Luke Judge

WHAT IS THE BUY PILE?

Every week Hannibal Tabu (two-time Eisner-winning journalist/blogger/novelist/poet/jackass on Twitter/head honcho of Komplicated.com) goes to a comic book store called Comics Ink in Culver City, CA (Overland and Braddock — hey Steve, Jason, Vince and Quislet) and grabs a whole lotta comics. these periodicals are quickly sorted (how) into two piles — the “buy” pile (a small pile most weeks, comprised of planned purchases) and the “read” pile (often huge, often including comics that are really crappy but have some value to stay abreast of). Thursday afternoons you’ll be able to get his thoughts (and they’re just the opinions of one guy, so calm down, and here’s some common definitions used in the column) about all of that … which goes something like this …

THE BUY PILE FOR APRIL 25, 2012

Merciless: The Rise of Ming #1(Dynamite Entertainment)Jump from the Read Pile.This is a very, very pleasant surprise. One of the only ways to cover new ground in terms of the planet Mongo and this franchise is literally covering new ground. these days, that means prequel, baby. Now, don’t worry about Jar Jar popping up — this prequel sticks to the racial balances of Flash Gordon lore. Lion Men, Frost People and Hawkmen, all holding a tenuous detente under the aging rule of Emperor Krang, the father of a certain Prince Ming, who’s “one to watch.” Using tools from the Darth Vader Management Handbook, Ming inspires results, enjoys the fruits of his position and enters into aggressive negotiations. On panel, Ming — even in his setbacks or chastisements — is riveting, courtesy of a razor sharp script from Scott Beatty and wonderfully evocative artwork from Ron Adrian and Roni Setiawan.

FF #17(Marvel Comics)Jump from the Read Pile. Step away from cosmic conflagrations and time travel tribulations for a moment. Let’s look at something simple: Johnny Storm and Peter Parker as roommates — a public hero hanging out with perhaps the Marvel Universe’s most repressed altruist. Framed by Peter Parker’s to-do list, this issue follows the ridiculous shenanigans of Johnny’s irrepressible immaturity combined with Peter trying to play it straight, a younger Oscar Madison and Felix Unger dynamic for a new century. done in one, entertaining from start to finish with enough “fantastic” flourishes to make the everyday instances interesting. Great stuff from Jonathan Hickman, Michael Hyun-Min Choi, Nick Dragotta and Guru EFX.

Transformers: Robots in Disguise #4(IDW Publishing)Jump from the Read Pile.A complex, internecine political drama … starring fifty foot tall robots that change into space ships and what not. yes. here, the eternal schemer Starscream has wheedled himself into a position of power, the tyro leader Bumblebee is in way over his head, and ‘Bee’s right hand ‘bot Prowl has a Machiavellian modus operandi while struggling with the slippery slope of moral compromise for a perceived greater good. Murder, mind control, double crosses and brinksmanship, all in the broken ruins of a war torn world.

WHAT’S THE PROGNOSIS?

Add to those three “Avengers Roll Call” and you’ve got one entertaining week worth of purchases, especially given that nothing was guaranteed a ride home.

THIS WEEK’S READ PILE

Honorable Mentions: Stuff worth noting, even if it’s not good enough to buy

Set in the Force-free world of scoundrels and scum, “Star Wars Blood Ties: Boba Fett Is Dead” #1 follows the fallout of the galaxy’s most dangerous bounty hunter getting assassinated. The issue wasn’t bad, as the plot moved quickly and the art was great, but none of the characters was fleshed out enough and unless you’re a Wookiepedia regular, many names here would not register in the average mind.

The fascinating Megacrime story gasps and rolls over to expose its underbelly in “Daredevil” #11, an inconclusive conclusion that was nonetheless beautifully rendered. Frank Castle’s character was great, as was Peter Parker, but Matt Murdock’s tedious and sanctimonious monologuing combined with the weak ending to make it “not quite good enough.”

“The Activity” #5 was very, very close to making it home with a clever twist conclusion. Unfortunately, the road to get there was overly lengthy involving interrogation scenes that made “24″ look like it was written by Shakespeare. Not bad though.

If you liked “The Italian Job” or “Ocean’s 11,” “Supercrooks” #2 will feel amiably familiar. with quick dashes of characterization and witty banter (the attempt at rekindling a romance is the best, but the brothers are great too), you can tell how well this would play on the silver screen. however, on the printed page, this issue needed a little more meat on its narrative bones.

The tension and suspense in “Road Rage Duel” #3 was very well developed, as an everyday joe struggles with an impossible situation. normally, such an anonymous antagonist might not work, but the almost Jason Voorhies-esque menace of this truck managed to make sense. if this were on TV, it’d be great, but it wasn’t quite enough to get bought.

“Bloodstrike” #27 was a surprise, cloaked in tones of the 90s’ excesses, it still managed to layer on some nuance. Some of the gags are familiar to modern sci fi fans — a pinch of “Battlestar Galactica” here, a dash of Whedon-styled snark there, a smidgen of the X-Men over there — but it ended up some interesting notes being played in a plodding song.

The “Meh” Pile Not good enough to praise, not bad enough to insult, not important enough to say much more than the title

“Angel and Faith” #9, “Batman: The Dark Knight” #8, “Star Wars Crimson Empire 3: Empire Lost” #6, “Aquaman” #8, “Netherworld” #5, “Blackhawks: #8, “Astonishing X-Men” #49, “Fury of Firestorm: The Nuclear Men” #8, “Lil Depressed Boy” #10, “Captain America” #10, “Teenage Mutant Ninja Turtles” #9, “Green Lantern: New Guardians” #8, “The Darkness” #102, “The Mighty Thor” #13, “New Deadwardians” #2, “Moon Knight” #12, “Rebel Blood” #2, “Savage Hawkman” #8, “Danger Girl: Revolver” #4, “Teen Titans” #8, “Popeye” #1, “Voodoo” #8, “Snake Eyes” #12.

No, just … no … These comics? Not so much …

Wow. “Battle Scars” #6 … just … wow. if you’re in a mind for [SPOILERS], to put it succinctly, Marvel did something really stupid trying to get all of their properties to line up, dragging in movie (and Ultimate) ideas to the “regular” playbox, ignoring things like “lines of succession” and “logic” (aside from shuffling off a storied character into obscurity). It’s frustrating because it’s such a forced conclusion, and one that was “developed” (and that word is being used generously) in a “story” of such tepid, overwrought mess. really insulting to the intelligence of the long time fan and offering very few elements to hang on to for neophytes.

May as well cover “Rich Johnston’s ScienTHORlogy” #1 and “Rich Johnston’s Captain American Idol” #1 at the same time, as they’re both the same long in-joke, riffing on the plots of the two hit summer films of last year, reminding you of their good elements while being terrible at the same time. especially the bit with Natalie Portman.

“AvX: Vs” #1 was terrible. Imagine the worst fan fiction ideas you can consider, and they’ll look a lot like this. There are two fights, and neither make a lick of sense, with Magneto channelling Alec Guinness from 1976 and Namor … oh, Namor. Wow.

“Flash” #8 has a bad time for a Tuskegee Airman (why did so many bad things happen to people from Tuskegee?) as Turbine talks and talks and talks and talks about Barry’s powers and his function in the universe, which is crazy and adds so much extra to the character that’s not of value.

Retcon, party of one. In order to make the crossover seem even more important, “New Avengers” #25 jams one old X-Men concept deep into the history of another Marvel hero, somehow robbing each of significance and doing more to slander gingers everywhere. Make it stop.

“Legion Lost” #8 features a team of super powered people from a thousand years in the future. So, the idea of them fighting anybody in this century is the equivalent of, say, modern SWAT policemen fighting knights in armor. Doesn’t seem like it’d be very fair for the sword swingers. So, how is it that these futuristic, spacefaring, super powered teens — who regularly take on the likes of the Persuader and the Khunds — have more than five seconds worth of combat? what happened here is ridiculous. In a bad way.

“We will try!” Thor’s all about speeches and boozing in “Secret Avengers” #26, which is so embarrassing a failure that it had War Machine as a crucial element of trying to stop the Phoenix Force. Not even Tony Stark, but regular old “guy in a suit” War Machine. terrible, ill-conceived stuff.

SO, HOW BAD WAS IT?

Seven stinkers outweigh six okay books, especially with that mound of “meh” in between.

WINNERS AND LOSERS

Three jumps just barely win the week with so many really, really terrible comic books in play.

THE BUSINESS

The new headgear from Google, Left Eye’s tour plans from beyond the grave, Grimlock smashing in a new “Transformers” video game trailer, a “Carlton Dance” flash mob, free MP3 downloads, birthday love for Hamp and Luther and the lost song from one-hit wonder Rockwell — that’s just some of the stories that hit last week on Komplicated.com, including a special appearance on the popular web radio show Sunday Morning Live discussing the anniversary of the Los Angeles Uprising. Updated at least three times a day, every day, Komplicated is doing it for the block and the blogosphere, capturing the Black geek aesthetic.

Got a comic you think should be reviewed in The buy Pile? if we get a PDF of a fairly normal length comic (i.e. “less than 64 pages”) by no later than 24 hours before the actual issue arrives in stores (and sorry, we can only review comics people can go to stores and buy), we guarantee the work will get reviewed, if remembered. Physical comics? Geddouttahere. Too much drama to store with diminishing resources. if you send it in more than two days before comics come out, the possibility of it being forgotten increases exponentially. oh, you should use the contact form as the CBR email address hasn’t been regularly checked since George W. Bush was in office. sorry!

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transformers Comics afternoons, hannibal, piles

Visually, the graphics and 3-D technology are stunning. This is a movie that truly exemplifies what 3-D films should look like, with chunks of shattered buildings flying toward the viewer during fight scenes. The audience enjoys a new element of depth in even the simplest of shots, from a camera angle down an elevator shaft to following Iron Man's flights in his jet-pack-powered suit. This makes the film appear more interactive, allowing fans to feel truly immersed in the experience.

In addition to the alluring aesthetics, the most charming aspects of the film are the eclectic bits of personality each Avenger brings to the plot. There's a tinge of Tony Stark's self-absorbed cocky nature pitted against the humble yet heroic Captain America. The reclusive Hulk and stealthy Black Widow also help make for a compelling mix of characters. Thor and Loki, separated brothers and each gods representing the struggle between good and evil, add to the mounting conflict throughout the story as well. for viewers who haven't seen each character's individual feature film, there are enough backstory bits and revelations of personality traits to keep them in the loop.

