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Bibliographic Details
Publisher: Doubleday & Company, Inc., Garden City
Publication Date: 1960
Binding: Cloth
Illustrator: Norman Rockwell
Book Condition: Very Fine
Dust Jacket Condition: Good
Edition: First Edition
Book Description: Doubleday & Company, Inc., Garden City, 1960. Cloth. Book Condition: Very Fine. Dust Jacket Condition: Good. Norman Rockwell (illustrator). First Edition. 8vo - over 7¾" - 9¾" tall. Autobiography as told to Thomas Rockwell. Preface by Ben Hibbs, Editor of the Saturday Evening Post. Black cloth with gold titles over brown backgrounds on spine and front board. Each chapter is headed by a black and white drawing. There are eight pages of black and white and color illustrations at the back of the book. 436p.
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WORLDWATCH #1 NM SCARCE? RARE? SEXY! ELLIS AUTHORITY 11.11
Artists: Tom Derenick (pencils), Norm Rapmund (inks)
Publisher: Wild and Wooly Press
In 2004 Chuck Austen created the independent title WorldWatch, which he described as being like Warren Ellis's The Authority, but with more explicit depiction of s e x, violence and realpolitik).
The last page of Worldwatch #2 featured an announcement from the publisher stating that Austen had been fired, and that he would be replaced by notable writer Sam Clemens (the real name of legendary American writer Mark Twain). However, as creator and owner, Austen cannot be fired from Worldwatch. In a subsequent interview, Austen stated that it was intended as a joke, and that he was disappointed that most readers had not understood it.
Review of Worldwatch #1 and #2 by Michael Deeley
http://www.comicsbulletin.com/reviews/109692868610567.htm
‘Worldwatch’ is meant to be the comics adaptation of “Exposing Myself”, the tell-all autobiography of Dena Warchawski, a.k.a. War Woman, leader of the Worldwatch superteam. The story tells how team members’ personal relationships and corruption led to the team’s self-destruction. Issue #1 introduces us to the main characters and presents a typical day of violence, bickering, lying, and s c r e w i n g. Issue #2 introduces Monarch, who seems to play a pivotal role in the story, and a weapon of irresistible power.
I waited until the second issue came out before writing this review for two reasons. One, I wanted to get a better idea of what the series was like before I gave my opinion. Two, there’s t i t t y, and that always clouds my judgment.
I want to get this out of the way right now: There is plenty of n u d i t y in this book. We get women with big, beautiful b r e a s t s flopping around. The second issue also has some d i c k s. Some of this n u d i t y actually relates to the story. One team member started going out n a k e d to satisfy her own s e x u a l urges. Another member with superspeed got so sick of her top coming off, she goes without one. Both of their popularity and merchandising profits take off as well. Other members start going out with more revealing costumes. This led to several conservative heroes quitting the team. (All of that is explained in the biographies in the back of the book. We never see it happen, though I think it would make for a good issue #0.)
Issue #2 has an article for Wild & Wooly’s next project: a reprinting of ‘N e k k i d Bottoms, USA’, a s e x y series in a n u d i s t colony drawn in the Archie style. This comic-within-a-comic is discovered to have been written by Qabbala, mystic member of Wolrdwatch. This led people to believe ‘N e k k i d Bottoms’ held secret spells hidden in the stories. It did seem to predict the destruction of the team. I fervently hope this is just a joke, and such a series isn’t really being published.
All this n u d i t y leads me to believe Austen, Derenick, and Rapmund just wanted to draw some d i r t y pictures. I mean, given that the series features morally corrupt and s e x u a l l y p e r v e r s e characters, some n u d i t y can be justified. But the inclusion of the ‘N e k k i d Bottoms’ article convinced me they’re drawing titties for the sake of drawing t i t t i e s. It’s cheap and sleazy. On the other hand, it’s also fun. Fun to look at and fun to draw.
Derenick and Rapmund do a great job here. The women are beautiful and the men are mighty. Every character is drawn different from each other. The art is very clean and easy on the eyes. The action is easy to follow and flows nicely from panel to panel. It’s nice to see Norm Rapmund working again. I can’t recall seeing his name on anything for over 10 years. It’s great to se his smooth, strong inks again. Derenick pencils the characters with muscles and flesh. These are real people with real bodies. You’ll also notice the small facial changes that express subtle changes in emotion. Nice work.
