Building a Better Bike: The Evolution of the Modern “Safety Bicycle”

Old technology, Social History, Society & Culture, Sport

THE absence of cars in cities during the coronavirus lockdown has been a boon to cyclists, both for the recreational kind and for commuter cyclists. There has been an “unprecedented surge in popularity” of bicycle traffic—even in the land of the automobile, the United States—with many bike shops reporting a doubling of their average sales…such is the demand now that bike manufacturers can’t build them fast enough [‘Cycling ‘explosion’: coronavirus fuels surge in US bike ridership’, (Miranda Bryant), The Guardian, 13-May-2020, www.theguardian.com; ‘Australia is facing a ‘once in a lifetime opportunity’ as cycling booms, advocates say’, (David Mark), ABC News, 16-May-2020, www.abc.net.au].

Starley’s Rover (Source: sewalot.com)

The renewed present enthusiasm to take up bike-riding in response to the pandemic recalls earlier periods of “bike-mania”in the West—late 1860s to mid-1870s and the 1890s—as the humble bike was evolving into its modern form. Credit for the basic look of the standard, no-frills bicycle as we we think of it today is generally given to John Kemp Starley for his 1885 invention, the “Rover Safety Bicycle”. The Rover’s similar-sized wheels, chain drive attached to the crankshaft and rear wheel, diagonal frame and relative lightness (20kg) retains the basic design of the modern bicycle [‘Pedal Your Way Through the Bicycle’s Bumpy History’, [Evan Andrews), History, 30-Jun-2017, [www.history.com].

1889 Ladies Rover Safety Bike (Image: bicyclehistory.net)

The Rover was seen as a curiosity at first, but when two years later John Boyd Dunlop manufactured the pneumatic tyre, it was a game changer for the new bicycle. Starley’s prototype and all two-wheelers that followed now had a smoother, cushioned ride on the typically bumpy roads of the 19th century. Being lighter the new bike also went faster [‘How bicycles transformed our world’, (Roff Smith), National Geographic,17-Jun-2020, www.nationalgeographic.com].

Fischer’s pedal-bike: Tretkurbelfahrrad
(Photo: www.schweinfurtfuehrer.de)

The bike by various other names

Most folk are aware that before the modern bicycle there was the penny-farthing – also known as the high-wheeler or by the all-purpose term, the ‘ordinary’. The farthing, whose feasibility owes much to French mechanic Eugène Meyer’s innovation of the tension-spoked wheel, was popular through to the end of the 1880s but prone to accidents❉. The lineage of the modern bike however goes back still further – to the bulky, all-wood laufmaschine (“running machine”), invented by Karl von Drais in 1817 in western Germany. The laufmaschine⌧ was the first mode of transport to utilise the in-line, bi-wheel principle, but slim-lined and graceful it wasn’t! Bereft of pedals, brakes and chains, it was propelled by the rider pushing against the ground. The addition of pedals came with another German inventor, Philipp Moritz Fischer, and modified by a French blacksmith/ inventor, Pierre Michaux, both contributing to the development of the modern bicycle. The 1860s brought a variant on the velocipede known as the ‘boneshaker’ (aptly describing the experience for the rider). Nonetheless, with its stronger and malleable metal frames it sparked the first bicycle craze in France which then spread worldwide. By the 1870s the ordinary was state-of-the-art in bikes with its hollow steel tubular frames and forks, steel rims and solid rubber tyres. By now the bike epicentre had crossed the Channel to England and the new standard became the ‘Ariel’ model designed by James Starley of Coventry (uncle of John K Starley), who added centre pivot steering, tangent spokes and a mounting step [‘A Beautifully Illustrated History of Nearly Two Centuries of Bicycle Design and Technology’, (Tony Hadland & Hans-Erhard Lessing), Slate, 22-Jul-2014, www.slate.com; ‘From boneshakers to bicycles’, Britannica, www.britannica.com].

The Drais Laufmaschine, 1817

1890s, the world gone crazy for the bicycle

By the 1890s demand for the new safety bicycle saw mass production take off. The earlier “high rollers” were now past tense. Bikes were now practical and stable vehicles with gears and brakes, the earlier serpentine-shaped frame replaced by a diamond pattern. By the decade’s end most bicycles were only 11 to 16 kg in weight (Britannica). Another technological breakthrough making riding easier for the cyclist came in 1898 when Briton William Reilly invented the prototype for variable gears, a two-speed gear called “The Hub”. Columbus Bicycles in Hartford, Connecticut, could make a bicycle a minute due to the speed of its automated assembly line – a technological innovation later successfully copied by the automobile industry⟴. The transfer of technology from bicycles could be seen in various ways. Both Henry Ford and the Wright brothers started as bike mechanics before making the switch to the invention and production of other, more advanced forms of transport (Smith).