With a star-studded cast representing Marvel's Avengers, there was little room for failure in terms of performances. The audience is familiar with most of these actors from previous screen adaptations, but this is the first time mark Ruffalo has played The Hulk, following in The Hulky footprints of actors such as Edward Norton and Eric Bana.

The 44-year-old actor certainly has a variety of film genres under his belt, with big roles in movies ranging from the quirkily romantic “Eternal Sunshine of the Spotless Mind” to the psychological thrillers “Shutter Island” and “Zodiac.” but Ruffalo fit into the time-bomb-tempered Hulk role well, acting as a scientist constantly struggling to keep his anger under control.

Underneath all the attention-grabbing combat and impressive visual effects, the movie is true to the comic book's feel-good ideals. The Avengers — alongside Nick Fury, the admirable agent Phil Coulson (Clark Gregg), and the rest of S.H.I.E.L.D.'s staff — board a massive aircraft to track down the coveted cube. with each supernaturally strong personality bottled up in one location for an extended period of time, tensions are bound to rise. This is exactly what Loki and his minions had hoped for, with the heroes' negative energy fueling the powerful cube.

But, in true comic-book fashion, when the heroes realize they need to put aside their differences and work together, success ensues.

“The Avengers” achieves just what the graphic novel intended: to tell a great story. one of the hallmark features of comics is the ability to portray moral-reflecting themes through images and dialogue, and that's exactly what Whedon did with “The Avengers” motion picture.

The movie delivers what fans love about graphic novels, leaving the audience feeling somewhat heroic, empowered, and fulfilled. in one of the most compelling and rewarding scenes in the film, Iron Man states something along the lines of: “If I can't save the world, you can be damn sure I'll avenge it,” encapsulating the energy and determination apparent throughout the adventure.

“The Avengers” makes its U.S. debut on May 4 in 3-D and IMAX theaters. Check out the trailer below, which premiered during the Super Bowl this year.

To report problems or to leave feedback about this article, e-mail: to contact the editor, e-mail:

aliens Comics captain america, d technology, elevator shaft

As a native of Cache Valley, she got her start in horticulture at Utah State University. “I got interested in horticulture when I took a home horticulture class at USU. I fell in love with the idea of that being a career.

“I moved to Salt Lake City away from USU but I discovered USU classes being taught in Farmington that I took. I eventually moved back to Cache Valley to get my horticulture degree.”

Her focus at this time of year is to get her plants up and growing. she has many choices of how, what and when to propagate, but she favors perennial plants.

“I operate the greenhouse and propagate the plants many different ways. I propagate from seeds, from cuttings and from divisions,” she says.

“Most of the flower beds are mostly perennials. I spot plant those beds with annuals to give me more summer color. There are still a few beds that are only annuals and there are a few that we plant for spring color with pansies and bulbs.”

Because of her extensive experience in plant propagation, I asked her to share advice on how to start plants. she shares her knowledge to help homeowners get their plants off to a good start.

“Most homeowners do not have enough light to propagate plants easily. that means they will have to build a light table of some sort to be successful.

“Next, you have to have to the right temperature. for most seeds you need to have soil temperatures of 70 degrees. Perennials can be a little cooler but plants like begonias need to be much warmer. Some perennials are even trickier because they need a combination of cool, moist conditions followed by warmer temperatures.”

The final difficulty is the right growing mix. Younker buys commercial mixes and she starts her plants in a germination mix that has very fine particles. she then switches to a coarser mix that has larger particles of bark, perlite or pumice to improve the drainage.

Propagating plants is interesting because of the many different ways to start the plants. Younker showed some variegated, scented-leaf geraniums and other plants that have been part of the university plantings for many years.

uk Comics & Annuals horticulture degree, usu, utah state university

Martin Barre, the 65-year-old guitarist for legendary British band Jethro Tull, said that the group will never record another album.

In a telephone interview with the online Kinston Free Press Daily Podcast that was set up primarily to discuss the 40th anniversary of the band’s triple-platinum LP, “Aqualung,” Barre was asked about whether there will be a new Jethro Tull studio album, Barre didn’t hesitate. “No, there won’t be,” he immediately answered. When asked for a reason, he said, “Jethro Tull is on ice.”

One of rock music’s great guitarists, the man, who joined Tull in 1969 and has played on every one of the group’s 21 studio albums except its 1968 debut album, “This Was,” noted that group leader Ian Anderson is booked with solo projects for the next two years. He then added that he also has solo projects planned during that time. He said he and Anderson will tour the world separately, each playing the music of Jethro Tull.

Barre said his band will include as many as three current or former Tull members. He expressed some dissatisfaction with Anderson’s decision to perform many of the same songs tour after tour, ignoring much of the band’s deep catalog.

Barre said his tour will include Tull’s guitar-based songs that fans have not heard in concert in many years, such as “Teacher,” “Minstrel in the Gallery,” “To Cry You a Song,” and rarely performed portions from the epic early ’70s albums, “Passion Play” and “Thick as a Brick”; songs he said, “are classic Tull tracks that haven’t been done in 20 or 30 years or more.”

He added, “We won’t be regurgitating what Jethro Tull did last year, or this year, or the year before, which I find fairly pointless. We’ll give a new take on Jethro Tull with tracks that, I think, everybody will really want to hear.”

Regarding “Aqualung,” Barre said that recording that album was not necessarily a pleasant experience due to the pressure put on the band to deliver a great album after the band’s growing success. Each of Tull’s prior three albums, 1968′s “This Was,” “Stand Up” in 1969 and “Benefit” in 1970 (that he lists as his favorite), were more successful than the previous album and the move was made for the band to jump from smaller halls to 15,000-20,000-seat major arenas. “It was quite a traumatic album to make, but it became a good album.”

ROCK & ROLL HALL INDUCTEES

Scottish folk rocker Donovan, and the awkward combination of The Small Faces and the group it morphed into, The Faces, that then became Rod Stewart and The Faces, lead the 2012 list of inductees into the Rock and Roll Hall of Fame. The induction ceremony will be held on April 14 in Cleveland and broadcast in early may on HBO.

The largest list of new members in quite some time also includes The Red Hot Chili Peppers; Guns N’ Roses; The Beastie Boys; and the late singer-songwriter Laura Nyro, who wrote such hits as “Wedding Bell Blues” for The 5th Dimension, “Eli’s Coming” for three Dog Night,” “And When I Die” for Blood, Sweat and Tears; and “Stoney End” for Barbra Streisand.

Blues singer-guitarist was elected as an Early Influence, and record producers Tom Dowd, Glyn Johns and Cosimo Matassa will each receive the Award for Musical Excellence. TV host/producer Don Kirschner, who died in January at age 76, will receive the Ahmet Ertegun Award for non-performers.

In the `60s, Scottish troubadour Donovan scored hits such as “Mellow Yellow, “Hurdy Gurdy Man,” “Catch the Wind,” “Sunshine Superman” “Wear your love Like Heaven” and “Atlantis.”

The Small Faces were led by Steve Marriott, who later formed Humble Pie with Peter Frampton. While the group recorded numerous hits in Britain, they only notched one hit in America, the psychedelic drug anthem, “Itchycoo Park,” in 1968. After Marriott left, remaining members bassist Ronnie Lane, drummer Kenny Jones and keyboardist Ian McLagan brought in singer Rod Stewart and guitarist Ron Wood from The Jeff Beck Group and the shortened their name to simply The Faces. As Stewart’s fame rose the group eventually became Rod Stewart and The Faces.

MOODIES HONOR “FUTURE PAST”

The Moody Blues, who scored their first hit, “Go now,” as a British Invasion band in November 1964. however, the band failed in their attempts at a follow-up hit and this led to the departure of that songs lead singer, guitarist Denny Laine and also bassist Clint Warwick. Their replacements, singer-guitarist Justin Hayward and singer-bassist John Lodge, proved a Godsend, as they converted the group from an R&B-based outfit to a classic rock band that went on to achieve legendary stature.

The Hayward-led Moodies’ most acclaimed album was his first with the group, a masterpiece recorded and released in 1967, “Days of Future Past,” that included Hayward-penned smash hits, “Tuesday Afternoon” and “Nights in White Satin.”

The Moody Blues, which still includes Hayward, Lodge and original drummer Graeme Edge, will celebrate the 45th anniversary of “Days of Future Past” on the band’s “They Voyage Continues – Highway 45″ tour of the eastern United States in March and April. So far, no dates on the remainder of the US have been announced.

NEW CAT STEVENS MUSICAL

Yusuf Islam, who found world fame in the `70s as Cat Stevens, has a new musical about his life, “Moonshadow,” named after his 1971 hit single. Yusuf announced that the production will have its world premiere at the Princess Theatre in Melbourne, Australia in may 2012, reports ABC Online. The musical will feature songs from throughout his career, including the Cat Stevens hits “Wild World,” “Father and Son,” “Morning Has Broken,” “Peace Train,” and “The first cut is the Deepest.”

A press release described the story by the 63-year-ol troubadour who first found fame as a 19-year-old in 1967 when The Tremeloes scored an international smash with his song, “Here Comes my Baby,” as “about hopes and dreams; greed and power; right and wrong; but mostly `Moonshadow’ is about happiness and love.”

In December 1977, near the peak of his career, the musician converted to Islam. Two years later, he auctioned off all his guitars, gave the money to charity and retired from music, opting to devote his time to the Muslim community, mostly in England, to its educational and charitable endeavors. He returned to pop music in 2006.

YOKO ONO & THE QUEEN

While on a tour of The Beatles hometown, Liverpool, Queen Elizabeth met John Lennon’s widow, Yoko Ono, according to Britain’s Daily Mail.

Ono, who turns 79 in February, flew in from her home at the Dakota in new York City for the occasion. The Queen was accompanied by her husband, Prince Phillip. The two iconic women met at the Museum of Liverpool at its exhibit of Beatles memorabilia, the iconic collarless suits worn by the Fab four in 1962-63.

Ono, who had met Her Majesty before, said, “She is always elegant. It’s always nice to meet her.” of the 85-year-old Queen’s long deep burgundy wool coat and matching hat, Ono said, “I was so amazed. That particular color, it made her look so young.”

