Lone Ranger Comics # 82 thru 99

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Dell is proud to present one of its many awards

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EDS-TO

T. DELACORTE.Jr.

NT DF THE DELL PU

SHI NG COMPANY, IK C

JGNITION OF-HiS EFFORTS -IN.' ESTABLISHING
i'AINTAINING THE DELL COMIC; LINE -

jc'lean and wholesome juveWie" -i

.(ENTERTAINMENT. AND BECAUSE I N D 01 N G

SBvHEJHAS SET AN EXAMPLE FOR TH E -ENTIRE!

TOOMBS PUBLISHING INDUSTRY TO FOLLOW

BY

NEWSDEALERS POST NUMBER 1169
AMERICAN LEGION

.NOVEMBER 14. 1954 .

«C

A PLEDGE

TO PARENTS

The Dell Trademark is, and always has been, a positive guarantee that the

comic magazine bearing it contains only clean and wholesome

juvenile entertainment. The Dell code eliminates entirely, rather than

regulates, objectionable material. That's why when your

child buys a Dell Comic you can be sure it contains only good fun and happy

adventures. "DELL COMICS ARE GOOD COMICS" is our only

credo and our constant goal.

changes or A

I iisui dat». Gin bdth

DELL COMICS ARE GOOD COMICS

SADDLE AND WAITING.' GOT TO
WRITE A NOTE TO THE WARDEN
THANKING HIM FOR THE

AFTER YOU SMUGGLED THE FILE TO ME, I TOLD
YOU I'D BREAK' OUT THE FIRST STORMY NIGHT'
— I MOPE THE BOYS ARE WAITING AT THE
HIDE-OUT/ WE NEED CASH/ So WE'RE
PULLING A SERIES OF STAGS

ROB3£M£$ pronto.'

THV MYSIATER-

KEMO SABAV, ME GET
THIS HANDBILL FROM
SHERIFF/ JUE>
JACKSON £SCAP£!

SaaWAFTSf?. P£T e TEUS tMAT H£ SAW-

THOSE TWO ARE

PAA/G£f?GUS.

JUD.'

TMEY DON'T KNOW WE SAVVY S. WAIT A MINUTE!
WHERE THEY'RE CAMPED.' JERRY'S ) I'M NOT
FACE HASN'T DECORATED ANY J RISKING MV
POSTERS AND He IS THE ^S HEOC ON SOME

PERFECT ONE TO LEAD
•EM INTO A fXAP/

THEY'LL OO TO HELP YOU' SHOW SURPRISE ABOUT
THE MASK — THEN TELL HIM YOU REALIZE WHO HE

YOU WERE RISING TD TOWN FOR THE SHERIFF
WHEN YOUR HORSE STUMBLED.' YOU FOUND THE
STAGE GANG'S HIDE-OUT/ TELL 'EM HOW TO GET
HERE AND SAY YOU'LL GET THE SHERIFF/ THEN
DOUBLE EACK BY THE SHORT CUT AND JOIN US A
QUARTER OF A MJLE IN FRONT OF THE CABIN .

WHERE WE'LL BE WAITING IN AM&VSA/' <

SURE GLAD y<U/ FOUND \ WHERE 15 IT?

' I WAS RACING TO TOWN TONTO AND I

TOR THE SHERIFF WHEN MY / CAN RIDE THERE

horse stumbled.' eye / while you go

LOCATED THE STAGE ^< FOR THE SHERIFF/

robbers' #/pe~o&r/

/M/WOTSS £4JWR~

SAVE YOUR BREATH.' WE FOLLOWED 1— ARE THOSE
YOURS ANP VOUR PALS TRACKS I TH£ TRACKS
HERE FROM THE BANK, DESPITE/ YOU WERE
HAVING LOST THEM FROM ^\ FOLLOWING?