Sturmey-Archer, 3/4-speed gears (Image: www.sturmey-archerheritage.com)

Instrument of freedom and independence
The bicycle gave the masses mobility, it no longer mattered that the less well-off couldn’t afford to travel by horse and carriage…bicycles were affordable, lightweight and easy to maintain. Ordinary folk suddenly were able to explore the countrysides, visit towns and places – far and near. Just about everyone, it seems, got into the act of riding bicycles – royalty and rulers in places like Russia, Zanzibar and Afghanistan took up cycling; First-wave feminists – Susan B Anthony declared that “bicycling emancipated women more than anything else”; women were especially enthusiastic as the activity allowed them to escape their voluminous and cumbersome Victorian skirts for more practical attire such as bloomers. When the lighter, less unwieldy safety bicycles came along, police in the UK were quick to adopt them in their work. Likewise, the NYC police commissioner Teddy Roosevelt mounted the city police on bikes to apprehend the new “public danger” of ‘scorchers’ (“speed demon” cyclists ) (Smith).

Source: Pinterest

The new craze for bicycles got the nod of approval from the US medical fraternity as well…advocated by doctors as “a boon to all mankind, a thing of beauty, good for the spirits, good for health and vitality” [David McCullough, The Wright Brothers: The Dramatic Story Behind the Legend, (2015)].

The conventional explanation for the demise of the bicycle boom is the rise of the commercially-viable automobile, but other factors may have contributed to the bicycle’s decline, such as the rapid growth of the early mass transit systems such as streetcars and trams which were a more practical alternative to bikes, especially in bad weather (Britannica).

1971 Tour de France (Source: Profimedia)

Endnote: in 2020 with the wholesale disruption to international sport due to COVID-19, the world’s premier event in the cycling calendar, the Tour de France was in a very select group of major sporting events given the green light to go ahead as normal, albeit delayed.

Columbia Bicycles, Connecticut (Source: etsy.com)

↜↝↜↝↜↝↜↝↜↝↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜
❉ the penny farthings were inherently unsafe hence the name applied to Starley’s improved-design bike, the Rover safety bicycle. Also appearing around this time were the tricycle and the unicycle
⌧ it also went by other names, draisienne and vélocipède, and by the derogatory name, “dandy horse”

⟴ Columbia Bicycles got into the business in the 1870s when its proprietor and bike enthusiast Albert A Pope starting importing Excelsoir Duplex ordinaries from England, the manufacturer also formed the League of American Wheelmen to advocate for better roads in American for bicycling – the “Good Road Movement” of the 1890s [‘Albert Augustus Pope’, Wikipedia, http://en.m.wikipedia.org]

Mister Softee, Mr Whippy and their Clones and the Ice Cream Van Turf Wars

Memorabilia, Popular Culture, Social History, Society & Culture

”I scream, you scream, we all scream for ice cream”
~ the words of a popular 1927 novelty song…prompting numerous later references to the refrain dotted throughout American popular culture, eg, ads for Hersey’s ice cream; a prison chant in Jim Jarmusch’s cult 1986 indy film
Down by Law; etc., etc.

‘Down by Law’.

🍦🍦 🍦 🍦 🍦 🍦

Source: truelocal.com.au

For anyone growing up in suburban Melbourne or Sydney or one of the larger conurbations in 1960s and 1970s Australia, the familiar strains of the “Greensleeves” tune permeating the local neighbourhood in Spring or Summer-time could mean only one thing – the approach of a Mr Whippy ice cream van. Within seconds queues of animated parents and children would form in anticipation of indulging in their favourite soft-serve frozen ice delight.

Like most popular commercial trends the mobile ice cream van was an import to these shores. The archetype Mr Whippy emerged from the English Midlands city of Birmingham in 1958, starting with a modest six vans and copying the formula, look and business plan of America’s Mister Softee ice cream trucks (see below). By 1961 the homegrown Mr Whippy fleet on the road had extended to 150 vehicles. Mr Whippy came to Australia when company founder Dominic Facchino shipped six pink and white Commer Karrier vans out to Sydney in 1962. Two years later Mr Whippy vans landed on the shores of New Zealand. By this time Facchino had sold the business which was eventually acquired by industry giant Unilever. By the 1970s the Mr Whippy franchises down under were sold to private operators who varied the vans’ styling and colours (‘1962 Mr Whippy arrives in Australia’, Australian Food TimeLine, www.australianfoodtimeline.com.au). The NZ Mr Whippy operators switched vehicles (to Isuzu Elfs) as well as colour schemes (a common choice became orange and white with a yellow stripe)𝟙.