I wouldn’t quite call ‘Worldwatch’ p o r n, because of the characters. (And I don’t feel like whacking off to it.) These are not “good guys”. These are people who fight villains because they like hitting people. They like the attention and the s e x their position bring. The closest things you have to heroes in Worldwatch are War Woman, Sergeant Mercury, and Doc Gulliver. War Woman lied about her origin and dated a supervillain. Gulliver has a thing for young girls and might have given his ex-wife superpowers against her wishes. Mercury is the speedster who goes topless. She’s young and naïve, innocent compared to everyone else. And some of them are complete a s s h o l e s. The Intercessor uses God’s name to justify his arrogant and criminal behavior. He’s the first to be seduced by the power of the Celestial Sphere. Ramrod is a g a y Greek god who hits on any man with two legs. This really complicates life for the straight teenage boy with whom he shares a body. In short, these people are going to destroy themselves. And because of their powers, they could take a lot of people down with them.
So is ‘Worldwatch’ a good book? In my final opinion, I’d say, “maybe”. I like reading it. I’m fascinated by these jerks. And I’m teased with such questions as, “How does the Celestial Sphere” destroy the team?” “When is War Woman’s affair with The Pharaoh revealed?” How does it all end? And whose fault is it?” This must be the appeal of watching reality TV. You don’t watch for a winner; You watch to see the worst come out of people. It’s always, “Who’s voted off tonight”, or “Who’s fired this week?”
Who dies first? And who suffers the worst?
That’s enough to keep me around.
Feb. 5, 2010 - John Byrne to finish Chuck Austen’s Worldwatch
http://yourmomsbasement.com/thecomicsoutsider/2010/02/05/john-byrne-to-finish-chuck-austens-worldwatch/comment-page-1/#comment-29
In a move set to send shockwaves through my bathroom, legendary writer/penciller/all-round-nice-guy John Byrne has allegedly agreed to finish off fellow multi-hyphenate Chuck Austen’s creator owned Worldwatch.
The comic, featuring an analogy of Wonder Woman sans clothes, was to have been 7 issues in length but only 3 were released. The second was also controversial because it featured a letter firing Austen – who owned the publishing company Wild and Wooly Press – and stating he would be replaced by Sam Clemens. Or Mark Twain, I can’t recall.
Look forward to lots more censored p e n i i in your Wednesday comics pile around March of 2015 when the series dubbed “the SHOWGIRLS of comics.”
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SON OF CELLULOID CLIVE BARKER MARILYN MONROE HORROR GN/TPB 7.77
Prestige format. Adaptation of Clive Barker's story by Steve Niles and illustrated by Les Edwards.
Eclipse Books, 1991, Red Foil Title, Graphic Novel/Trade Paperback
Horrific tale of a crazed convict hiding out in an abandoned movie theatre. Beautifully drawn & colored but harsh & vivid violence. Great gruesome Marilyn Monroe cover.
From a review by Sean T. Collins of the original story by Clive Barker
http://www.alltooflat.com/about/personal/sean/oldArchives.php?BlogNum=1060
Book Three, Chapter One
"Son of Celluloid"
To a certain extent this story, with its examination of Hollywood glamour, is an antecedent of Barker's delightfully trashy La-La-Land epic Coldheart Canyon, written almost two decades later and after Barker himself had had a great deal of experience inside Tinseltown, both as a filmmaker and as a resident. (When I interviewed him before Coldheart came out I mentioned this connection, and his response was "My God, you really do know my work.") As it lacks the depth and detail of that novel, "Son" does not really provide a particularly groundbreaking look at the dream factory--it's no great insight that Hollywood's pleasures are illusory, or that through the magic of the movies the beauty of the stars never fades, you know?
But in this haunted-theatre tale Barker succeeds where he exploits very specific aspects of the Hollywood illusion. Confronted with a deadly Western scenario, Barker notes the threatened characters resentment of the genre's "forced machismo, the glorification of dirt and cheap heroism," and its "handful of lethal lies--about the glory of America's frontier origins, the morality of swift justice, the tenderness in the heart of brutes." Later a character is seduced by a spectral Monroe, and for anyone who's felt a real ache of desire for an actor or actress you'll never even meet, much less make love with, the moment's electrically charged:
He was within a couple of yards of her when a breeze out of nowhere billowed her skirt up around her waist. She laughed, half closing her eyes, as the surf of silk rose and exposed her. She was naked underneath.