Ono, with her Yoko Ono Plastic Ono Band, is opening for The Flaming Lips in their hometown on new Year’s Eve, where she will sing “Happy XMAS (War is Over0″ with her hosts. Also, Britain’s NME (New Musical Express) reported that Ono and The Lips have collaborated on a version of “Atlas Eets Christmas” that Wayne Coyne and his psychedelic rockers released in 2007 on its Christmas album. Ono and The Flaming Lips collaborated before, in 2007, on “Cambridge 1969/2007.”

SIR PAUL & PAL

Ron Wood, the 64-year-old guitarist for both The Rolling Stones and The Faces, join Paul McCartney at The Beatle’s concert at London’s O2 Arena. Wood provided Chuck Berry-type rhythm riffing on Macca’s first encore, “Get back,” before taking a solo near the end of the song, according to the U.K. daily, the Mirror. Sir Paul debuted three never-performed songs into his repertoire, “The Night Before,” from “Help!”; “The Word,” a 1965 song from “Rubber Soul” that was mostly written and sung by John Lennon; and “Come and get it,” a song McCartney wrote in 1969 for the film, “The Magic Christian,” that starred Peter Sellers and his fellow Beatle, Ringo Starr. The song was originally intended for The Beatles’ “Abbey Road” album and Paul recorded a solo demo at the sessions for that album in less than an hour, playing all the instruments. however, he gave the song to Badfinger, who were newly signed to The Beatles’ record company, Apple. it proved Badfinger’s hit, going Top 10 internationally. Wood attended McCartney’s recent wedding to Nancy Shevell and the also the private reception.

However, another McCartney pal didn’t. his lifelong friend of more than a half-century to the Liverpool days when they each performed at the Cavern Club, singer Cilla Black, says that like Julian Lennon, she was snubbed by not getting a McCartney wedding invitation. “It would have been nice to have been asked,” she said, according to Britain’s Daily Mail.

Black, who has remained a major singing and television star in England through the decades. The 68-year-old Black is aware that this wedding, his third, was a far smaller and more intimate affair than his second, a massive, extravagant affair in 2003 to Heather Mills.

Black hit our shores as a British Invasion star in 1964 via the George Martin-produced, “You’re my World” that reached #26. Her debut single, in 1963, was a Lennon-McCartney composition, love of the loved.” The follow-up single, “It’s For You,” was also penned by Lennon-McCartney was an international hit everywhere except in the United States. in 1967, McCartney wrote “Step Inside Love” for her that became the theme song for her hit BBC TV series, “Cilla.” The record featured McCartney on vocals and acoustic guitar, John Lennon on bongos and Ringo Starr on wood claves (blocks).

GEORGE JONES PAYS TRIBUTE

Eighty-year-old country legend George Jones honored a fellow country music legend to whom he was married from 1969-75 when he performed at the Tammy Wynette Birthplace Concert in Itawamba, MS, according to Vintage Vinyl News. The concert raised funds for a park to be named after Wynette, who died in 1998 of a blood clot at age 55. in his set, Jones included two hits songs that he recorded as duets with Wynette, “Take Me” and “Golden Ring.” said Jones, “I know if she could be here she would really appreciate it so much.” she was a great singer and she deserves anything being done for her. and I appreciate it on my part.”

NEW RELEASES

Among the new CDs and newly digitalized rereleased CDs and deluxe reissues include the American version of Doris Day’s first album of new recordings since 1967, “My Heart”; The Cure’s 2-CD “Bestival Live 2011″; “The very best of Neil Diamond”; “Live at the Mar Y Sol Festival `72″ fro Emerson, Lake and Palmer; “Preaching the Blues,” a live album from the first post-Peter Green Fleetwood Mac, circa 1970, with John McVie, Mick Fleetwood, Christine McVie, Jeremy Spenser and Danny Kirwan and “Tribute: one Man one Voice” by Southern soulster Willie Clayton.

Also new is the 2-CD, “Pno Gtr Vox: Live Performances By Peter Hammill,” from the founder of English progressive rock band, Van der Graff Generator; Allman Brothers and Gov’t Mule guitarist Warren Haynes’ 2-CD “Benefit Concert 4″; an import, “Live at Rockpalast” from The Ian Hunter Band featuring Mick Ronson; an import, “Listen Like Thieves,” from Aussie rockers INXS; “Old School” from E Street Band guitarist Nils Lofgren; “Lonesome Whistle: A Tribute to Hank Williams” from country harmonica player Charlie McCoy; an import, “Dead Son Rising” from synthesizer-electronic guy Gary Numan; “The Secret Bees of Ninth,” an EP from former Bauhaus singer, Brit Peter Murphy; and a 10-CD/DVD set, “The Return of the Spectacular Spinning Songbook” by Elvis Costello.

Among the new DVDs are “Live at Beacon Theatre” from The Allman Brothers; “Live” from former singer-bassist for Chicago, Peter Cetera; “Live Performances” from Chicago; and “Love we Make” from Paul McCartney.

LITTLE RIVER BAND CHRISTMAS

Australia’s Little River Band, that initially hit our shores in 1977 with “Help is On its Way” and found real fame a year later with the no. 3 soft-rock smash, “Reminiscing,” has released its second holiday in a row. The new album, “A Little River Band Christmas” follows on the heels of its 2007 CD, “We Call it Christmas.” The new album includes new songs as well as traditional carols like “Silent Night,” “We three Kings” and “O, Little Town of Bethlehem.” The Little River Band plays the Green Valley Ranch Resort and Spa in Henderson, NV on Feb. 25.

PAUL ANKA CHRISTMAS

Fifties teen idol Paul Anka has released his first Christmas album since 1960. “Songs of December,” see the 70-year-old songwriter of “Diana” and “My Way” running through such traditional goodies as “Winter Wonderland,” “Let it Snow,” “Silver Bells” and eight more.

SUPER BOWL HALFTIME

Madonna will headline the halftime show at Super Bowl XLVI on Feb. 5 at the Lucas Oil Stadium in Indianapolis. Adding to the visuals during the 12-minute performance will be Cirque du Soleil. The game and Madonna’s halftime show will air on NBC and is expected to be one of the most-watched shows of television year.

LIONEL RITCHIE HONORED

Harvard University honored former Commodores frontman Lionel Ritchie with its Peter G. Gomes Humanitarian Award for the 62-year-ol singer’s philanthropic work. He was also specifically cited for co-writing “We are The World,” the 1985 benefit song that raised million of dollars for victim of hunger in Africa, and for his advocacy of breast cancer research.

BLUESMAN SUMLIN DIES

Masterful blues guitarist Hubert Sumlin, who se playing influenced countless rock guitarists, especially former Yardbirds Jimmy Page and Eric Clapton, died in Wayne, NJ at 80, according to the new York Times. no cause of death was given.

Sumlin originally backed up legendary Chicago bluesman Howlin’ Wolf in 1953, including on the classic 1956 hit recording, “Smokestack Lightnin’,” that was a popular song for The Yardbirds. Sumlin is also the lead guitarist heard on another legend, Willie Dixon’s, “Spoonful” that was covered by Clapton and Cream and “Back Door Man,” popularized in the `60s by The Doors, and “The Red Rooster,” that The Rolling Stones covered as “Little Red Rooster.”

Sumlin, who Rolling Stone magazine included on its recent list of the Top 100 Guitarists of All Time, was inducted into the Blues Foundation Hall of Fame in 2008. He was performing almost until the time of his death.

OLDEST PERFORMING MUSICIAN DIES

Ukulele player Bill Tapia, who was believe to be the world’s oldest performing musician, died in Los Angeles at age 103, according to Reuters. Tapia played with greats going back to the `30s, including Louis Armstrong and Bing Crosby. six months ago a live recording of his 100th birthday celebration, was released. He was inducted into the Ukulele Hall of Fame in 2004. The man who began his career entertaining troops in World War I was still touring until last year.

DOBIE GRAY DIES

Soul and pop singer Dobie Gray died in Nashville at 71, according to a post on his website and confirmed by Nashville’s News Channel 5. no cause of death was cited. Gray was best known for “Drift Away” that hit no. 5 on the Billboard Hot 100 in 1975. The song sold more than one million copies and remains a radio constant. Gray’s first hit occurred eight years earlier, in 1965, when he took “The `In’ Crowd” to no. 13 on the Hot 100 and no. 11 on the R&B chart. interestingly, pianist Ramsey Lewis had an instrumental hit with the song that same year. Gary only hit the Top 40 one more time, in 1979 with “You can Do it.”

green Lantern Comics aqualung, rock music, studio albums, triple platinum

TOWN FLIER is the weekly fans’ blog about all matters relating to Swindon Town FC

9:46am Wednesday 21st December 2011 in Sport

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MORECAMBE presented the strangest opposition I have seen at the County Ground in some time.

Only one defeat on the road until Saturday testifies to the success of their tactics, but I can only imagine that they have bored their rivals into submission.

Their sort of tippy tappy football to and fro across the back four makes a mockery of any possession statistics – the one flaw in their strategy was when they went 1-0 down and 2-0 down, as they didn’t have a Plan B, and the tippy tappy robotic football continued.

Town didn’t see a lot of the ball in an uneventful first half and given the disappointing displays from his front two, Paolo Di Canio might have been entitled to give part II of his Bristol Rovers rant in the half-time team talk – but for the fact that his side were 2-0 up at the time.

Lukas Magera was almost totally ineffective; Jake Jervis covered a lot of ground to little effect and when he did score, it came off the point of his shoulder. Well, they all count.

elsewhere, the back five looked secure again and when called upon, Wes Foderingham made one fabulous save low down to his right, preventing a Morecambe equaliser.

then, on the stroke of half-time, Raffa di Vita managed to score from directly behind his marker. I’ll show my age by mentioning a favourite childhood TV show, Twizzle – a pre-Thunderbirds puppet affair from the Gerry Anderson stable, in which the main character could extend his arms and legs at will.

I can only imagine that di Vita has that ability, having bent his leg forward and around defender Andy Parrish to score.

Praise too for Jonathan Smith who played as well as I have seen him. Of course, there are the occasional borderline reckless, showboating tackles, but you also get bundles of energy. Numerous Morecambe attacks were broken up by the simple expedient of chasing down the ball and having the physical presence to stand his ground.

Meanwhile, substitute Ronan Murray’s sidefoot finish for the third goal was delightful and by no means his only telling later contribution.

Nonetheless, Paolo had better hope Santa Claus brings him the two strikers he wants because lack of firepower up front is the only thing holding us back.