The ubiquitous Mister Softee (Photo: Elena Kadvany)

1956 was Year Zero for the mobile ice cream vendor. The first soft whip ice cream truck to venture onto the streets of suburbia was the brainchild of two Irish migrants to America, William and James Conway, living in Philadelphia. The initial ice cream run was prompted by St Patrick’s Day celebrations with the two brothers selling green-coloured ice cream in cones to the local West Philly community𝟚. The single van quickly morphed into a franchise business under the name “Mister Softee”, with headquarters in Runnemede, New Jersey, since 1958. At the height of the Mister Softee phenomena (late 1960s) they were operating 1,000 trucks across 15–18 American states. Today, the Mister Softee operations, still owned today by the Conway family, has scaled back the number of trucks as a consequence of both the growth of competing business and a national drop in the consumption of ice cream𝟛 (‘A Brief History of Mister Softee’, Daniela Galarza, Eater, 17-Jul-2015, www.eater.com).

Marchetti Bros ice cream van, 1980s Glasgow

A deadly serious side to the business
The sensory pleasures, the nostalgia, associated with the iconic ice cream van masks a darker chapter in its history. Glasgow in the UK in the 1970s and 80s was blighted by the growth of vast housing estates in its peripheries. With massive unemployment and a lack of infrastructure servicing these estates, the city’s ice cream van vendors experienced a boom in business
𝟜. The success elicited interest from Glasgow’s organised criminal gangs who sought to muscle in and use the trade’s popularity to sell drugs, bootleg commodities like cigarettes and even weapons. Rival gangs vied for a piece of the action, resulting in turf wars. The gangs employed intimidation and violence to coerce van drivers and owners into cooperation…in a notorious incident one local driver, Andrew Doyle, refused, with fatal consequences. Doyle worked for one of the “competing ice cream factions” (Bloomberg) in Glasgow, Marchetti Bros. After a failed attempt to kill Doyle on his ice cream van route, a rival gang succeeded in murdering the recalcitrant driver along with five members of his family in an arson attack on their home. Two men were convicted and sentenced, but were ultimately released on appeal after spending two decades in prison.

Mr Whippy Clones (Photo: 9Nine.com.au)

Generic Mr Whippy and the Clone Cone Vans
The popularity of Mr Whippy unsurprisingly has spawned numerous imitators wherever the original has had a retail impact. So much so that the name “Mr Whippy” today is a generic term for any ice cream truck selling the familiar soft-mix in single cones. Trademark holders of the name—such as Mr Whippy P/L/Franchise Food Co in Australia—have attempted to make small, independent operators in the field comply with their exclusive right to use the name and the playing of ‘Greensleeves’. Consequently, many imitators resort to using names that echo the famous original, eg, “Mr Softy”, “Mr Soft Serve”, and “Miss Whippy”, whilst continuing to offer up the standard menu of soft-serves, sundaes and milkshakes.

Mr Softee’s bête noir Master Softee (Photo: Newtown Pentacle)

NYC’s ice cream turf war
Across the Pacific the premier US soft-mix seller Mister Softee has been embroiled for years in an acrimonious turf war with an upstart competitor. A disgruntled former employee started his own rival ice cream truck business which infringed Mister Softee‘s trademark by blatantly copying it’s blue and white colour scheme, cursive lettering, mascot and distinctive jingle, not to mention ripping off its name. Mister Softee took the copycat “Master Softee” to court, forcing it off the road. Master Softee responded by rebranding itself as “New York Ice Cream” and allegedly launching a campaign of intimidation against Mister Softee drivers (‘As Summer Begins, NYC’s Soft-Serve Turf War Reignites’, Stefanie Tuder, Eater, 30-May-2017, www.eater.com). For its part, Mister Softee hasn’t been entirely squeaky clean in the affair, it resorted to hiring private eyes to spy on the movements of New York Ice Cream’s drivers.

early Good Humor vending truck (Source: mahoninghistory.org)

