important Factor In Keeping Nation's Morale". Editor & Publisher.
^ Rosenthal, Phil (May 13, 2010). left a homeless orphan in newspaper world"Annie". The Chicago Tribune. Retrieved February 9, 2011.
^ McShane, Larry (May 13, 2010). Little Orphan Annie' comic canceled by Tribune Media Services"'". Daily News. Retrieved February 9, 2011.
^ http://www.gocomics.com/dicktracy/2013/06/16
^ a b c Harmon, Jim (2001). The Great Radio Heroes. McFarland. pp. 82–5.
^ a b Mitchell, Claudia A., and Jacqueline Reid-Walsh (Eds.) (2007). Girl Culture: An Encyclopedia. Greenwood. p. 402.
^ Perry, George; Aldridge, Alan (1967). The Penguin Book of Comics. Penguin.
^ Lambiek
^ "Brooklyn (Go Hard)"
^ "Dirt off Your Shoulder"
^ "Boston University: Howard Gotlieb Archive Research Center: Harold Gray Collection".
^ Begins in February",The Complete Little Orphan Annie"IDW's IDW Publishing press release via Newsarama.com, June 25, 2007
Cole, Shirley Bell. Acting Her Age: My Ten Years as a Ten-Year-Old: My Memories as Radio's Little Orphan Annie. Lunenburg, Vermont: Stinehour Press, 2005.
Little Orphan Annie at Don Markstein's Toonopedia. Archived from the original on April 4, 2012.
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The 1999 television film was produced for
A direct-to-video film, Annie: A Royal Adventure! was released in 1996 as a sequel to the 1982 film. It features Ashley Johnson as Annie and focuses on the adventures of Annie and her friends Hannah and Molly. It is set in England during 1943, about 10 years after the first film, when Annie and her friends Hannah and Molly sail to England after Daddy Warbucks is invited to receive a knighthood. None of the original 1982 cast appear and the film features no musical numbers apart from a reprise of "Tomorrow".
The 1982 version was directed by John Huston and starred Aileen Quinn as Annie, Albert Finney as Warbucks, Ann Reinking as his secretary Grace Farrell, and Carol Burnett as Miss Hannigan. The film departed from the Broadway production in several respects, most notably changing the climax of the story from Christmas to the Fourth of July. It also featured five new songs, "Dumb Dog", "Sandy", "Let's Go to the Movies", "Sign", and "We Got Annie", while cutting "We'd like to Thank You, Herbert Hoover", "N.Y.C", "You Won't Be an Orphan for Long", "Something Was Missing", "Annie", and "New Deal for Christmas". It received mixed critical reviews and, while becoming the 10th highest-grossing film of 1982, barely recouped its $50 million budget.
Annie has been adapted to film five times. The first two were released in 1932 and 1938, both titled Little Orphan Annie, and were based on the original comics. The three most recent—a feature film 1982, a made-for-television adaptation in 1999, and a modernized version released in 2014—are all based on the storyline found in the Broadway version of Annie.
Film adaptations of the Broadway musical
The Broadway Annies were Andrea McArdle, Shelly Bruce, Sarah Jessica Parker, Allison Smith and Alyson Kirk. Actresses who portrayed Miss Hannigan are Dorothy Loudon, Alice Ghostley, Betty Hutton, Ruth Kobart, Marcia Lewis, June Havoc, Nell Carter and Sally Struthers. Songs from the musical include "Tomorrow" and "It's the Hard Knock Life". There is also a children's version of Annie called Annie Junior. Two sequels to the musical, Annie 2: Miss Hannigan's Revenge (1989) and Annie Warbucks (1992-93), were written by the same creative team; neither show opened on Broadway.
In 1977, Little Orphan Annie was adapted to the Broadway stage as Annie. With music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan, the original production ran from April 21, 1977 to January 2, 1983. The work has been staged internationally. The musical took considerable liberties with the original comic strip plot.
Three years after the RKO release, Gray wrote a sequence for the strip that sent Annie to Hollywood. She is hired at low wages to play the stand-in and stunt double for the bratty child star Tootsie McSnoots. Young starlet Janey Spangles tips off Annie to the corrupt practices in Hollywood. Annie handles the information with maturity and has a good time with Janey while doing her job on the set. Annie doesn't become a star. As Bruce Smith remarks in The History of Little Orphan Annie, "Gray was smart enough never to let [Annie] get too successful."[10]
Two film adaptations were released at the height of Annie's popularity in the 1930s. Little Orphan Annie, the first adaptation, was produced by David O. Selznick for RKO in 1932 and starred Mitzi Green as Annie. The plot was simple: Warbucks leaves on business and Annie finds herself in the orphanage again. She pals around with a little boy named Mickey, and when he is adopted by a wealthy woman, she visits him in his new home. Warbucks returns and holds a Christmas party for all. The film opened on Christmas Eve 1932. Variety panned it, and the New York Daily News was "slightly disappointed" with the film, thinking Green too "big and buxom" for the role.[10] Paramount brought Ann Gillis to the role of Annie in their 1938 film adaptation, but this version was panned as well. One reviewer thought it "stupid and thoroughly boresome" and was uncomfortable with the "sugar-coated Pollyanna characterization" given Annie.[10]
1930s films based on the comic strip
Little Orphan Annie was adapted to a 15-minute radio show that debuted on WGN Chicago in 1930 and went national on NBC's Blue Network beginning April 6, 1931.[19][20] The show was one of the first comic strips adapted to radio, attracted about 6 million fans, and left the air in 1942.[19][20] Radio historian Jim Harmon attributes the show's popularity in The Great Radio Heroes to the fact that it was the only radio show to deal with and appeal to young children.[19]
Annie again visited 'Dick Tracy', visiting his granddaughter Honeymoon Tracy, starting June 6, 2015.[18] This arc concluded Sept. 26 2015 with Dick Tracy sending the girls home from a crime scene to keep them out of the news.
The storyline resumed on June 8, 2014, with Warbucks asking for Tracy's assistance in finding Annie.[16] In the course of the story, Tracy receives a letter from Annie and determines her location. Meanwhile, the name of the kidnapper is revealed as Henrik Wilemse, and he has been tracked to the city where he is found and made to disappear. Tracy and Warbucks rescued Annie, and the storyline wrapped up on October 12.[17]
The June 15 and 16, 2013 installments of Dick Tracy featured several Annie characters in extended cameos complete with dialogue, including Warbucks, the Asp and Punjab. During these notable appearances, Warbucks spoke on the phone with detective Tracy about a company Tracy thought might be tied to him. Warbucks' last line in the Sunday strip implies that Annie is still missing and that Warbucks might even enlist Tracy's help in finding her.[14] Asp and Punjab appeared again in March 26, 2014. The caption says that these events will soon impact on the detective.[15]
Final resolution: Warbucks calls on Dick Tracy
Since the cancellation, rerun strips have been running on the GoComics site.
The last strip was the culmination of a story arc where Annie was kidnapped from her hotel by a wanted war criminal from eastern Europe who checked in under a phony name with a fake passport. Although Warbucks enlists the help of the FBI and Interpol to find her, by the end of the final strip he has begun to resign himself to the very strong possibility that Annie most likely will not be found alive. Unfortunately Warbucks is unaware that Annie is still alive and has made her way to Guatemala with her captor, known simply as the "Butcher of the Balkans". Although Annie wants to be let go, the Butcher tells her that he neither will let her go nor kill her — for fear of being captured and because he will not kill a child despite his many political killings — and adds that she has a new life now with him. The final panel of the strip reads "And this is where we leave our Annie. For Now—".