THAT'LL BE YEARS
FROM NOW/ IN ADDITION
TO BANK ROBBERY
THESE TWO WILL
BE CHARGED WITH
HORSE STEALING/

THAT WAS YOUR MISTAKE. SOREL'Y #/-YO '
YOU MIGHT STILL BE AT LARGE IF S/£.VE/?f \
THE PAINT YOU STOLE HADN'T / AlVAy/

BELONGED TO THE PARTNER OF
M5F LOWE J&M/GERf

Pop Kielty shifted from one foot to another
as he glanced at his boss, Pat Moran. In the
office of the Deerfoot Stage Company, Moran
glared at his guard. Then he exploded:

"You mean you gave the Colorado Kid four
thousand dollars in greenbacks and never
fired your shotgun?"

Pop's head bowed in misery. "Moron, I
didn't even see him till it was too late. I was
tinkering with this gadget—" He held up a
rounded wafer-like box that bung by a wire
from His finger. Then, with pathetic eagerness,
"You wind it up like this— then, when you
shake hands with some hombre— "

He reached out and touched Moran on the
arm. At the point of contact there was the
whirring rasp of a striking rattler. With a howl
of fright, Pot Moran leaped backward.

"Pop," Moran spoke slowly. "You used to
be the best shotgun guard in this territory—
uritil you read that advertisement in the Den-
ver paper. Since you sent away for that box
of tricks and gadgets, you've been a changed
man." - s

"You're right, Moran. That wos the best
investment I ever made." From his pocket Pop
drew a well-thumbed catalog. "Look, Pat, for
only one dollar they send you twenty-five fun-
making novelties, tricks to fool your friends—"

"Tricks! Fun!" Moran interrupted bitterly.
"The time you gave the cook at the hotel an
exploding cigar three men had to hold him
back from punching you! Two weeks back.

you gave the schoolmarm a piece of chocolate
candy made of India rubber." Moran was
glowering. "It cost the town a raise in pay to
keep her from quitting her job."

"And last week, when you slipped that
phony deck of cards into the game at the
Silver Dollar—"

Pop grinned with immodest pride, "Yep!
The only deck in the territory with ten aces.
Never saw so much shootin' since the Lincoln
County War."

"I can take a joke. Pop, but this is the last
slrdw. Four thousand dollars is too much to
pay for a laugh. You're fired!" shouted
Moran.

As he opened the door and stepped into
the street, Pop called out, "Shucks, never
knew a full-grown man to take on so. Trouble
with you is you have no sense of humor,
Moran."

As Pop swaggered down the street, he
toyed with a set of false teeth that were ob-
viously designed for an elderly moose.
"Reckon I'll go down to the Last Chance and
give the boys a laugh with these."

But as he entered the cafe' he was greeted
by a shout from one of the tables. "Anybody
seen Pop Kielty lately? I mean the funny man
who makes everyone laugh."

From the bar a second voice answered.
"That Pop's a real card! Did you hear how
he tricked the Colorado Kid 'into robbing the
stage of four thousand dollars?" As the room

rocked with laughter, Pop Kielty's leathery
face showed a faint pink glow.

"Reckon none of you boys heard how Pop
tricked himself out of a jab?"said a cow-poke
who had fust stepped in behind Pop. "When
Pat Moran heard about Pop's latest trick, he
fired him on the spot."

The roar of laughter that followed drove
Pop Kielty into, the street. Disconsolately, he
made his way to his room at the Acme Hotel.

Next morning, Moron met him in the street.
"Pop, I've been thinking. Seems a shame to
break up an old f/iendship."

Pop squinted at him shrewdly. "Havin' a
tough time hiring a new shotgun, eh? Espe-
cially with the Colorado Kid on the prod. All
right, I'm a sport. 1 withdraw my resignation."

In the office of the stage company, Pat
flipped open the lid of the express box. "Ten
thousand in gold dust," he said grimly. "I'm
relying on you to see the Colorado Kid doesn't
get it."

"Speakin' of the Colorado Kid," said Pop
brightly, "I think I know a trick that might
trap that hombre."