Endnote: From special treats for the elite to mass consumption item
The ice cream van made the frozen confectionary more accessible to more people but it wasn’t responsible for its popularity with the public. The treat itself goes way back. Imperial rulers in antiquity such as Alexander the Great and Roman emperors Nero and Claudius were known to have a sweet tooth for snow and ice concoctions flavoured with honey and nectar and other fruits. “Cream Ice” desserts graced the royal dinner tables of English and French monarchs in the 1600s. US presidents Washington and Jefferson were big fans (‘The History of Ice Cream’,
IDFA (International Dairy Foods Association), idfa.org ). In the 20th century the imposition of prohibition in America—together with technological improvements—more efficient refrigeration and better ice cream production methods—were a catalyst for the widespread popularising of ice cream in society…the nationwide ban on booze and bars left a void which ice cream and ice cream parlours rapidly filled (‘Why Ice Cream Soared in Popularity During Prohibition’, History Channel, 28-Jan-2021, www.history.com).

Photo: Manchester Evening News

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not necessarily the first mobile ice cream vehicle though…in 1920 Harry Burt in Youngstown, Ohio, began selling his “Good Humor” chocolate-coated ice cream bars from Ford trucks equipped with rudimentary freezers

𝟙 in New Zealand the franchise passed into the hands of ice cream manufacturer Tip Top

𝟚 William and James at the time worked for Sweden Freezer, a leading manufacturer of ice cream machines in the US

𝟛 to about 350 franchisees and 625 trucks

𝟜 the ice cream vendors also were purveyors of household staples (milk, bread, newspapers, etc) for the estates’ residents

Werewolves in Folklore and on Screen: Full Moons, Supernatural Curses, Wolf Belts and Silver Bullets

Cinema, Popular Culture, Social History, Society & Culture

When it comes to Hollywood horror cinema, zombies, vampires and Frankensteinish monsters seem to take pride of place in the Pantheon of celluloid supernatural “baddies”. The werewolf𝟙 on the other hand has tended to be find himself assigned to a backseat in the screen horror caper, often consigned to a secondary role, “second banana” to some other omnipotent monstrous brute, eg, as in Frankenstein Meets the Wolf Man (1943)𝟚.

Wolfmania ⌖ ⌖ ⌖ Cinema-goers got their first glimpse of werewolf horror in 1935 in a Universal film called Werewolf of London…storyline: an English botanist contracts lycanthropy after being bitten by a Tibetan werewolf, result, werewolf terror in London. But it was another Universal movie six years later, The Wolf Man𝟛, written by Curt Siodmak, that elevated the werewolf character to horror flick star status, making its star Lon Chaney Jr into an icon of the genre. The Wolf Man is a sympathetic “portrayal of a man who has no power over the raging beast within “ (Jim Vorel, ‘The 100 Best Horror Movies of All Time’, Paste, 5-Oct-2022, www.pastemagazine.com.

Chaney & Evelyn Akers in ‘The Wolf Man’

The premise in The Wolf Man and its various spin-offs is that the main character (Larry Talbot) is transformed into a therianthropic (hybrid) wolf-like creature, the result of either a curse or a bite or scratch. The film popularised many of the planks of werewolf mythology. The lycanthrope’s metamorphosis is triggered by a full moon; the werewolf is killed only by a silver bullet; the protagonist’s silver-headed walking cane, etc. Although there has been werewolves depicted on the silver screen before The Wolf Man, Chaney’s portrayal was “the incarnation that solidified much of the (werewolf) lore as we know it today” (‘The Werewolf Classic That Defined A Genre’, Stephanie Cole, Nightmare on Film Street, 28-Jan-2019, www.nofspodcast.com).

The Wolf Man formula was eminently copyable…Chaney reprised his Wolf man role in a sequel Frankenstein Meets the Wolf Man, described as Universal’s first “Monster Mash”𝟜 (‘Frankenstein Meets the Wolf Man’, TV Tropes, www.tvtropes.org), and then in 2010 there was a remake of Wolf Man with Benicio Del Toro in the title role. All three movies are serious flicks, straight-up pure horror movies. Many other Hollywood versions of the werewolf legend however have been out and out comedies or horror/comedies. Box office-topping comedy duo of the Forties and Fifties Abbott and Costello were unenthusiastic about a Monster Mash movie, however the producers wanted to exploit the emerging screen popularity of “Franky” and “Wolfie” – the result: Abbott and Costello Meet Frankenstein (1948) (with the Wolf Man thrown into the mix). The movie didn’t radiate much joy with the critics but proved a massive hit with fans, spawning a series of Abbott and Costello horror-themed comedies.