On May 13, 2010, Tribune Media Services announced that the strip's final installment would appear on Sunday June 13, 2010, ending after 86 years.[12] At the time of the cancellation announcement, it was running in fewer than 20 newspapers, some of which, such as the New York Daily News, had carried the strip for its entire life. The final cartoonist, Ted Slampyak, said, "It's kind of painful. It's almost like mourning the loss of a friend."[13]
Upon Starr's retirement in 2000, he was succeeded by Daily News writer Jay Maeder and artist Andrew Pepoy, beginning Monday, June 5, 2000. Pepoy was eventually succeeded by Alan Kupperberg (2001–2004) and Ted Slampyak (2004–2010). The new creators updated the strip's settings and characters for a modern audience, giving Annie a new hairdo and jeans rather than her trademark dress. However, Maeder's new stories never managed to live up to the pathos and emotional engagement of the stories by Gray and Starr. Annie herself was often reduced to a supporting role and was a far less complex character than the girl readers had known for seven decades. Maeder's writing style tended to make the stories feel like tongue-in-cheek adventures compared to the serious, heartfelt tales Gray and Starr favored. Annie gradually lost subscribers during the 2000s, and by 2010, it was running in fewer than 20 U.S. newspapers.
Following the success of the Broadway musical Annie, the strip was resurrected in 1979 as Annie, written and drawn by Leonard Starr. Starr, the creator of Mary Perkins, On Stage, was the only one besides Gray to achieve notable success with the strip.
Gray died in May 1968 of cancer, and the strip was continued under other cartoonists. Gray's cousin Robert Leffingwell was the first on the job but proved inadequate and the strip was handed over to Tribune staff artist Henry Arnold and general manager Henry Raduta as the search continued for a permanent replacement. Tex Blaisdell, an experienced comics artist, got the job with Elliot Caplin as writer. Caplin avoided political themes and concentrated instead on character stories. The two worked together six years on the strip, but subscriptions fell off and both left at the end of 1973. The strip was passed to others and during this time complaints were registered regarding Annie's appearance, her conservative politics, and her lack of spunk. Early in 1974, David Lettick took the strip, but he left after three months. In April 1974, the decision was made to reprint Gray's classic strips, beginning in 1936. Subscriptions increased.[10]
Leonard Starr's Little Orphan Annie
Gray's death
A London newspaper columnist thought some of Gray's sequences a threat to world peace, but a Detroit newspaper supported Gray on his "shoot first, ask questions later" foreign policy. Gray was criticized for the gruesome violence in the strips, particularly a sequence in which Annie and Sandy were run over by a car. Gray responded to the criticism by giving Annie a year-long bout with amnesia that allowed her to trip through several adventures without Daddy. In 1956, a sequence about juvenile delinquency, drug addiction, switchblades, prostitutes, crooked cops, and the ties between teens and adult gangsters unleashed a firestorm of criticism from unions, the clergy and intellectuals with 30 newspapers cancelling the strip. The syndicate ordered Gray to drop the sequence and develop another adventure.[10]
In the post-war years, Annie took on The Bomb, communism, teenage rebellion and a host of other social and political concerns, often provoking the enmity of clergymen, union leaders and others. For example, Gray believed children should be allowed to work. "A little work never hurt any kid," Gray affirmed, "One of the reasons we have so much juvenile delinquency is that kids are forced by law to loaf around on street corners and get into trouble." His belief brought upon him the wrath of the labor movement, which staunchly supported the child labor laws.[10]
Post-war years
In the summer of 1944 Franklin Delano Roosevelt was nominated for a fourth term as President of the United States, and Gray (who had little love for Roosevelt) killed off Warbucks in a month-long sequence of sentimental pathos. Readers were generally unhappy with Gray's decision, but some liberals advocated the same fate for Annie and her "stale philosophy". By the following November however, Annie was working as a maid in a Mrs. Bleating-Hart's home and suffering all sorts of torments from her mistress. The public begged Gray to have mercy on Annie, and he had her framed for her mistress's murder. She was exonerated. Following Roosevelt's death in April 1945, Gray resurrected Warbucks (who was only playing dead to thwart his enemies) and once again the billionaire began expounding the joys of capitalism.[10]
Gray was criticized by a Southern newspaper for including a black youngster among the white children in the Junior Commandos. Gray made it clear he was not a reformer, did not believe in breaking down the color line, and was no relation to Eleanor Roosevelt, an ardent supporter of civil rights. He pointed out that Annie was a friend to all, and that most cities in the North had "large dark towns". The inclusion of a black character in the Junior Commandos, he explained, was "merely a casual gesture toward a very large block of readers." African American readers wrote letters to Gray thanking him for the incorporation of a black child in the strip.[10]
Not all was rosy for Gray however. He applied for extra gas coupons, reasoning that he would need them to drive about the countryside collecting plot material for the strip. But an Office of Price Administration clerk named Flack refused to give Gray the coupons, explaining that cartoons were not vital to the war effort. Gray requested a hearing and the original decision was upheld. Gray was furious and vented in the strip, with especial venom directed at Flack, government price controls, and other concerns. Gray had his supporters, but his neighbors defended Flack in the local newspaper and tongue-lashed Gray. Flack threatened to sue for libel, and some papers cancelled the strip. Gray showed no remorse, but did discontinue the sequence.[10]
"Harold Gray, Little Orphan Annie creator, has done one of the biggest jobs to date for the scrap drive. His 'Junior Commando' project, which he inaugurated some months ago, has caught on all around the country, and tons of scrap have been collected and contributed to the campaign. The kids sell the scrap, and the proceeds are turned into stamps and bonds."[11]
Gray was praised far and wide for his war effort brainchild. Editor & Publisher wrote,
Film noir, Bing Crosby, Madonna (entertainer), Tribune Media Services, Ralph Byrd
Marxism, Anarchism, Vladimir Lenin, WebCite, Socialism
Means of production, Adam Smith, Karl Marx, Industrial revolution, Neoliberalism
Fortune (magazine)
New York City, New York, Time Inc., Time (magazine), Great Depression
Leonard Starr
Little Orphan Annie, New York City, New York, Marvel Comics, Superman
Annie (musical)
United Kingdom, Charles Strouse, Broadway theatre, Stephen Sondheim, Franklin D. Roosevelt
Comics, Tarzan, World War II, United Kingdom, Peanuts
Nemo (magazine)
Little Orphan Annie, Popeye, Flash Gordon, Disney, Milton Caniff
Little Orphan Annie, Robot Chicken, Harold Gray, Annie (1982 film), Liverpool