Read these Sport stories

thunderbirds & Stingray Comics plan b, submission, time team

We all know that most advice columns are more about entertaining readers than about giving useful, logical counsel, and that’s fine, but, believe it or not, sometimes those two things can exist symbiotically.  Advice columns have gone from exclusively being the domain of prim and prudish agony aunts to giving realistic, down-and-dirty real-talk answers.  The expectations and morals of both readers and writers are changing, and it’s making for some really good articles.  If you’re a little voyeuristic, like me, then advice columns are a perfect read. if you’re at all savvy to alternative newspapers, then you know that the figurehead of this trend is Dan Savage, who writes a sex-advice column, “Savage Love.” his column’s been running in “The Stranger” and in syndication by other publications for almost twenty years now, and for good reason – he gives funny, kinky sex-positive advice that often goes against the grain (e.g. advocating cheating in some situations and celebrating weird fetishes) and satisfies curiosities that readers can’t indulge elsewhere, especially not at the myriad knockoff columns that emerged in the wake of “Savage Love,” like The L Magazine‘s “The Natural Redhead” and Time Out new York‘s “get Naked.”  Trust me, go with the original.

Relationship junkie Lesley Arfin is a relatively new player in this line of work, but she writes in a way that has established her quickly in the field.  Her column, “ask Barf” at Street Carnage gives rational advice in answer to people’s irrational friendships, relationships, and living situations in a way that’s simultaneously sweet and hilariously realistic.  Sample line to a woman who’s got boyfriend anxiety: “I think you have a case of what my friends and I call ‘hate you first.’  When you diss someone first or come up with excuses of why you don’t like them, you never have to get dissed.  You’re protecting yourself from the pain of getting hurt.  It’s pretty common.  Everyone on Seinfeld is a good example of it.”  Her column’s best feature is its accessibility to people who wouldn’t normally write to something in its vein.  Viva Barf!

Jezebel’s long-running video column “Pot Psychology” has a simple, but winning premise: Tracie Egan and Rich Juzwiak get stoney bologna and answer questions from the masses, which are often dirty-minded and usually pretty funny.  There’s always some kind of winning 1980s single accompanying their advice in the background, making it that much more attractive to yours truly.  In some of the most recent installments, they’ve examined the ChatRoulette phenomenon and given advice about, um, maxi-pads.  Although I’m not as experienced as these two in the advice-giving world, I feel that I can safely counsel you against watching the videos at work.

Emily Yoffe  combines the old school of advice columnists with more modern ideologies in Slate‘s “Dear Prudence” column (great name, right?) – think “Dear Abby” with a clue.  She comes off like a concerned parent who keeps a level and loving perspective in the face of some truly insane questions, even managing to do so spontaneously in a live chat that she holds with readers every Monday.  Prudie’s column has become one of the biggest draws for Slate, and rightfully so.

us Comics advice columns, agony aunts, dan savage, good reason, sex advice column

So you’ve bought Minecraft and spent some time mucking around in a blocky wonderland–and now you want a little more out of the experience. this is where mods come in.

Installing mods for a single-player client is a somewhat convoluted process. The steps vary from mod to mod, so you’ll want to follow the instructions listed on the particular mod you’re looking for, but the general technique is the same. I’ll walk through installing one mod on Windows: Minecraft user jamioflan’s World War 2 Guns. this mod adds MP40s, bazookas, and the like, to exact vengeance on nefarious hordes of zombies and creepers.

Jamioflan’s forum post provides links to the mod proper, along with a few necessary files: ModLoader, AudioMod, and ModLoaderMP. The Minecraft community developed those three tools to enable mods to function properly. You’ll also need a compression tool–WinRAR or 7-Zip–so grab one of them (I use 7-Zip) if you don’t have an app handy already.

First find the ‘minecraft.jar’ file. Click the start button, and type ” %appdata% ” into the search window (without quotation marks but with one space before and another after the typed string) to get to Windows’ application data folder. The folder ‘.minecraft’ will be at the top. Open the folder titled ‘bin’, and look for the file ‘minecraft.jar’–this is where the magic happens.

When you find it, make a copy of ‘minecraft.jar’, and stash it somewhere. if something goes wrong, you’ll want a clean copy to start over with. Right-click the original minecraft.jar, and open the archive with Win-RAR/7-Zip. You’ll see a long list of files in a new window. Follow the instructions provided by the mod at this point: for the WW2 Guns mod, you’ll copy all of the ‘.class’ files from ModLoader, ModloaderMP, AudioMod, and the WW2 Guns mod into the open ‘minecraft.jar’ archive.

The last and most important step: Delete the ‘META-INF’ folder inside the ‘minecraft.jar’ file; otherwise, Minecraft will just crash when you start it up. Close the file when you’re done.

And with that, you’re set! this particular mod requires collecting materials, so if you want to see whether it worked, create a new world in Create mode, and spawn a few guns to see them in action.

Installing mods on the server client is much easier.

The first step is to install CraftBukkit and have it running on the server. The Bukkit wiki offers instructions, as well as a pair of simple applications that will get you started without any code-wrangling.

The first option, involves ‘How to Install Bukkit (Newb Friendly)’, a simple batch file that will look for any server mods and fire up your server with them enabled. Download this file and then double-click the html shortcut file labeled Latest CraftBukkit Download to get the latest version of the CraftBukkit Java executable.

Stick that and the CraftBukkit Starter.bat file you’ve already downloaded into your Minecraft server, and double-click the batch file. it will open a console window, create a fresh world (or tap into yours), and start your server.

The second option is a bit more robust. ImminentFate’s CraftBukkit Installer is a Windows-only application that you’ll need to install on your PC. Once it’s running, the app will list all of the plug-ins that it finds. CraftBukkit Installer is definitely the more user-friendly of the two options, with a clean interface and neat features, including managing worlds and attempting to automatically update all of the plug-ins you’re using.

Whichever option you choose, installing mods is simple: Download one, and dump it into the ‘plugins’ folder that either app creates.

Now you just need to find these mods I keep talking about. The official Minecraft forums’ Mods section is a good place to start looking, if you just want to browse new, popular additions to your experience. The mods can range from adding new blocks and tools, to introducing full-fledged conversions that turn Minecraft into an entirely new experience. Many of them are technically cheats–mods that tell you where to find rare minerals or that add macro commands for controlling your health levels and the like. Use them at your own discretion.

For the server side of things, the Bukkit dev website hosts an exceptionally large number of mods. These are conveniently arranged into categories, which simplifies the task of tracking an individual item down.

So many options! I’ve already linked to the World War 2 Gun Mod, and that particular forum post offers up a lot more in the same vein.

On the PCWorld Minecraft server, Dynmap is invaluable. Once it’s installed, you can point a browser to a URL, and get a map of the server, complete with real-time updates and chatting functionality. Dynmap makes it easy to figure out where everyone is and to coordinate efforts: I like to keep it open on my iPad for a bird’s-eye view of what’s going on while I’m deep in subterranean crypts.

Found a mod that you can’t live without? let us know! and if you haven’t already, be sure to check out our guide to getting started in Minecraft, and our guide to setting up your own server.

spawn Comics exact vengeance, hordes, jar file, quotation, single player, world war 2

In 2001, the hardcore fighting game world changed forever as Capcom vs. SNK 2 hit the arcade scene in Japan and America, capitalizing on a huge roster of characters and the best elements from two of the industry’s oldest franchises.

By the latter half of the 1990s, the Street Fighter craze had all but exhausted itself. Numerous clones and yearly-yet-identical sequels had dried up the creative well of franchises. And most damning of all, a dying arcade scene — caused by the continuing success of the home console — drove the 2D fighting game industry to a collective creative hangover.

but at the same time, a lone bright spot of unique innovation left in the genre had started with Capcom’s “Versus” series of fighting games, where star-studded lineups of characters tangled in dream match-ups made possible by co-promotion. over the course of a few years, X-Men vs. Street Fighter, Marvel vs. Capcom, and Capcom vs. SNK had carved out a thrilling new subgenre in the fighting game scene. And then, Capcom vs. SNK 2: Mark of the Millennium 2001 (a.k.a. Capcom vs. SNK 2: Millionaire Fighting 2001 in Japan) marked a bold new era for the hardcore fans.

Original arcade promo poster for Capcom vs. SNK 2: Millionaire Fighting 2001.

While Capcom had arguably perfected the concept of the “crossover fighter” with 2000′s arcade and Dreamcast release of Marvel vs. Capcom 2, their next act would be something else altogether. unlike the MvC series, which tailored to a more casual crowd with simpler controls, comic book character cameos, and sensory-overload special attacks, Capcom vs. SNK 2 was squarely aimed at the hardcore fighting game community. that was obvious right from looking at the huge 48-fighter roster, with established stars like Street Fighter’s Ryu and SNK’s Terry Bogard sharing the spotlight with lesser known characters like Rival Schools’ Kyosuke Kagami Hibiki Takane from the The Last Blade 2.

but what Capcom vs. SNK 2 did best was fixing the small failures of its predecessor. of the original Capcom vs. SNK’s two fighting “Grooves,” SNK Groove was perceived to be inherently superior to Capcom Groove due to its Desperation Mode and ability to be charged. In addition, the fighter roster had been chopped up into tiers by Capcom, with “Ratio 1″ status being assigned to “weak” fighters like Sakura and Cammy, while “Ratio 3″ and above was reserved for characters like Vega/M. Bison and the in-game bosses.

Capcom vs. SNK 2 solved both of these problems elegantly. this time around, Capcom let players assign their own ratios and team sizes at the start, as well as tripling the number of Grooves available — each with different benefits, like air blocking and rolling evades. It worked incredibly well, and the sheer variety at hand made Capcom vs. SNK as big a hit as Marvel vs. Capcom 2.

Capcom vs. SNK 2 featured a massive roster of 48 (still large by today’s standards), a collection of characters that was second only to Marvel vs. Capcom 2′s staggering 56-fighter headcount.

for several months, Capcom vs. SNK 2 was the focal point of every arcade. Japan’s notoriously competitive fighting game community in particular benefited from the CvS2 craze with large Sega NAOMI cabinets that featured overhead monitors for other players to watch. although it was dwarfed in both roster size and production value by Marvel vs. Capcom 2, CvS2 nonetheless helped fill a niche that refused to die in the face of flashier 3D titles like Tekken, SoulCalibur, and Virtua Fighter.

for an arcade game, Capcom vs. SNK 2 even had some measured success on home consoles. In Japan, the PS2 and Dreamcast ports both launched in the “Top 10,” claiming the #2 and #4 spots respectively. although combined sales weren’t fantastic, the PS2 version was still the highest selling console fighting game in the region during 2001.

over time, Capcom vs. SNK 2 solidified itself firmly with the hardcore fighting game community. most notably, it would be regarded as a world tournament-worthy game, appearing as one of the few titles in the first founding EVO and Tougeki: Super Battle Opera (also called the Arcadia Cup) championships. In fact, Capcom vs. SNK 2′s open-ended gameplay and deep, extensive roster manages to keep dedicated players engrossed in the mechanics today — but who knows if those dedicated fans will ever see a sequel in “Capcom vs. SNK 3.”