Ricky reached for her again and this time she didn't avoid his touch. The dress billowed up a little higher and he stared, fixated, at that part of Marilyn he had never seen, the fur divide that had been the dream of millions.
Of course, this is Clive Barker we're talking about here, so there's more than meets the eye (pun intended--if you read the story you'll get it) to that "fur divide" and to Marilyn herself. It's one of three knockout horror images in this story--the second involving a really creative way of removing someone's eyeballs, and the third a sudden eruption of evil out of the orifices of a picture of innocence.
The story's structure is memorable as well--it starts telling one story, and then as if in homage to another silver-screen goddess, Janet Leigh, suddenly becomes a different story entirely. (It has a coda reminiscent of 'Salem's Lot, also.) I also really like the story's heroine, Birdy--her no-bullshit demeanor (and some of the story's dialogue as well) are precursors to Kirsty from The Hellbound Heart (aka Hellraiser), while her weight and her remora-like relationship to the Hollywood deities (she works in a movie theatre) are later echoed in Tammy from Coldheart Canyon. Ricky is well-sketched as well, a man in his mid-thirties (that's not revealed till the end, actually) who in every respect is trying to live like a 20-year-old in perpetuity.
Not the best story in the series, then (see tomorrow for another possible claimant to that particular title), but as befits the subject matter, hey, that's entertainment.
ALICE COOPER: THE LAST TEMPTATION #1 NM NEIL GAIMAN MARVEL ROCK AND ROLL ROCK & 3.33
NM, Marvel Music, 1994, cover price $4.95
Too be clear, I'm only selling the comic shown and not the album or CD.
The Last Temptation (Alice Cooper album)
From Wikipedia, the free encyclopedia
The Last Temptation is a concept album by rock singer, Alice Cooper, released in July 1994 via Epic Records. It centres around a boy named Steven (also the name of the protagonist in Cooper's earlier work, Welcome to My Nightmare), and a mysterious showman. The showman, with apparent supernatural abilities, attempted with the use of twisted versions of morality plays to persuade Steven to join his travelling show, "The Theatre Of The Real - The Grand-est Guignol!", where he would "never grow up".
Marvel Music Comic Book
The full story was given in a 3-part comic book written by Neil Gaiman, the first part of which accompanied the recording. In the comic, the showman (referred to only ever as such) was depicted as Cooper himself. Pages from the comic are seen in the Lost in America music video, while it is being read by Steven.
It was originally published by Marvel Comics and later reprinted by Dark Horse Comics, collected as trade paperback.
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ROLLING STONES VOODOO LOUNGE NM MARVEL MUSIC 1995 ROCK AND ROLL 4.44
Prestige format one-shot, Cover Price: $6.95, Trade Paperback/Graphic Novel, TPB/GN
In an unusual move, Marvel Music (an imprint of Marvel Comics) commissioned writer/artist Dave McKean to combine lyrics from the Stone’s latest album with his own art. McKean is well-known in the comics field for his unique Sandman covers, his solo work on Cages, and his collaborations with Neil Gaiman on such works as Violent Cases and The Tragical Comedy or Comical Tragedy of Mr. Punch. With Voodoo Lounge, he merges photography, painting, and graphic effects in a collage-like fashion. The result is decidedly eerie—and perfect for evoking the images alluded to in the Stones’ lyrics.
Too be clear, I'm only selling the comic shown and not the album or CD.
From Wikipedia, the free encyclopedia
Voodoo Lounge (The Rolling Stones album)
* Mick Jagger – lead and backing vocals, electric and acoustic guitar, harmonica, maracas, castanets
* Keith Richards – electric and acoustic guitar, lead and backing vocals, piano, bass guitar, tambourine
* Charlie Watts – drums, tambourine
* Ronnie Wood – electric, pedal steel, acoustic, slide, and lap steel guitar
Voodoo Lounge is the 20th studio album by The Rolling Stones, released in July 1994. As their first new release under their new alliance with Virgin Records, it ended a five-year gap since their last studio album, Steel Wheels in 1989. Voodoo Lounge is also The Rolling Stones' first album without long-time bassist Bill Wyman, who departed the line-up in early 1993. Although not joining the band officially, Darryl Jones would be taking Bill Wyman's place as the group's regular bassist.