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The University of South Wales announced its summer exhibition, vis-à-vis. In celebration of the centenary of women's suffrage, a selection of twenty images of women from its own Museum Collection have been paired with twenty images of women by contemporary artists from Wales.
Accompanying the exhibition is a conversation project that has taken place between the exhibition's curator, Dr Frances Woodley, and each of the artists in which the paired works of art are considered in relation to one another. These conversations have brought new perspectives to works in the collection, and they, in turn have brought new understanding to artists' current practice.
This exhibition is part of the 80th anniversary celebrations of the Contemporary Art Society for Wales (CASW).
It features work by David Garner (left), Carol Hiles, James Donovan, Alan Salisbury, Sue Williams, Charles Burton, Glenys Cour, Jack Crabtree, Dilys Jackson, Shani Rhys James and many more.
More information about the Into the Light exhibition.
This exhibition examines, celebrates and commemorates aspects of the south Wales coalfield.
It includes the work of incoming artists and those born in the area, ranging from painters Jack Crabtree and Josef Herman, Ken Elias and Ernest Zobole to photographers Levi Ladd, I C Rapoport, Ray Klimek and Anthony Stokes.
It is part of a collaboration with Wolfson College Cambridge and its complementary exhibition 'Valley of Vision'.
More about the Coal Society exhibition.
An exhibition of works from the university art collection. The artists featured are Sarah Ball, David Binns, Brendan Burns, John Cleal, Richard Cox, Michael Freeman, Carol Hiles, Bert Isaac, Robert Alwyn Hughes, David Nash, Stephanie Tuckwell and Ernest Zobole.
Weekdays only. Closed Friday 25, Monday 28, Tuesday 29 March. Private view, including a related USW publication, Wednesday, 2 March 2016.
Alan Salisbury was born near Preston, Lancashire, in December 1946 and studied painting at Manchester and Liverpool Colleges of Art and the Royal College of Art, London. He has lived in Barry, south Wales, since 1974 working at the University of Glamorgan where he was Principal Lecturer in Painting and Field Leader in Arts and Media. He left in 2003 to concentrate on his own artistic practice although he maintains contact with the University (now the University of South Wales) as an External Fellow. He has exhibited widely throughout the UK, in Europe and the USA. In 2005 he was awarded Joint First Prize in the 'Liverpool School of Art Alumni' Open Competition. Three years later he was awarded First Prize in the 'Wales Portrait Award 2' Competition. In 2012 he was shortlisted for the 'BP Portrait Award' National Portrait Gallery Travel Award.
Alan is a painter who works within the conventions of narrative representation. This retrospective exhibition, at his former workplace in Trefforest, has a changed configuration which includes different and new artworks from those shown in his adoptive hometown of Barry (November 2015 to January 2016). The selection is representative of work that he has completed over the last forty-five years. The earlier artworks include imagined and invented landscapes. The later artworks are influenced by concepts gleaned from postmodern approaches to visual arts production and span a number of familiar subject genres – the human figure, (self) portraiture and still life.
This exhibition celebrates five decades of active involvement with the visual arts since enrolling on a Foundation course at Manchester School of Art in 1965. Salisbury's subsequent art education took him to Liverpool School of Art (1967 to 1970) then to the Royal College of Art in London from 1970 to 1973. After completing an Art Teaching Certificate in Cardiff, Salisbury obtained a teaching post at Glamorgan College of Education based in Barry. He was then transferred to the Polytechnic of Wales, which later became the University of Glamorgan. He remained in Barry, which has now been his home for more than 40 years.
"This exhibition includes work completed over five decades so it is inevitable that my ideas have changed considerably over this period of time. It is interesting looking back to see how much the early painting in particular was influence by the cultural milieu of the time. As you practise you gain experience and become knowledgeable and of course biographical events inform and shape the work undertaken. Although the conceptual underpinning of some of the themes represented in this exhibition are sometimes radically different, there are nevertheless lots of constant factors evident – not least that I have always been a painter and by and large a representational painter.
An exhibition of 2d and 3d contemporary artworks by six female artists, all members of the University's Faculty of Creative Industries.
Artists: Carol Hiles, Celia Jackson, Lisa Krigel, Tiffany Oben, Heather Parnell and Natalia Dias.
This exhibition, originated by the University of South Wales, has been designed in association with the interdisciplinary University of South Wales conference Representing the Tudors of 10-11 July 2015, held in the Tŷ Crawshay building.
Curated by Dr Ceri Thomas, Engaging with the Past consists of a small selection of artworks whose makers form part of the visual culture of modern and contemporary south Wales.
Read more about Engaging with the Past exhibition.
An exhibition, selected from the University of South Wales' permanent art collection, of contemporary photographs by two south Wales artists. Ronald Lawrence (b 1929) depicts Rest Bay, Porthcawl, in black and white. Anthony Stokes (b 1946) captures various locations in the South Wales Valleys in colour. The images by Stokes feature in his book 'The Valleys' (Seren, 2007) which is available for purchase. For more details, please ask in the gallery or telephone reception on 01443 480480.
Ronald Lawrence can also be seen discussing his life and work at his 2013 Retrospective exhibition, in the video Ronald Lawrence in conversation with Ceri Thomas. You can watch or download the video FREE from the South Wales on iTunes U collection entitled Visual Culture of South Wales since 1910.
MA Art Practice interim show, with work from eight current students.
Contemporary artwork by artist Valerie Coffin Price comes together with poems and prose by award-winning poet Philip Gross in a deep collaboration grounded in the heart of the Taff valley. This exhibition accompanies their new book, A Fold In The River, published by Seren.
Alert to natural processes as well as human lives and histories, their work together sees the damage, the resilience and the surprising beauty in this place of change.
More information on The River Next Door.
An exhibition of contemporary artworks by four south Wales-based artists: two photographers and two painters. This has grown out of the Fuse group exhibition which was held in the Flock gallery, University of South Wales, Caerleon, in 2013.
An exhibition of 30 original, handmade prints from two Swansea Print Workshop collections inspired by the world-famous Swansea-born poet.
An exhibition of selected artworks from the University's art museum collection which focuses on the visual culture of modern and contemporary South Wales.
An opportunity to see the work of students from the MA Art Practice course at USW, from the different strands of Fine Art and Arts, Health and Well-being.
Rose Marie (Ray) Howard-Jones' life was, in many ways, exceptional. She attended the Slade School of Art where she was taught by Henry Tonks and later worked in the National Museum of Wales. During World War Two she recorded loadings for D-Day and was only a small number of officially accredited female war artists.
The main focus of the exhibition is identity which is celebrated and considered via the imaging of: society; place; memory and imagination. Many of the exhibits relate directly to the history of the University of Glamorgan which began in 1913 as the South Wales and Monmouthshire School of Mines. Other exhibits are more broadly connected to aspects of modern and contemporary south Wales.
A range of nearly forty 2d and 3d artworks by the contemporary members of the 56 Group Wales whose artist-chairman is John Selway.
This exhibition complements last winter's historical 56 Group – Then exhibition of artworks by the twelve founders who created the Group in 1956. It is accompanied by two new publications on the Group which add to the story of the development of art in modern and contemporary Wales.
Ronald Lawrence can also be seen discussing his life and work at his 2013 Retrospective exhibition, in the video Ronald Lawrence in conversation with Ceri Thomas.
You can watch or download the video FREE from the South Wales on iTunes U collection entitled Visual Culture of South Wales since 1910.