[Sources: Amazon, Amazon Japan, Capcom Japan, SNK Wiki, VGChartz, Wikipedia]

war Picture Library Comics capcom vs snk 2, dream match, game scene, hangover, hardcore fans, street fighter marvel

Whatever you do, don’t call them Slamdance for Comic-Con.

After years of watching the Hollywood machine slowly engulf the San Diego Comic-Con, Pixar story artists Scott Morse and Ted Mathot this year have staked out a creators’ enclave across the street from the convention center.

Trickster is a combination bar/store/gallery/symposia happening through Sunday at the San Diego Wine & Culinary Center, offering creator-owned products and a hangout for fans to more intimately engage with comic writers and artists about their craft.

“People created Slamdance because they couldn’t get into Sundance,” says Morse, also an Eisner-winning graphic novelist currently promoting Crime & Terror, published through his imprint, Red Window. “We’re very much a part of Comic-Con. It’s not like they kicked us out. Our artists have booths and are selling their work there. The perception is we broke away from Comic-Con, but that’s not true. we love Comic-Con. we just want to celebrate us and not the Twilight franchise.”

Trickster is offering original art and book sales, daytime workshops on art and storytelling techniques, and evening parties, music, and life-drawing sessions featuring the Gallery Girls, a collective of top Los Angeles art models.

“The idea is to promote work that has a singular vision that doesn’t conform to the rules of a franchise property at a big company,” says Morse. “We’re also focusing on a learning environment, so fans can draw alongside professionals and see how we work. It’s not an event where fans are taking pictures, but taking part in a dialogue on the creative process.”

A Who’s who of comic luminaries is slated to show throughout the week: Mike Mignola (Hellboy), Steve Niles (30 Days of Night), Bill Sienkiewich (Stray Toasters), Dave Gibbons (Watchmen), Mike Allred (Madman), and fine artist Kent Williams. Rage Against the Machine’s Tom Morello, who’s promoting his graphic novel, Orchid (Dark Horse), will perform tonight [Thurs].

“I’ve dedicated my career to creator-owned books,” says Niles, who wrote Crime & Terror with Morse. “This is the perfect opportunity for the type of stuff I do. we live in a world dominated by superheroes. we need to show the world there’s a lot of other things we can do with words and pictures than guys in bathing suits beating each other up.”

Although Morse and Mathot put up the money for the space, they’ve enlisted business sponsors for displays and lectures. Hewlett Packard is promoting printers; Global PSD, a publisher and printer, will give a talk on how to self-publish a book; Brothers Ink, a T-shirt producer, marketer and distributor, is selling T-shirts with Trickster artists’ designs; Cartoon Brew, an animation digital publication, is running a film festival of student animated films; the Criterion Collection, an art-house film distributor, is running a fundraiser for victims of the Japanese tsunami, based on its Akira Kurosawa catalogue.

“It’s like having a special room at the convention in that artists will still be doing pieces on commission here, but fans will be able to see artists work and be around them in a more informal setting,” says Bill Sienkiewicz, an Eisner-winning, Emmy-nominated illustrator who will be auctioning off a specially-created painting for Friday’s tsunami relief drive.

Morse and Mathot hatched the plan over the past 18 months, after brainstorming with colleagues and scouring and the city for a venue (particularly one with a liquor license).

“It’s hard to find ways to represent ourselves in an event that takes over a city,” says Morse. “We wanted to create our own venue where we could call the shots and make the rules, where fans and professionals could have a beer and talk, not by standing in line, but in a more human connection.”

star Wars Comics gallery girls, pixar, scott morse, slamdance, storytelling techniques

I’m pretty sure the most popular entry in this blog is the one from late April: Women Lacking Complexity-For SCIENCE! about blogger Jen McCreight’s initiative Boob Quake. Wow, who would have thought it? The most popular blog was about tits.

Yes, there are two big issues looming when it comes to women and comics. Seriously, that’s not a rhetorical flourish, there are two. Let’s deal with the D-cups first, because there is a reason they go on the cover. Men like breasts. A couple months ago, Warner Bros posted screencaps to Arkham City, the sequel to the Arkham Asylum computer game.

The gullible souls who bought into the Brubaker/Cooke scam and continue to think flat-chested and short hair are the hallmarks of a dynamic empowered woman started frothing at the mouth: look at those breasts! How can it be! It is the goggle-whore costume we have all been trained to defend as practical no matter how nonsensical the word is as applied to any costume in any comic including the one this displaced. It is black and not purple, she has no long flowing hair cascading luxuriously out the back of her cowl, how can she have breasts that can be seen without special lenses?! It does not compute. The horror, the horror! How dare they defame the good name of Catwoman by giving her a figure men will enjoy looking at!

I really had hoped the Iranian cleric that started the whole Boob Quake thing would have woken those silly women up. Because if you buy into the idea that boobs are bad and there is something wrong with men who like them, then you’re standing with Fahas Ahardtime Acceptinghalfthehumanrace-majad. That doesn’t strike me as very enlightened or feminist, ladies, but hey, you don’t see the problem with the whore either, so I guess I shouldn’t be surprised.

For those who aren’t irrevocably committed to the doctrine of Men Suck, let’s briefly revisit why the male of the species like the breasts. I’m sorry Notting Hill fans, there is a reason and it’s not “because they’re stupid.” It’s because we’re primates. for a long, long, long, long time, the male approaching a female for mating purposes is looking at a rump. now fast forward a few million years. We’re all walking upright. what in the general vicinity of the new eyelevel looks like that? There’s nothing perverse about it. Men notice cleavage. Put it on the cover, they’ll notice your cover. That’s not an automatic sale, but it gets their attention. what you do then is up to you.

Which brings us to the second issue when it comes to women in comics: who they are as opposed to how they look. Let’s start with a quote from a creative writing forum, which was sent to me after the recent blog on Fridging:

“As it was explained to me by a comics professional years ago at a convention panel on the topic, the vast majority of comic writers are men who simply don’t understand women. since they don’t understand women (and earn more by churning out stories as quickly as possible), they save time by reducing women to cliched roles as either the girlfriend or the victim.”

I include the elaborate provenance – that this is something told to a reader in a con/panel situation-because there is always the possibility that it is simply not true. That it was given in the context of “look, we don’t serve up all these rapes and murders because we’re sad little trolls who can only feel like men by bringing down women.” if that was the tone of the panel, then this could have been presented as a simple expedient. rather than debating if there is any palpable difference between murder of Sue Dibny in Identity Crisis and the murder of Duncan in the Scottish play, the above quote diffuses the situation quickly without controversy by playing into the widely held preconception of comics writers as arrested adolescents.

The irony is if that’s true and not an invented excuse, it’s completely unacceptable. Women are 53% of the population. you can’t be a professional writer in any medium and “simply not understand” half the human race. You’re going to embarrass yourself, embarrass the idiots who hired you, and you’re going to fail-over and over and over. So let’s cut these guys a break and reveal the key to writing women that both men and women in the audience will love. then everybody can do it and that removes “I don’t understand lumpy people” as an excuse. The following has been said elsewhere, but never as well as by the late Harold Ashman:

“In every classic musical, one of the first three songs belongs to the heroine. she comes downstage, often sits on a convenient planter or bale of hay, and sings about what she wants from her life. and the audience falls in love with her. and they spend the next three acts rooting for her to get it.”

It is, honest to god, that simple. and that complex. Start with what she wants. if Cattitude succeeds where others have failed, it is because it is grounded in what Catwoman wants from stealing: a restoration of the love and safety she felt as a child, which she came to associate with the wealth and comfort she knew in her parents’ home. I cannot accept that the ability to pee standing up somehow short-circuits the ability to understand that simple human motivation. what we want is seldom a function of gender. The best art and jewel thief in the world comes from privilege and not poverty because the root associations make sense. if any man wants to step up and explain what in his anatomy would screw with anything that shampoo simple, I would be fascinated to hear it.

Food, shelter, love, freedom, a sense of self-worth. None of them have anything to do with reproductive plumbing. if you “simply don’t’ understand” women, then you simply don’t understand people and if that’s the case, you have no business writing at all.

Now, if you don’t get a particular subset, join the club. Twilight fans, the gals who take the Sex and the City bus tour, the Real Housewives of anywhere. Don’t ask me, fellas, I’m as confused as you are.

Chris Dee has satirized comic books’ big-breasted “Women Lacking Complexity” in her metafiction series Cat-Tales, and has there penned what many find the most satisfying Catwoman origin story grounded in the character’s dignity and humanity.

Visit the website: catwoman-cattales.com/

vampirella Comics blogger, flourish, flowing hair

The Story: wonder Woman begins to live up to her name as she (finally!) discovers the source of the temporal disturbance affecting her future, and finds a way to begin to fight back.

What’s good: first of all, minor point, but I LOVE the addition of the “star spangled cape” to Diana’s costume. It’s a small detail, but I really think it works. on a more important note, I’m almost completely on-board with the explanation given for the sudden shift in wonder Woman’s status quo. I still think it was unnecessary to burden the main book with what is essentially a 12-part Elseworld maxi-series, but the damage is done on that front. The important matter is that this story is FINALLY starting to work itself out of the corner it was written into. we get some very good insight into Diana’s character in this issue, and also–glory hallelujah!–an inkling of where it might be headed. it has taken ten issues, but I finally feel like I have some point of reference when it comes to this story, and I no longer have to feel completely lost and like I simply have to accept events as they occur “just because.”