One werewolf comedy-horror flick emanating out of Hollywood that has scored some critical kudos is John Landis’ 1981 An American Werewolf in London 𝟝. The film’s successful blending of comedy and humour and its innovative if grisly makeup made it a cult classic and a box office triumph, returning over ten times its original outlay. More blandly prosaic is Teen Wolf (1985) with Michael J Fox as an average high school kid who shape-shifts into a werewolf. Described as a romantic, coming-of-age fantasy movie, it got mixed reviews but struck gold at the box office, taking in over $US80 million on a budget of just $US1.2 million.

Folklore: Werewolves in the popular psyche⌖ ⌖ ⌖ The werewolf may have been a subject for fun and even derision in the world of cinema, but in past times it has been viewed with total seriousness, especially in Europe. The genesis of the werewolf legend is nebulous, but the notion of a human taking a (malevolent) animal form is millennias old. Depictions of and references to men taking on a lupine appearance goes back to antiquity. From Medieval times folklore-driven fear of the werewolf was common in Europe and led to werewolf panics, especially in areas such as France and Germany which contained large populations of wild wolves (“A German Werewolf’s ‘Confessions’ horrified 1500s Europe”, Isabel Hernández, National Geographic, 13-Oct-2022, www.nationalgeographic.co.uk).

While Hollywood favoured the view that potent curses, wolf bites and full moons were the transformative agents for human to werewolf form, German folk tales from centuries ago reveal that all a man needs to do to turn into a ravaging lupine monster doing the Devil’s work is to don a belt or strap made from wolf’s fur (‘Werewolf Legends from Germany’, edited & translated by D.L. Asliman, www.sites.pitt.edu).

Lycanthropy/witchcraft nexus ⌖ ⌖ ⌖ In the Late Middle Ages and Early Modern era the hunting down and persecution of alleged werewolves and alleged witches to some extent went hand-in-hand. It was not uncommon for people accused of being witches by the church to be vilified for supposedly also being werewolves. The supposed ability of both to “shapeshift” seems to be at the nub of this guilt by association (‘Werewolves and Witchcraft’, Danny Sargent, Llewellyn, 13-Oct-2021, www.llewellyn.com).

London pamphlet (1590), primary source for Stumpf trial

Werewolf of Bedburg ⌖ ⌖ ⌖ If you were outed as a putative werewolf in this age of werewolf hysteria you could expect swift and savage, even barbaric, retribution from inquisitors, witchfinder-generals and other coercive control mechanisms of the state. One of the worst instances came from the Nordrhein-Westfalen region of Germany in the late 16th century. Peter Stumpf (or Peeter Stubbe), an alleged serial killer was accused and tried for werewolvery, witchcraft and cannibalism in 1589. Stumpf’s execution was one of the most brutal recorded – torn apart limb by limb on a wheel, beheaded and his body burned𝟞. Stumpf may or may not have been a serial killer𝟟, what he wasn’t is a werewolf. The wealthy farmer’s “confession” was extracted under torture and there is a suggestion that he might have the victim of political sectarianism. At a time of heightened Catholic/Protestant antagonisms, Stumpf is believed to have been a convert to Protestantism, so it may have been payback (‘Peter Stumpp: The Werewolf of Bedburg’, Darcie Nadel, Exemplore, 17-Aug-2022, www.exemplore.com; ‘Zum Fall Peter Stump’, www.elmar-lorry.de).

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𝟙 Old English: “wer” + “wulf”, literally man/wolf

𝟚 not to neglect a raft of others, minor supernatural fiends on the big screen, such as The Invisible Man, The Mummy and Gillman

𝟛 highly commended for its special effects by makeup artist maestro Jack Pierce who had provided FX for earlier classics of the horror genre, Frankenstein and The Mummy

𝟜 a coming together of monsters

𝟝 influential critic Roger Ebert was a dissenting voice on the movie’s merits

𝟞 it was believed that burning was another of the very few ways a werewolf could be killed

𝟟 some suspected werewolves were serial killers

Double Dennis, Double Menace – a Transatlantic Comic Strip Serendipity

Cinema, Creative Writing, Performing arts, Popular Culture
Jay North as Dennis in the American TV series

Anyone brought up on a diet of American comics or television since the 1960s would have come across that ultimate icon of juvenile mischief, “Dennis Mitchell”, better known as Dennis the Menace. Fictional Dennis from “Middletown” USA imprinted himself on the public consciousness first as a character in cartoons and comic books from the early Fifties, later as the subject of a popular American TV series (1959-1962), and then as a movie in 1993{a}.