In August Philip was asked to shoot and direct our friend and country music legend Paul Brandt's new music video featuring his latest song entitled "The Journey". Paul is one of Canada's most awarded country music stars and was just inducted into Canada's Country Music Hall of Fame. Not only is he a brilliant musician and singer, but he is all around an incredible human. His passion for philanthropic efforts that better the world is an inspiration to our family and to many others. When Paul first reached out we were Incredibly humbled and privileged that he not only was asking for us to be apart of the technical creation, but that he wanted our family to become the heart beat, spirit and the essence of the video. It was an absolute blast to be apart of this.
For our family the concept of the song itself "The Journey" resonates with how we've chosen to live out our own story. Every day seeking to find that balance between living each day fully in the moment and also living intentionally with a vision for our future.
The film showcases Paul Brandt in several of San Diego County's most beautiful locations from the vista filled Sunrise Highway to the stunning Anza-Borrego Desert.
We loved getting to give you all a glimpse into some of our precious moments that we have shared as a family. You'll see moments from some of our favorite spots in our gorgeous country including several from Esther's home state Alaska.
We put together a little BTS video that includes some highlights. Little Phil got to direct a scene as well another highlight being the moment we met two local legends. Both of these veterans were a blast and so kind. John P. Baca is purple heart recipient and his story is one worth reading and we hope you'll take the time to look him up and be as inspired by his selfless heroism as we were.
Alrighty friends, if you haven't subscribed to our new youtube channel...please please do so! We're so grateful for you all and your support.
Our recent road trip throughout some of the South West's iconic hot spots was such a refreshing trip for us as a family. From the beauty of the landscapes, to the quiet, peaceful stillness of the star filled nights to the intentional and carefree family time that we enjoyed - it was a time of resetting.
Here are our top 4 places that we woke up at. Enjoy and feel free to ask any questions or if you have any recommendations for our next trip we'd love to hear!
Funny story, but the Zion Canyon Campground is not only the same one we camped at our first time to Zion 2 1/2 years ago, but we ended up in the same camping spot! Little Phil tells us this was his favorite campsite and with a beautiful river to play in right down from our tent who could argue with him!
Granted Under Canvas is in a class all it's own. Sitting on our porch watching the sunrise over Arches National Park with coffee in hand has to be the best start a day can have.
One of our best sunrises! We set up our tent in the dark & woke up with plenty of time to enjoy the sun rising over the Mittens & Merrick Butte all cuddled up with our coffee. Little Phil slept right through sunrise & by the time he woke up (or we woke him up...he's an amazing sleeper) we were ready to check out the museum/hotel & hit the road.
Freestyle camping at it's finest. Right on beautiful Lake Powell. Little Phil loved this spot and so did we! Toes in the sand & camping wherever you'd like = perfect combination.