"Another trick!" Pat Moron pounded the
table in anger. "If that hombre holds up the
stage again, the only trick you'll use is your
shotgun, understand?"

"Relax," grinned Pop. "It was just on idea."
But, as Moran turned to his desk he failed to
notice how Pop Kielty hovered over the bags
of gold dust. . . .

Two hours later, the Colorado Kid held up
the stage. He seemed to time it perfectly. At
the moment, Pop Kielty was trying on the set
of trick teeth. "Hate to spoil your fun, old-
timer, but I'll trouble you to hand down that
express box," said the Kid.

As the trick teeth came loose and fell into
the dust, the coach driver looked at Pop with
utter and complete disgust. Pop handed down
the heavy box with grudging admiration.
"You caught me dead to rights, KitJ."

"Hold those horses while I check," said the
Colorado K'd, like the careful man he was.'
He shot off the lock and kicked the lid of the
express-box open. Then' he leaned over to

examine its contents. A faint cloud of dust
floated upward past him. Suddenly the out-
law reeled backward, sneezing violently.

"Mow's your chance! Get him. Pop!" yelled
the stage driver. But Pop was looking down
at the Colorado Kid with a smile of scientific
detachment. The Kid's sneezes were exploding
with the speed of a repeater pistol now. His
face was a deep purple color.

"There's no rush," said Pop, climbing down
from the coach. "That hombre'll be sneezing
for quite a while."

Back in Deerfoot next day, Pap smiled as
Moran congratulated him. "It was nothing,
Moran. Just a little sneezing powder I put
in the express box before you locked it."

Slowly Moran's smile faded. "Oh, no!" he
said in disbelief, then his voice rose to a
howling shriek. "You could have cost me that
whole gold shipment! Pop, you've played your
last trick! You're fired."

Pop sauntered to the door. "Moron, haven't
you heard about that five-thousand-dollar re-
ward for the Colorado Kid? Fired? I quit!"

And, walking down the street. Pop Kielty
thumbed through the catalog of the tricks
and novelties. On his face was a smile of per-
fect bliss as he contemplated all the joy his
five thousand dollars would buy.

__

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Silently, but with a fierce 1
eagerness, the sioux land

Seizing the moment for a surprise ,*.;
attack, young hawk and his three
friends rush in from all sides...

\r--^ f OF STRONG

\L-~C^~ \ EAGLE IS

Strong eagle proves that his muscles have \
not lost their quickness...

**ri«*fc&*.«»W.

Customs of the Arapaho

The Arapaho, a Plains'tribe of the Algon-
quian family, had the military organizations
common to most of the plains tribes, which
consisted of soldier bands or societies that
were called on by the chiefs to perform
police duties during communal buffalo hunts
and other important occasions. The Arapaho
had three main soldier bands, the Kit-foxes,
Crazy Lodge, and Dogs. Ordinarily a war-
rior passed from one society to the other,
like school children in their grades, automati-
cally grouping the members according to
age. At the same time, the Arapaho members
of the soldier bands conducted certain cere-
monial, or dancing functions, that eventually
included practically all the adult males in
the tribe. Each of the societies had some item
of dress peculiar to their own group that
easily identified the wearer as being of a
certain group.

Air old Arapaho man explained the mean-
ing of the design in the moccasin shown in
tbe drawing as follows: The white beadwork

represents the ground; green zigzag lines
upon it are snakes. The quilled lines repre-
sent sweathouse poles. These lines are red,
blue, and yellow, and the colors represent
stones of different colors, used for producing
steam in the sweathouse. At the heel, which
is not visible in the drawing, are two small
green squares . . . these represent the
blankets with which the sweathouse is cov-
ered. The design of a snake was embroidered
on these moccasins so that the person wear-
ing it would not be bitten by snakes. The
symbols referring to the sweathouse were
included so that the young man, for whom
it was made, might grow to the age at which
the sweathouse is principally used . . . old

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