Source: Pinterest

But if you happen to live on the opposite side of the Atlantic and are a similar consumer of comic strip popular culture then you are probably going to be more familiar with another and rather different “Dennis the Menace”. To generation after generation of Britons Dennis the Menace is not American, but a beloved, homegrown comic character who emerged out of a classic Scottish-based comic weekly The Beano in the 1950s.

The coincidence of two identically named sub-adult comic book characters evolving separately and independently has an even more remarkable, almost unbelievable, parallel. The two Dennises debuted as comic strip characters on either side of the Atlantic on the exact same day, 12th March 1951. Which “Dennis“ was conceived first by his respective creator cannot be known, but the two Eureka moments were certainly distinctively different.

Ketcham (1953), not dissimilar to Dennis Mitchell’s father in appearance

Genesis story of Dennis I and II
George Moonie (Britain) and Hank Ketcham (US) were the creators of their respective “Dennises”. For The Beano editor Moonie the idea and the name came to him when he heard the chorus of a music hall song…”I’m Dennis the Menace from Venice” and the name stuck. In American Hank Ketcham’s case his wife was the catalyst when she complained to the cartoonist about their four-year-old son Dennis‘ errant behaviour, describing him as “a menace”.

Source: Beano Studios

Both the British Dennis and the American Dennis have a talent for creating mayhem in the neighbourhood. Physically though they bear little resemblance to each other. Ketcham’s Dennis is a yellow-haired four (or five)-year-old, cherub-like boy with freckles, perpetually garbed in red overalls, whereas the British Dennis–as drawn by cartoon artist David Law—is a ten-year-old tearaway with a thatch of black spiky hair, shown always wearing his trademark red and black striped jumper.

Just William

Personality-wise the two Dennises are also quite a bit different. American Dennis’ mischievous ways annoy the hell out of adults, especially the Wilson’s’ long-suffering next door neighbour Mr (George) Wilson, but this Dennis is affable and basically a well-intentioned if compulsive-obsessive little boy. British Dennis on the other hand is real juvenile delinquent material, his full-on troublemaking antics mark him out as an unreformed and unrepentant bad boy, a hooligan in the making. Dennis can be seen as part of an Anglo tradition of naughty boys in kid’s lit connecting with the likes of famous fictional schoolboy Just William and Horrid Henry , [‘Dennis at 60’, BBC, 07-Mar-2011, www.bbc.com]

Sidekicks
British Dennis’ “besties” are Curly and Pie-Face (fellow “menaces”) but also prominent in the story is Dennis’ girl cousin Hermione Makepeace AKA Minnie the Minx, a rival to Dennis in the carnage creation stakes with a reputation as Beanotown’s “wildest tomboy”. Dennis Mitchell’s friends are the rather nondescript and naively loyal Joey and the feisty Margaret Wade who’s more of a frenemy and occasional nemesis to “The Menace”.

Canine deuteragonists
Boy’s best friend…both Dennises have a dog companion although Moonie/Law’s Dennis’ dog Gnasher—an Abyssinian Wire-haired Tripe Hound with black spiky hair to match its owner—didn’t get to make an appearance in the strips until Issue 1362 in 1968. Dennis Mitchell’s dog Ruff is a dog of a very different proportion, a Briad (a large French sheepdog{b})

Postscript: Bringing Dennis into line with the modern world
The arrival of the UK’s Dennis the Menace strip was a godsend to The Beano, boosting the comic mag’s flagging sales at the time. Today it is still The Beano‘s star vehicle{c} although the editors have had to tone down Dennis and some of his rougher edges. The 21st century Dennis the Menace is less anti-social, his more unsavoury traits such as bullying have been eradicated to conform to modern sensitivities [‘Beano hero: Dennis the Menace turns 70’, Alison Flood, The Guardian, 17-Mar-2021, www.theguardian.com]

~~~~~~~~~~~~~~~~~~~~~~~
{a} not to neglect several other iterations of Menace-Dennis in TV movies including at least one animation feature
{b} a Briad on the screen at least, in the comic strips Ruff’s breed is not clarified
{c} the British Dennis has also made it onto the TV screen but to a more modest extent than his American counterpart