text:
Photo: © Alastair Fothergill
In his almost thirty-year tenure at the BBC Natural History Unit, ALASTAIR FOTHERGILL was responsible for the landmark series The Blue Planet, Planet Earth, and Frozen Planet, among a range of productions. Since 2006, he has also worked for Disney, directing six wildlife movies for its Disneynature label. In 2012, he set up Silverback Films with Keith Scholey, which produced The Hunt series for the BBC and Our Planet for Netflix, the first natural history Netflix original documentary series. This book is Fothergill's fifth. A fellow of the Royal Geographic Society and recipient of its gold medal, he also has honorary doctorates from the universities of Durham, Hull, York St. John, and Bristol. He lives in Bristol with his wife, two sons, and two Jack Russell terriers.
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redpajama_set_name: RedPajamaCommonCrawl


Written by Kate McDonald on 18 May 2017 .
Well-known health IT sales professional Robert Barley has been appointed as the new Asia Pacific sales director for US-headquartered information systems and EMR vendor MEDITECH.
Mr Barley was previously sales director at Orion Health and regional vice president of sales for Allscripts, specialising in large, complex and strategic sales in the health IT industry.
Mr Barley said MEDITECH's pedigree as a company and quality of solution was well proven globally, here in Australia and in the wider APAC region.
MEDITECH offers a fully integrated web-based suite of modules that delivers patient administration, billing and clinical capability to both public and private healthcare facilities.
Following a series of implementations at hospitals across Australia, in particular for Ramsay Health Care hospitals, and at the new Farrer Park Hospital in Singapore, the suite is now actively being offered in the APAC region.