In early 1995, while the Voodoo Lounge Tour was still in full force (not finishing until August that year) Voodoo Lounge won the Grammy Award for Best Rock Album.
KISSING CHAOS
BLACK KISS
PEEPSHOW
EPIC
STARCHILD
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%201/?action=view¤t=INDEPENDENTCOMICS2038.jpg
WASTE L.A.
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%201/?action=view¤t=INDEPENDENTCOMICS2055.jpg
BERLIN
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%201/?action=view¤t=INDEPENDENTCOMICS2011.jpg
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%201/?action=view¤t=INDEPENDENTCOMICS2037.jpg
HARD KNOCK none
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%202/?action=view¤t=INDEPENDENTCOMICS053.jpg
PEEPSHOW
http://s586.photobucket.com/albums/ss304/hello0007/comicopolis/?action=view¤t=independent6052.jpg
LUNAR DONUT
http://s586.photobucket.com/albums/ss304/hello0007/comicopolis/?action=view¤t=independent6002.jpg
LA PACIFICA
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%202/?action=view¤t=INDEPENDENTCOMICS017.jpg
SOULWIND
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%202/?action=view¤t=INDEPENDENTCOMICS016.jpg
LONE WOLF AND CUB
http://s38.photobucket.com/albums/e114/0OllllO0/?action=view¤t=100_1390.jpg
JENNY FINN
OJO
*RARE* SWEETHEART DIARY #14 GD 1953 FAWCETT PRE-CHARLTON LOVE ROMANCE, HARD-TO-FIND? SCARCE?? RARE???
JUST MARRIED #18 VG 1961 CHARLTON GIRLS LOVE ROMANCE
JUST MARRIED #37 VG 1964 CHARLTON GIRLS LOVE ROMANCE
JUST MARRIED #50 FN 1966 CHARLTON GIRLS LOVE ROMANCE
JUST MARRIED #59 FN 1968 CHARLTON PILOT PARACHUTE
JUST MARRIED #63 FN 1969 CHARLTON GRAND PRIX DRIVER
HIGH SCHOOL CONFIDENTIAL DIARY #8 FN 1961 CHARLTON GIRLS LOVE ROMANCE
SUMMER LOVE #48 VG 1968 CHARLTON GIRLS LOVE ROMANCE
SUMMER LOVE #48, GD (Charlton, Nov. 1968, Charlton Annual) Swinging Sixties Swingers cover/story
SECRETS OF LOVE AND MARRIAGE #23 VF+ 1961 CHARLTON GIRLS LOVE ROMANCE
TEEN CONFESSIONS #3 FN 1960 CHARLTON GIRLS LOVE ROMANCE BAD GIRL
TEEN CONFESSIONS #10 GD 1961 CHARLTON GIRLS LOVE ROMANCE SWIMSUIT
SWEETHEART DIARY #42 VG 1958 CHARLTON GIRLS LOVE ROMANCE
SWEETHEARTS #78 FN 1964 CHARLTON GIRLS LOVE ROMANCE SAILBOAT
BEST OF ODDBALL CHARLTON (27 of Top 100)
FIRST KISS #1 VG 1957 CHARLTON GRADUATION LOVE ROMANCE
FIRST KISS #3 VG 1958 CHARLTON FOOTBALL CHEERLEADER LOVE ROMANCE
JUST MARRIED #2 VG 1958 CHARLTON SWIMSUIT LOVE ROMANCE
JUST MARRIED #4 FN CHARLTON JUDGE MARRIAGE NAVY SAILOR LOVE ROMANCE
LOVE DIARY #1 VG 1958 CHARLTON SWIMSUIT LOVE ROMANCE
LOVE DIARY #2 VG/FN 1958 CHARLTON LOVE ROMANCE
MY SECRET LIFE #26 VG/FN 1958 CHARLTON JUDGE COURTROOM LOVE ROMANCE
MY SECRET LIFE #46 VG/FN 1962 CHARLTON BERLIN WALL COMMUNISTS LOVE ROMANCE
MY SECRET LIFE #47 VG/FN 1962 CHARLTON NURSES PARATROOPERS LOVE ROMANCE
ROMANTIC STORY #35 VG/FN 1957 CHARLTON LOVE ROMANCE
SECRETS OF LOVE AND MARRIAGE #2 FR/GD CHARLTON *MATT BAKER?*LOVE ROMANCE
SECRETS OF LOVE AND MARRIAGE #
SECRETS OF YOUNG BRIDES #7 FN 1958 CHARLTON NEWLYWEDS LOVE ROMANCE
SWEETHEARTS #30 FN 1955 CHARLTON LOVE ROMANCE
SWEETHEARTS #47 FN 1959 CHARLTON LOVE ROMANCE
Photobucket album link:
http://s1002.photobucket.com/albums/af144/KensingtonQuinncannon/YaleLibraryEsquireShow/?start=all
BRIDES IN LOVE #36, VG (Charlton, June, 1963, Bi-monthly)
Classic Divorce Court cover/story, girls' name inked on cover *RARE*
BRIDES IN LOVE #36, VG (Charlton, June, 1963, Bi-monthly)
Classic Divorce Court cover/story, water stain, no ripples, *RARE*
JUST MARRIED #4, FN(Charlton, Aug. 1958, Quarterly) Justice of the Peace cover, Judge
CAREER GIRL ROMANCES #39, FN (Charlton, Apr. 1967, Bi-monthly)
Tiffany Sinn, The C.I.A. Sweetheart cover/story; Central Intelligence Agency, Espionage Spies Spy
Annie Lane: Girl Adventurer app.