While you’d still have to go quite a long way to convince me that this storyline is going to do some good for the already much-abused Amazon Princess, but if the last two issues are this strong plot and character wise, I think it will at least avoid doing irreversible damage to her in the long term. (Not counting the bad will that this ill-fated experiment has already engendered, that is.) I’m not sure how this will end, but this issue has at least given me confidence that there is a definite end in sight, and that it won’t utterly destroy one of my all time favorite comic book characters.What’s Not So good: as has been noted in the comments of several recent wonder Woman reviews on this site, this book has GOT to get a consistent art team. it just has to. I buy the book because I’m emotionally invested in the character come hell or high water, but dear lord…if I was simply flipping through the book deciding whether to buy it in a shop, I’d put it back on the shelf with a wince and disappointed head shake before page four. The art, while serviceable in that it depicts the events required by the script, is a visual mess. That’s not to say there’s nothing visually worthwhile in the book, but when you can’t even keep the facial look of your main character consistent, it makes it much harder for readers to notice what you do right.

Conclusion: I closed this issue with a sigh of relief. even if it isn’t the most visually breathtaking book you’ll read this month, at least it’s pulling wonder Woman back from the brink of absolute disaster–and Hester is even managing to dig a decent story out of the steaming pile of catastrophe he was handed. I’m looking forward to seeing what he can do of his own accord once this slog reaches its conclusion.Grade: B

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Filed under: DC Comics Tagged: | Eber Ferreira, Eduardo Pansica, J. Michael Straczynski, Pete Pantazis, Phil Hester, Travis Lanham, Wayne Faucher, weekly comics book review, Wonder Woman, Wonder Woman #610 review

twinkle Comics diana, glory hallelujah, inkling, insight, star spangled, sudden shift

Marvel Unveils DEATH OF SPIDER-MAN Polybags! The Ultimate Comics story of the decade hits its climax as Marvel is pleased to unveil the two special polybag designs for Ultimate Comics Spider-Man #160 and Ultimate Comics Spider-Man #160 Bagley Variant. the record-setting creative team of Brian Michael Bendis and mark Bagley pull out all the stops for Death of Spider-Man and with covers so shocking we had no choice but to conceal them. It’s the story that will have everyone talking and the industry buzzing because in the Ultimate Universe, there are no Rules! In addition, Marvel has officially announced that there will be no overprint on Ultimate Comics Spider-Man #160, and the issue will also not appear on newsstands. Bendis and Bagley’s most ambitious story yet sends fans reeling this June, in Ultimate Comics Spider-Man #160 – no fan will ever forget how it ends! ULTIMATE COMICS SPIDER-MAN #160 (APR110569)ULTIMATE COMICS SPIDER-MAN #160 BAGLEY VARIANT (APR110571)Written by BRIAN MICHAEL BENDISArt by MARK BAGLEYVariant Cover by MARK BAGLEYBlank Cover also AvailableRated T+ … $3.99FOC – 5/9/11. On Sale – 6/22/11 To find a comic shop near you, call 1-888-comicbook or visit comicshoplocator.com

Marvel Entertainment, LLC, a wholly-owned subsidiary of the Walt Disney Company, is one of the world’s most prominent character-based entertainment companies, built on a proven library of over 8,000 characters featured in a variety of media over seventy years. Marvel utilizes its character franchises in entertainment, licensing and publishing. For more information visit marvel.com

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punisher Comics brian michael bendis, comic shop, newsstands

17 April marks the anniversary in 1492 of the signing of a grant by Ferdinand and Isabella of Castile which led Christopher Columbus to make the voyage during which he discovered America.

Columbus had long sought sponsorship for voyages to establish trade routes and colonies which would help Spain enter the lucrative spice trade. his belief that an ocean route was shorter than the overland trade routes severely underestimated the circumference of the Earth but won the interest of Queen Isabella.

He set out on his first voyage westwards in 1492, landing in the Bahamas, believing them to be Asia. It was this firm held belief that may be why America was named after another sailor rather than Columbus, although he did describe the new lands’ inhabitant as “indios”, giving us the term Indians.

Many more pictures relating to the history of the United States of America can be found at the Look and Learn picture library. Click on the link or picture to find out more about licensing images for commercial and educational use.