text:
Błąd oprogramowania lub w żargonie informatycznym bug (czytaj bag ) – usterka programu komputerowego powodująca jego nieprawidłowe działanie, wynikająca z błędu człowieka na jednym z etapów tworzenia oprogramowania, zwykle podczas tworzenia kodu źródłowego, lecz niekiedy także na etapie projektowania.

Etymologia angielskiego określenia bug

Słowo bug (z ang. pluskwa, owad, robactwo) przeszło prawdopodobnie do żargonu programistycznego z żargonu inżynierów telekomunikacji, którzy żartowali na temat szumów w sygnale, mówiąc, że "owady zalęgły się w urządzeniu". Wiadomo też, że słowa bug w kontekście usterki użył Thomas Edison już w 1878.

Wprowadzenie do użycia wspomnianego terminu przypisywane jest też pani admirał Grace Hopper, choć pewne źródła negują jej udział w poniższej historii. Podczas prac prowadzonych 9 września 1947 r. z komputerem Harvard Mark II stwierdzono jego nieprawidłowe działanie, a po poszukiwaniach przyczyny operatorzy, m.in. William "Bill" Burke znaleźli w przekaźniku 70. panelu F ćmę (), która powodowała spięcie. Owad został usunięty i wklejony do dziennika z wpisem o ćmie przypisywanym Grace Hopper – fotografia obok. Dziennik do 1991 roku znajdował się w Naval Surface Warfare Center Computer Museum w Dahlgren w stanie Wirginia (USA), a obecnie w The Smithsonian Institute National Museum of American History. Opis fotografii tego dziennika podaje błędny rok wpisu – 1945, inne źródła wskazują na rok 1947, co potwierdza fakt, iż komputer Mark II został uruchomiony w lipcu tego roku.

