Born 1923 in Tuscambia, Alabama; died July, 2003 in Tallahassee, Florida
"Ding Dong Daddy Pow in the Kisser" (1981) is from a series of lithographs with "stamps" representing kissing mouths that are also phallic and vaginal in their shape. This sexual innuendo is subtle and playful; a private joke about an infamous polygamist living in San Francisco during the 1940s nicknamed Ding Dong Daddy. Printmaker John Sommers once observed, "For Bill, it became an open invitation to make the fabled Ding Dong Daddy a vehicle, a way of expressing the duplicity in all society, particularly in art, and simultaneously to champion Ding Dong Daddy's philosophy of free expression, of being himself." At the time of his residency, Walmsley was exploring the fluid qualities of tusche floating cloudlike pools of color on top of one another and was among the few printmakers experimenting with new fluorescent inks developed by the Day-Glo Corporation. "I'm completing my drawing for a print that I can do in a few days since most of my prints take about 2 or 3 months—10 to 14 runs. This time I plan about 4 colors," Walmsley wrote Majeski shortly before his residency in early October, 1979. While in Omaha, Walmsley completed an edition printed by David Keister with assistance provided by students Barry Carlsen and William Gross. "The prints look good. I really appreciate the time that you all (all of you) put into it….Try my print in a black light—this print was really made for a black light in an almost dark room," Walmsley suggested after the workshop.

Ding Dong Daddy—Pow in the Kisser—Stamps
1979; color lithograph on Goya; image: 18 1/4 x 24 7/8 (46.4 x 60.96), sheet: 20 3/4 x 27 1/8 (50.8 x 68.58); edition of 30