war Picture Library Comics asia, belief, sponsorship, trade routes, voyages

1954 – Comics are bad, m’kay? cz. IIIDZIE? TRZECI – 04 czerwca 1954 r.Komisja wróci?a do obrad po kilku tygodniach przerwy czwartego czerwca 1954 roku. W przes?uchaniach nie bra? udzia?u aktywny wcze?niej senator Kefauver oraz nieobecny równie? w pierwszych dwóch dniach przes?ucha? senator Langer. Dodatkowo senator Hennings spó?ni? si? (dotar? na trzecie przs?uchanie), wi?c na pocz?tku na sali przebywa? tylko jeden z czterech cz?onków komisji. Senator Hendrickson wyg?osi? na rozpocz?cie dnia krótkie podsumowanie dotychczasowych efektów pracy komisji i zwróci? uwag? na pozytywne znaki p?yn?ce z bran?y komiksowej. Wyrazi?  zadowolenie tym faktem oraz nadziej?, ?e wydawcy konsekwentnie b?d? d??y? do poprawy jako?ci swoich komiksów. Transmitowane w telewizji obrady komisji rozpocz??y si? od rozmowy z Jamesem Fitzpatrickiem, przewodnicz?cym komitetu do spraw komiksów stanu Nowy Jork. Polityk ten przedstawi? najpierw sprawozdanie z dzia?alno?ci komitetu, który powsta? w 1949 roku. Politycy z Nowego Jorku ju? wtedy próbowali zapanowa? nad wydawcami, ale bez wi?kszych rezultatów. Fitzpatrick powróci? w swym przemówieniu do przes?uchania Williama Gainesa i przeanalizowa? wydany przez niego Panic #1 (wi?cej skanów z tego numeru). Najwyra?niej nie zrozumia? przewrotnego humoru tego komiksu i strasznie powa?nie podszed? do ?artobliwego zeszytu. Ironiczne mrugni?cia okiem do czytelnika potraktowa? niezwykle serio i stwierdzi?, ?e obra?a on kupuj?cych. Nie przypad?o mu te? do gustu satyryczne przedstawienie policjantów oraz ?wi?tego Miko?aja, które uzna? za deprawuj?ce. Fitzpatrick nie do ko?ca wierzy? w samoregulacj? rynku i obawia? si?, ?e autocenzura, o której coraz cz??ciej wspominali wydawcy, mo?e okaza? si? niewystarczaj?ca. Sugerowa? senatorom wypracowanie odpowiednich przepisów, obowi?zuj?cych w ca?ym kraju. Po raz kolejny powróci?a równie? kwestia dystrybucji komiksów – Fitzpatrick pochwali? Nowy Jork za wprowadzenie zakazu sprzeda?y wi?zanej komiksów.Sposób dystrybucji komiksów i rzekome wykorzystywanie sprzedawców ko?cowych bardzo zaabsorbowa? komisj?. Pojawi? si? ju? w poprzednich sesjach, ale w trzecim dniu pracy wyszed? na pierwszy plan. Drugim przes?uchiwanym by? Benjamin Freedman, prezes Newsdealers Association of Greater New York and America. Opisa? szczegó?owo to niepokoj?ce zjawisko: wed?ug jego s?ów dostawcy dystrybutora dowozili sprzedawcom zapiecz?towane paczki i nie pozwalali na wybranie komiksów, które chc? kupi?. W?a?ciciele punktów z pras? nie mieli wi?c szansy sprawdzenia zawarto?ci przesy?ki – w ciemno musieli kupowa? wybrane przez dystrybutora serie. Protestuj?cy sprzedawcy mieli by? szanta?owani zaprzestaniem dostaw najpopularniejszych tytu?ów. Wobec niepokornych stosowano równie? inne szykany, na przyk?ad pó?niejsze dostarczanie przesy?ek, które powodowa?y ni?sz? sprzeda?. Problem by? równie? ze zwrotami. co prawda by?y one mo?liwe i dystrybutorzy zwracali pieni?dze, ale dopiero po 6-8 tygodniach od otrzymania i op?aceniu (cz?sto niechcianych) komiksów. Ca?kowicie odmienna wizj? przedstawi? Harold Chamberlain, przedstawiciel du?ego dystrybutora Independent News. Wed?ug niego, problem sprzeda?y wi?zanej nie istnia?, a insynuacje Freedmana by?y k?amliwe. Podkre?li?, ?e dotyczy to nie tylko jego firmy, ale i innych dystrybutorów, którzy w ?aden sposób nie zmuszaj? sprzedawców do zakupu niechcianych tytu?ów. Chamberlain przyzna? za to, ?e w ostatnich tygodniach jego firma, powi?zana z ówczesnym DC Comics, wprowadza?a zmiany w swojej ofercie. Ze wzgl?du na obrady komisji i narastaj?c? niech?? dla brutalnych komiksów kilka serii zosta?o zlikwidowanych, a inne mia?y przej?? powa?ne zmiany redaktorskie.Kolejnym wezwanym by? Charles Appel, w?a?ciciel apteki w Minnesocie. Zdecydowanie twierdzi?, ?e problem sprzeda?y wi?zanej istnieje i podwa?a? s?owa swojego poprzednika. Poinformowa? komisj?, ?e gdy w marcu odmówi? kupowania niektórych tytu?ów zosta? ukarany przez dystrybutora i przesta? otrzymywa? najpoczytniejsze magazyny i pras?.Zaraz po nim do zeznawa? George Davis, prezes dystrybutora Kable News. Raczej nie zaskoczy Was fakt, ?e podpisa? si? on pod s?owami Chamberlaina i zapewnia?, ?e sprzedawcy nie s? zmuszani do niechcianych zakupów… Reszta przes?uchania by?a równie? do?? przewidywalna i standardowa. Davisowi pokazano kilka odra?aj?cych ok?adek, które przesz?y przez jego firm?, ale w pytaniach i odpowiedziach nie pad?o nic czego nie s?yszeliby?my wcze?niej. Przedpo?udniowa sesja nie przynios?a wi?kszych wydarze?: ponownie skrytykowano brutalne komiksy; pochwalono próby autocenzury wydawców i skonfrontowano dwie wersje na temat sprzeda?y wi?zanej. Popo?udniowa rozpocz??a si? od wyst?pienia przedstawiciela kanadyjskiej Izby Gmin, E.D. Fultona. By? on twórc? prawa, które zabrania?o wydawania kryminalnych komiksów na terenie pó?nocnego s?siada USA. Z bólem przyzna?, ?e prawo to poza kilkoma przypadkami grzywien by?o praktycznie martwe. Wydawcy znajdowali kolejne sposoby na omini?cie zakazu, a tak?e kierowali si? w inne niepo??dane gatunki (horrory, pikantne romanse).Po Kanadyjczyku, przed komisj? stan?? Samuel Black, przedstawiciel Atlantic Coast Independent Distributors Association (stowarzyszenie dystrybutorów prasy). Zaprezentowa? o?wiadczenie swojej organizacji, którego motywem przewodnim by?o "co z?ego to nie my!". Black podkre?li?, ?e dystrybutorzy nie s? konsultowani przez wydawców i nie maj? mo?liwo?ci merytorycznej oceny ich komiksów. Brak im czasu, ale równie? ?rodków do oceny opowie?ci pod k?tem etyki, moralno?ci oraz zgodno?ci z prawem. Przyzna?, ?e cz??? dystrybuowanych komiksów mo?e zawiera? negatywny przekaz i wyrazi? ubolewanie z tego faktu oraz nadziej?, ?e wydawcy rozwi??? ten problem. Black sprzeciwi? si? równie? cenzorskim przepisom, które by?yby w sprzeczno?ci z duchem wolno?ci panuj?cym w USA. Przez ca?e przes?uchanie przewija? si? temat sprzeda?y wi?zanej i zarzutów kioskarzy pod adresem dystrybutorów. Black zapewnia?, ?e ka?dy ko?cowy sprzedawca mo?e poda? dystrybutorowi list? tytu?ów, których nie chc? otrzymywa? i b?dzie to respektowane. Niemal?e identyczne pogl?dy wyrazi? William Eichhorn z American News co., jednego z najwi?kszych ówczesnych dystrybutorów prasy. Jego przes?uchanie nic nie wnios?o do sprawy i by?o powtórzeniem s?ów Blacka i innych dystrybutorów, którzy trzymali jedn? lini? obrony.Ostatnim ?wiadkiem zeznaj?cym przed komisj? by? J. Jerome Kaplon, cz?onek komitetu zajmuj?cego si? przest?pczo?ci? w?ród nieletnich w stanie New Jersey. Okre?lenie go gor?cym przeciwnikiem brutalnych komiksów to w?a?ciwie eufemizm – Kaplon szczerze nienawidzi? wszystkiego co mog?o deprawowa? m?odzie?, a tych czynników widzia? wiele… to gniewne wyst?pienie zako?czy?o trzeci i ostatni dzie? pracy komisji. Dopiero w marcu 1955 roku powsta? wst?pny raport podsumowuj?cy jej dzia?anie, spisany przez senatora Kefauvera (w mi?dzyczasie zast?pi? on na stanowisku przewodnicz?cego komisji senatora Hendricksona, którego kadencja dobieg?a ko?ca). Nie jest on specjalnie porywaj?ca lektur? i nie zaowocowa? konkretnymi zmianami prawnymi. Kefauver opisa? w nim pokrótce histori? rozwoju bran?y, mo?liwo?? negatywnego wp?ywu komiksów na m?odego czytelnika oraz sugestie regulacji, któe mia?yby temu zapobiec. co ciekawe, senator zwróci? uwag? na wp?yw komiksów na mi?dzynarodow? pozycj? USA. Stwierdzi? m.in., ?e w ZSRR ameryka?skie komiksy przedstawiaj?ce przest?pstwa s?u?? do oczerniania jego ojczyzny. Chyba najzabawniejszym fragmentem jest informacja, ?e komiksy s? dystrybuowane równie? do krajów, których ludno?? nie jest bia?a. Zdaniem senatora komiksy, w których przest?pcy s? innej ni? bia?a rasy, mog? by? ?le odebrane w takich pa?stwach. Ciekawe, ?e Kefauver nie zauwa?y? takiego problemu w USA, ale w ko?cu raport powstawa? jeszcze w erze silnej segregacji rasowej, kilka miesi?cy przed s?ynnym aktem niepos?usze?stwa obywatelskiego Rosy Parks. Raport komisji nie mia? wielkiego znaczenia przede wszystkim dlatego, ?e wydawcy postanowili nie czeka? na niego. Wszysytko wskazywa?o na to, ?e b?dzie on niekorzystny dla bran?y i postanowili uprzedzi? polityków. We wrze?niu 1954 roku powo?ana zosta?a organizacja Comics Magazine Association of America, której szefem zosta? Charles Murphy, do?wiadczony urz?dnik z Nowego Jorku. G?ównym zadaniem nowego tworu by?o wypracowanie sposobu na popraw? wizerunku bran?y komiksowej. Id?c w ?lady ACMP, Murphy i jego pracownicy przygotowali list? zasad, które mia?y obowi?zywa? twórców komiksów. Oparte by?y one o regu?y z ko?cówki wcze?niejszej dekady, ale by?y bardziej szczegó?owe i restrykcyjne. Ca?o?? zasad mo?ecie znale?? na przyk?ad tutaj, a najwa?niejsze z nich to:- zakaz przedstawiania przest?pstw w sposób, który mo?e budzi? sympati? do kryminalistów; brak zaufania do stró?ów prawa; zach?ca? do na?ladowania z?oczy?ców lub szczegó?owo pokazywa? metody ich dzia?ania- przest?pcy mieli zawsze podlega? s?usznej karze- zakaz prezentowania nadmiernej przemocy i tortur- odradzano pokazywania ?mierci stró?ów prawa- szczególny zakaz na temat przedstawiania porwa?- odradzano u?ywania s?owa "crime" w nazwie serii – je?li musia? by? u?yty to nie móg? by? specjalnie wyró?niany (ta sama czcionka co pozosta?e wyrazy)- zakaz u?ywania s?ów "horror" i "terror" w tytule serii- zakaz szeroko poj?tych scen horroru: powa?nego rozlewu krwi, wyj?tkowo brutalnych zbrodni, scen deprawacji, po??dania, sadystycznych oraz masochistycznych- zakaz pojawiania si? wilko?aków, wampirów, ghouli oraz zombie- w dialogu nie mog?y pojawia? si? wulgaryzmy. Dopuszczano slang i kolokwializmy, ale zalecano ich ograniczanie do minimum i stosowanie poprawnej gramatyki. – zakaz wy?miewania religii oraz ataków rasistowskich- zakaz eksponowania nago?ci oraz przedstawiania postaci w "sugestywnych" pozach. Bohaterowie mieli by? ubrani w stroje "ackeptowane przez spo?ecze?stwo", a kobiety mia?y nie mie? "wyolbrzymionych kszta?tów".