![]() The strain of drawing Annie month in and month out (and the need to distinguish her breasts and buttocks from the competing dialogue ballons) finally proved too much for Koozeman, and he had a nervous breakdown. Ironically, despite her pulchritude, the dirty old men who hit on her proved verbose enough that, to display their speech, many, huge dialogue balloons were required. The comic strip, drawn by Horny Koozeman, was faithful to her, body and soul. And just look at my ass! How could anybody-especially a red-blooded man-confuse me with her?" She has a terrible perm she dresses in a cheap red dress and she's had her eyeballs surgically removed-the bitch is blind-and she's a minor, whereas I'm-well, over eighteen. Indeed, many people confused the two strips, which has made Annie (Fanny) remark, "The other Annie doesn't look anything like me. The fact that Annie was a blonde-haired, blue-eyed white woman and the baby was African-American with dark hair and eyes did not concern the dirty old men whom she'd attracted by this stunt for the simple reason that only one of them remember ever having seen the baby, and, owing to the size of Annie’s bosom, he'd assumed that the infant had been merely "a mole or a beauty mark.”Īnnie became one of the most successful call girls in twentieth-century America, finally catching the eye of Chicago’s Hu Humper, who published slick, glossy biographical sketches of “influential women.” After he published her life story, in 144,000 monthly installments, she became the butt of a comic strip with a title similar to that of another strip about an orphan who found a sugar daddy in the "person" of pedophile Daddy Morebucks. A motherless strumpet, she rented a neighbor's child as a prop in this latter enterprise. As a streetwalker, Annie took advantage of current events of an erotic, sexual, or pornographic nature, being the first one on her block, for example, to streak, flash, and breastfeed in public.
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