Słowo bug jest często tłumaczone w tym kontekście jako pluskwa. Pluskwa oznacza obecnie również podsłuch lub podgląd elektroniczny (mikrofon, kamera) lub analogicznie backdoor celowo zaimplementowany w oprogramowaniu z inicjatywy programisty lub na zlecenie.

Błędy programistyczne są przedmiotem wielu spośród tzw. praw Murphy'ego, m.in. prawo nieskończoności Lubarskiego "w każdym programie (dłuższym niż 100 linijek) jest jeszcze jeden błąd".

Diagnoza i usuwanie

Bug jako określenie błędu programistycznego występuje w nazwach programów pomagających usuwać błędy, tzw. debugerów, czy też "odpluskwiaczy". Programy te pozwalają śledzić wartości określonych zmiennych i rejestrów wykorzystywanych w programie do momentu wystąpienia błędu, co z kolei pozwala znaleźć dokładne miejsce w kodzie źródłowym, w którym należy dokonać poprawek.

Aby ułatwić zgłaszanie błędów testerom i użytkownikom oraz w celu śledzenia stanów błędów przez wszystkich zainteresowanych, powstały liczne systemy śledzenia błędów. Do jednych z nich należy Bugzilla (stworzony pierwotnie na potrzeby projektu Mozilla), do listopada 2014 r. stosowana przez fundację Wikimedia do zbierania informacji o błędach w oprogramowaniu Wikipedii i pokrewnych Wiki (została zastąpiona przez Phabricatora). W systemie Bugzilla każdy może zgłosić błąd, podając przy tym okoliczności, w jakich on występuje. Zgłoszenie to jest następnie przydzielane określonemu programiście, a aktualne informacje o postępach w naprawianiu usterki są udostępniane w systemie.

Typy błędów
Z reguły wyróżnia się trzy główne typy błędów:
 Błędy składniowe – nie pozwalają na kompilację programu, jak np. literówka w nazwie zmiennej lub wywołaniu funkcji. Są one wykrywane przez kompilator i najczęściej dość łatwe do usunięcia. Zazwyczaj wynikają z drobnych pomyłek programisty.
 Błędy semantyczne (znaczeniowe) – część błędów semantycznych można wychwycić już w momencie kompilacji, np. próbę odczytania wartości niezainicjowanej zmiennej, lecz inne mogą ujawnić się dopiero w trakcie wykonywania.
 Błędy logiczne – nie przerywają kompilacji, lecz powodują niewłaściwe działanie warstwy logicznej jak np. niepoprawne wyznaczanie pozycji gracza (które także może być spowodowane literówką – jak np. wpisanie znaku "+" zamiast "-"). Ten typ błędów jest znacznie trudniejszy do wykrycia i usunięcia; często błąd tkwi w jednym źle zapisanym znaku, lecz programista musi do tego znaku sam dojść (w przypadku błędu składniowego znak jest wskazywany przez komunikat kompilatora).

Zapobieganie błędom
W typowych warunkach można się spodziewać, że w każdym nietrywialnym programie będą błędy. Liczbę błędów można też ograniczyć przeprowadzając testy programu. Testy te powinny być w miarę możliwości zautomatyzowane – komputer potrafi przeprowadzić o kilka rzędów wielkości więcej testów na godzinę niż człowiek.

Do metod zmniejszania liczby błędów można zaliczyć:
 umiejętne zastosowanie paradygmatów programowania strukturalnego, proceduralnego i obiektowego,
 pisanie w sposób czytelny, hierarchiczne formatowanie kodu źródłowego
 unikanie skrótów programistycznych w rodzaju ++i*=*c--;
 stosowanie zrozumiałych identyfikatorów, nawet kosztem ich większej długości
 stosowanie komentarzy w miejscach, których zrozumienie kodu nie jest natychmiastowe
 współtworzenie programu i jego dokumentacji
 opisywanie (w komentarzach i dokumentacji) założeń przyjętych podczas pisania danego fragmentu kodu (np. co do typów danych wejściowych, czy spodziewanego sposobu użycia)
 unikanie trudnych w analizie konstrukcji (jak instrukcja skoku, czy ewaluacja kodu w trakcie wykonania)
 używanie narzędzi wykrywających podejrzane fragmenty kodu (np. lint), włączenie ostrzeżeń kompilatora o napotkaniu konstrukcji będących częstym źródłem błędów (np. if(a=b)... zamiast if(a==b)...)
 ręczne audyty kodu

Czasem błędy wykrywa się przez wprowadzanie do programu losowych danych i sprawdzanie otrzymywanych odpowiedzi. Ponieważ typowe błędy dotyczą wielu danych, wykrywa się w ten sposób większość błędów.