- nakaz pochwa?y ?wi?to?ci ma??e?stwa, szacunku dla rodziców, norm moralnych i honorowego zachowania- zakaz brutalnych i anormalnych scen seksualnych, scen gwa?tu, perwersji oraz uwodzenia- zakaz reklamy: alkoholu, papierosów, seksu, erotyki, broni, hazardu, medykamentów. Jednak to nie restrykcyjno?? zasad spowodowa?a, ?e CCA poradzi? sobie lepiej ni? poprzednik stworzony przez ACMP – ró?nic? by?a surowo?? w egzekwowaniu regulacji. Przyst?pienie do tej drugiej by?o dobrowolne i po obiecuj?cym pocz?tku szybko sta?o si? jasne, ?e wielu wydawców nie ma ochoty nale?e? do tej organizacji. Bezkarno?? dezerterów zach?ca?a kolejne firmy do pój?cia w ich ?lady i sprawi?a, ?e w 1954 roku ACMP nie mia?a ju? ?adnego realnego wp?ywy na rynek. CCMA mia?a t? przewag?, ?e przyst?pi?y do niej niemal?e wszystkie licz?ce si? wydawnictwa. Wyj?tkiem by?o jedynie EC Comics (o nim wi?cej za chwil?) oraz Classics Illustrated i Dell Comics. Ta ostatnia para nie publikowa?a ?adnych kontrowersyjnych komiksów i nie chcia?a by? w jakikolwiek sposób ??czona z "niegrzecznymi" wydawnictwami. Wszyscy inni licz?cy si? gracze do??czyli pos?usznie do CCMA, która na powa?nie wzi??a si? do roboty. Obowi?zkiem zrzeszonych firm by?o przysy?anie wszystkich komiksów do recenzji przed ich wydaniem. Pracownicy CCMA skrupulatnie przegl?dali je pod k?tem naruszenia zasad i odsy?ali je do wydawców z ewentualnymi sugestiami zmian. Recenzenci mogli przyczepi? si? do ca?ych historii, ale równie? do ich fragmentów, czy wr?cz konkretnych kadrów, które mog?yby ?le wp?ywa? na psychik? czytelników. Na grudniowej konferencji Charles Murphy z dum? oznajmi?, ?e w ci?gu pierwszych miesi?cy dzia?alno?ci jego organizacja przejrza?a 285 komiksów i zakwestionowa?a 126 historii oraz a? 5656 ilustracji! Wszystkie z nich zosta?y poprawione i wydrukowane jako "poprawne" ze stemplem CCA. Murphy okaza? si? dobrym wyborem i pomóg? uspokoi? z?? atmosfer? wokó? komiksowej bran?y, chocia? odby?o si? to kosztem cenzury i znacznego ograniczenia swobody wydawców. Praca CCMA zosta?a doceniona przez komentatorów i wcze?niejszych krytyków komiksów, z wyj?tkiem najbardziej zajad?ego wroga bran?y, czyli Frederica Werthama. Psychiatra nie ustawa? w swojej krytyce i doprowadzi? nawet do wprowadzenia w stanie Nowy Jork restrykcyjnego prawa zabraniaj?cego wydawania szkodliwych komiksów. W kolejnych latach Wertham stopniowo traci? swoje wp?ywy, a "komiksowy kod" coraz lepiej spe?nia? swoj? funkcj?. Autocenzura wydawców wyciszy?a oskar?enia, chocia? z drugiej strony bran?a potrzebowa?a kilku lat ?eby na nowo od?y? i przekona? do siebie czytelników. Druga po?owa lat pi??dziesi?tych nie by?a udana finansowo dla wydawców i dopiero eksplozja komiksów superbohaterskich na pocz?tku lat sze??dziesi?tych pobudzi?a rynek. Najwi?kszym przegranym zamieszania wokó? CCA by? William Gaines i jego EC Comics. Uwa?a? on, ?e cz??? przepisów zosta?a ustanowiona specjalnie pod k?tem jego serii. EC Comics nie przyst?pi? do CCMA i wkrótce stan??o przed powa?nymi problemami, bo dystrybutorzy i sprzedawcy komiksów (pod presj? spo?eczn? i polityczn?) odmówili dalszej wspó?pracy. Gaines próbowa? jeszcze kilku manewrów i walki z CCA, ale ostatecznie poniós? kl?sk? i zmuszony zosta? do zamkni?cia wszystkich swoich horrorów i krymina?ów, które przynios?y mu rozg?os. Zast?pi?y je bardziej realistyczne historie, które w ko?cu pojawia?y si? z logo CCA, ale sprzeda? sta?a na s?abym poziomie. Gaines ci?gle by? uznawany za g?ównego autora k?opotów bran?y i Charles Murphy wyj?tkowo restrykcyjnie przygl?da? si? jego poczynaniom, cz?sto rzucaj?c mu k?ody pod nogi. Ostateczne starcie odby?o si? przy okazji przedruku antyrasistowskiej historii "Judgement Day", któr? Murphy stara? si? na si?? absurdalnie ocenzurowa?. Gaines mia? do?? m?czenia si? z CCMA – wyda? przedruk bez stempla CCA i zaprzesta? wydawania komiksów, przekszta?caj?c ostatni? seri? (Mad) w magazyn, o którego sukcesie mogli?cie ju? przeczyta?.Ucierpia?o równie? wiele innych wydawnictw, mi?dzy innymi: Quality Comics zbankrutowa?o i odsprzeda?o wi?kszo?? serii DC Comics; upad?y Lev Gleason Publications (prekursor krymina?ów), Ace Comics (s?yn?ce z kontrowersyjnych serii), Toby Press (znane g?ównie z adaptacji filmowych przygód Johna Wayne’a), a Eastern Color (wydawca s?ynnego Famous Funnies) porzuci?o bran?? komiksow?. W drugiej po?owie lat pi??dziesi?tych znikn??o sporo wydawnictw i po raz pierwszy od dwudziestu lat nie zadebiutowa?a ?adna nowa firma! Atlas Comics przetrwa? zamieszanie i dotrwa? do lat sze??dziesi?tych, kiedy sta? si? liderem rewolucji superbohaterskiej, ale wcze?niej równie? popad? w powa?ne problemy i stan?? na granicy bankructwa o czym b?dziecie mogli poczyta? w kolejnych odcinkach Historii Marvela.Na koniec kilka s?ów o bohaterach przes?ucha?:senator Robert Hendrickson (pierwszy przewodnicz?cy komisji, Republikanin z New Jersey): urodzony w 1898 roku, w chwili rozpocz?cia pracy komisji mia? wi?c 56 lat. Prawnik, który w po?owie lat trzydziestych na dobre zaj?? si? polityk?. Najpierw przez kilkana?cie lat dzia?a? w senacie swojego rodzinnego stanu, a w 1948 roku zosta? wybrany na senatora Stanów Zjednoczonych. Zajmowa? si? g?ównie tematyk? zwi?zan? z jego wykszta?ceniem. Mia? opinie spokojnego, solidnego i rzeczowego. Stroni? od radykalizmu i do?? szybko przesta? popiera? spiskowe teorie McCarthy’ego. Po up?ywie swojej kadencji nie walczy? o reelekcj?, wiedz?c, ?e nie mo?e liczy? na poparcie Republikanów ze swojego stanu. Opu?ci? Senat przed ko?cem pracy "komiksowej" podkomisji i zosta? zast?piony przez senatora Kefauvera w roli jej przewodnicz?cego. W 1955 zosta? mianowany ambasadorem USA w Nowej Zelandii, sk?d wróci? po dwóch latach. Napisa? ksi??k? "Youth in Danger" po?wi?con? problemom ówczesnych nastolatków. Zmar? w grudniu 1964.Kefauver popad? wówczas w konflikt z E.H. Crumpem, szefem Demokratów w Tennessee, który mia? znacznie bardziej koserwatywne pogl?dy. Crump chcia? zablokowa? kandydatur? Kefauvera i w serii og?osze? prasowych zarzuca? mu sympatie komunistyczne. Porównywa? go do szopa pracza, który udaje niewini?tko, a w rzeczywisto?ci ma nieczyste intencje. Kefauver zareagowa? oryginalnie – na konferencji prasowej wyst?pi? w garniturze oraz w charakterystycznej czapce traperów z ogonem szopa pracza… Zarzuci? Crumpowi despotyzm i stan?? do wy?cigu po nominacj? swojej partii. Otrzyma? j?, wyra?nie pokonuj?c ubiegaj?cego si? o reelekcj?, konserwatywnego senatora Toma Stewarta. Kampania i wybory by?y niezwykle ciekawe i dramatyczne, nie obesz?o si? nawet bez zamieszek i ofiar ?miertelnych, ale czytacie Histori? Marvela, a nie Histori? wyborów w Tennessee, wi?c to tyle o politycznym trz?sieniu ziemii w 1948 roku w tym stanie. Same wybory do Senatu by?y ju? formalno?ci?, Tennessee by?o wówczas (i d?ugo pó?niej) stanem tradycyjnie wybieraj?cym Demokratów. Po zaprzysi??eniu Kefauver zaj?? si? g?ównie walk? z monopolami oraz zorganizowan? przest?pczo?ci?. Zyska? popularno?? zw?aszcza dzi?ki specjalnej komisji, która zaj??a si? dzia?alno?ci? mafijn?. Jego bezkompromisowo?? przysporzy?a mu wielu wrogów, równie? w swojej partii (m.in. przyczyni? si? do przegranej senackiego lidera demokratów w reelekcji). Ta postawa kosztowa?a go szans? walki o prezydentur?. Stara? si? o nominacj? Demokratów w wyborach w 1952 roku i zdecydowanie wygra? prawybory w niemal?e wszystkich stanach. Na jego nieszcz??cie, wówczas wynik nie zale?a? wy??cznie od wyników prawyborów i na konwencji w Chicago przegra? z Adlaiem Stevensonem, który by? popierany przez szefostwo partii. Kefauver ponownie walczy? o nominacj? w 1956 roku, ale po pocz?tkowych sukcesach w prawyborach znów musia? uzna? zwyci?stwo Stevensona. Tym razem zosta? wybrany na kandydata na wiceprezydenta, ale Demokraci po raz drugi z rz?du przegrali z Dwightem Eisenhowerem. W kolejnych wyborach Kefauver nie wzi?? juz udzia?u, chocia? cieszy? si? sporym uznaniem. Pracowa? w Senacie do swojej ?mierci w 1963 roku. Podczas obrad komisji "komiksowej" wida? by?o jego dociekliwo??, podejrzliwo?? oraz surowo??. Nie by? jednak ani totalnym radyka?em, ani populist?, kieruj?cym si? oczekiwaniami wyborców i w?asnej partii – w 1956  roku jako jeden z nielicznych senatorów Po?udnia nie podpisa? si? pod "Southern Manifesto", dokumencie popieraj?cym segregacj? w szko?ach. senator Thomas C. Hennings, Jr. (Demokrata z Missouri) – równolatek Kefauvera, o znacznie spokojniejszym usposobieniu. Wcze?nie zacz?? karier? polityczn? i w wieku 31 lat trafi? do Izby Reprezentantów, wygrywaj?c pó?niej jeszcze dwie reelekcje. W latach czterdziestych udziela? si? w rodzinnym St. Louis i prowadzi? praktyk? prawnicz?, aby w 1950 roku wróci? na krajow? scen?. Najpierw wygra? zaci?te prawybory o nominacje Demokratów do Senatu (g?ównie dzi?ki mieszka?com St. Louis, w reszcie stanu mia? wynik gorszy od kontrkandydata). Potem pokona? senatora Forresta Donnella i jako jedyny Demokrata w tamtym roku przej?? fotel w Senacie od Republikanina. Jako ciekawostk? warto wspomnie?, ?e Hennings bra? udzia? we wspomnianej konwencji w Chicago w 1952 roku, ale nie popiera? ani Kefauvera, ani Stevensona, tylko Albena Barkleya, ówczesnego wiceprezydenta. W 1956 roku wygra? reelekcj?, nie doczeka? jednak kolejnych wyborów, umieraj?c w 1960 roku.senator William Langer (Republikanin z Pó?nocnej Dakoty) – ciekawa posta?, ale niestety ze stenogramów omawianej komisji wynika, ?e nie bra? udzia?u w jej posiedzeniach… [je?li kto? znajdzie inn? informacj?, to prosz? o kontakt - Lex] Urodzony w 1986 roku, mia? przydomek "Dziki Bill" i by? on uzasadniony. Niezwykle popularny w swoim stanie, dwukrotnie wygrywa? w nim wybory na gubernatora, czterokrotnie wy?cigi do Senatu. Zawsze mocno dba? o interesy farmerów, cz?sto podejmuj?c nawet postanowienia niezgodne z prawem. W czasie swojej kariery politycznej mia? problemy z s?dami, zosta? nawet pozbawiony stanowiska gubernatora (odzyska? je w kolejnych wyborach). Afera ci?gn??a si? za nim do Senatu, który debatowa? czy dopu?ci? go do zasiadania w tej instytucji. Na jaw wysz?y dodatkowe nieczyste zagrywki Langera, w tym korumpowanie s?dziów. Mimo tych ci??kich zarzutów zosta? zaprzysi??ony. Niestety, ta barwna posta? nie wzi??a udzia?u w obradach podkomisji do spraw przest?pczo?ci w?ród nieletnich. Zmar? w 1959 roku.Lex

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Stussy teamed up with Marvel Comics for a collaboration that immerses classic characters from the Marvel universe and teleports them into Stussy’s galaxy of iconic imagery. the line will be split up into two parts. Series 1, releasing April 27, 2011, features a collection of tees and hats that fuse archival Marvel images with Stussy’s iconic graphic language. Stussy scoured comic books conventions, eBay, and local comic book stores for old issues with classic covers that would mold well with Stussy’s design aesthetic. Scanned from the original comic books and rare collectors posters from the 1960?s – 1990?s, the tee designs capture the essence of the characters, the texture of vintage comic books and the soulfulness of the Stussy brand. Series 2, releasing May 6, 2011, consists of tees and hats that feature new works by a pool of international artists, invited to revisit their childhood inspirations and interpret their favorites utilizing their signature styles. the Stussy x Marvel Project will be available at Stussy.com, Stussy Chapter Stores and select specialty accounts around the world.

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