Bardzo rzadko przeprowadza się dowody matematyczne programów. Nawet one nie dają jednak gwarancji poprawnego działania programu, ponieważ nie jest pewne, że model zachowania programu jest bezbłędny (jeśli ta sama osoba pisała kod i dowód, to ten sam błąd mógł się pojawić w obu), ani też, że zastosowany model matematyczny odpowiada rzeczywistości (np. kompilator czy nawet sam procesor może wprowadzić optymalizacje, które psują "poprawny" kod).

Ponieważ testowanie dużych czynności jest trudną operacją, zwykle testuje się osobno podzespoły programu oraz program w całości (zakładając przy tym, że podzespoły działają poprawnie). Można przez to przeoczyć pewną klasę błędów.

Często trudno jest testować program w naturalnym środowisku (np. w przypadku programów sieciowych, operujących bezpośrednio na sprzęcie czy wymagających interakcji z wieloma użytkownikami) i dlatego konieczne jest testowanie w środowisku sztucznym – za pomocą emulatorów sprzętu, sieci czy sztucznego generowania zdarzeń symulujących działania użytkowników ("wpisano X w pole Y", "kliknięto przycisk Z" itp.).

Testy pisane są zwykle w późnej fazie rozwoju oprogramowania. W metodologii zwanej "programowaniem ekstremalnym" testy pisze się zanim rozpocznie się pisanie danej części oprogramowania, co ma zmniejszyć liczbę błędów. Wiąże się to ze zjawiskiem – stwierdzonym empirycznie i znanym z literatury specjalistycznej – wiązki błędów. Oznacza to, że im więcej odkryto błędów w programie, tym większe jest prawdopodobieństwo istnienia błędów niewykrytych. To zaskakujące stwierdzenie można wyjaśnić w następujący sposób: jeśli w programie wykryto dużo lub bardzo dużo błędów, to jest on prawdopodobnie źle napisany, zatem łączna liczba błędów może być większa niż liczba wykrytych. W tym kontekście wczesne wykrywanie błędów (czyli złego programowania) pozwala na uniknięcie tego zjawiska.

Do tworzenia testów i zarządzania nimi istnieje wiele systemów, tzw. testing frameworks, takich jak XUnit.

Zobacz też
 Guru Meditation
 BSOD
 Mantis

Przypisy

Linki zewnętrzne

 Jak efektywnie zgłaszać błędy (Simon Tatham)
 Platforma pracy grupowej fundacji Wikimedia Foundation

Żargon informatyczny

redpajama_set_name: RedPajamaWikipedia


text:
Q: Why can't we find an open ball $B_r(k)$ for all $k\in K$? I've read this demonstration:

This may be silly and confusing but the basic idea seems to be that for any point not in $K$, we can find a certain open ball $B_r (x)$ such that $B_r (x) \subset K^c$. This is reasonable to me. But why can't we:

*

*Find an open ball $B_r(k)$ for all $k\in K$?

I believe this would generate some contradiction but I couldn't find it. Perhaps what I am asking is a bit nonsense but I need this to have peace. I know that the theorem is demonstrated and I know that the the complement of an open set is closed but I still feel this piece of information is needed. What would break if we assume that we can always find an open ball $B_r(k)$ for all $k\in K$?

A: I think you are asking if we can go about doing the proof differently. I wrote down an alternate proof (though the idea is the same) that hopefully captures your question.
Let $K$ be a compact set and we show that $K^\complement$ is open. To this end, fix $x\in K^\complement$ and notice that for any $y\in K$, $r_y := d(x, y) > 0$ since $y \neq x$. Observe that
$$
K\subseteq \bigcup_{y\in K} B\left(y, \frac{r_y}{2}\right).
$$
Therefore, we have an open cover for $K$ and can extract a finite sub-cover. Let $y_1, \dots, y_n$ be such that
$$
K\subseteq \bigcup_{j=1}^n B\left(y_j, \frac{r_{y_j}}{2}\right).
$$
Define $\delta = \min_{1\leq j \leq n}\frac{r_{y_j}}{2}$ and observe that $B(x, \delta)\subseteq K^\complement$. Indeed, for any $y\in B(x, \delta)$ and any $j = 1, \dots, n$ we have
$$
d(z, y_j) \geq d(y_j, x) - d(x, z) > r_{y_j} - \delta \geq r_{y_j} - \frac{r_{y_j}}{2} = \frac{r_{y_j}}{2}.
$$
hence $z\not\in B(y_j, r_{y_j}/2)$ for any $j=1, \dots, n$. Since these balls cover $K$, we see that $z\not\in K$ or rather $z\in K^\complement$.

redpajama_set_name: RedPajamaStackExchange


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