FIGHTIN' ARMY #66, FN- (Charlton, Dec. 1965, Bi-monthly) Classic Vietnam cover, *RARE*
I LOVE YOU #36, (Charlton, Sept. 1961, Bi-monthly) Girl escaping from a mental hospital cover/story
HIGH SCHOOL CONFIDENTIAL STORY #8, (Charlton, Aug. 1961, Bi-monthly)
Looks like a law library. (They're empty all the time, these days. Nice rendevous point for a tryst.)
SUE AND SALLY SMITH, FLYING NURSES #50 VG (Charlton, Mar. 1963, Bi-monthly) Snow Skiing cover/story
SUE AND SALLY SMITH, FLYING NURSES #49 (Charlton, Jan. 1963, , Bi-monthly)
Parachute Paratrooper cover/story
REGISTERED NURSE (Charlton, Summer, 1963, Quarterly) Nurse / Doctor cover/story
Reprints; "The Best of Nurse Betsy Crane and Cynthia Doyle, Nurse in Love"
THREE NURSES (formerly CONFIDENTIAL DIARY, Charlton, Bi-monthly) #18, FN+ (May 1963) Nurse cover/story
EMERGENCY DOCTOR #1, FN (Charlton, Summer, 1963, Quarterly) Surgeon cover/story
EMERGENCY DOCTOR #1, VF (Charlton, Summer, 1963, Quarterly) Surgeon cover/story
THE YOUNG DOCTORS #1, FN+ (Charlton, Jan. 1953, Bi-monthly) green ink scribble below title ("Doc") Doctor cover/story
SWEETHEART DIARY #65, GD (Charlton, Aug. 1962, Bi-monthly) Doctor Dr. Nurse cover/story
INTIMATE #1, FN (Charlton, Dec. 1957, Quarterly) Unwed Mother cover/story
ROMANTIC SECRETS #20, GD (Charlton, Mar. 1959, Quarterly) Christmas cover/story X-Mas Xmas
COWBOY LOVE #30, VG (Charlton, June, 1955, Bi-monthly)
IN LOVE #2, GD (Mainline Publications, Oct./Nov. 1954, Bi-monthly) becomes Charlton's "I Love You"
Early Graphic Novel, "Book Length Love Novel, Adult Reading" Simon and Kirby
http://kirbymuseum.org/blogs/simonandkirby/archives/category/z-archive/200708
The second issue of In Love kept to the concept of a long story broken up into three chapters. “Marilyn’s Men” is about Marilyn Morgan, her brother Jim, Lawyer Bob (he is actually called that), and Dave an airplane pilot. Jim is a constant source of scandals due to his numerous fights over girls, usually someone else’s. Lawyer Bob loves Marilyn, but unfortunately for him she does not return that affection. Marilyn heart still smolders for her high school flame Dave. Always on the look out for a big money making scheme, Jim entices Marilyn’s interest in a new project because this time it involves a deal with Dave for a new airport. This not only leads to a business partnership, but also to the renewal of love between Marilyn and Dave. All is not well because an attempt by Marilyn to prevent Jim from causing another scandal backfires with Jim leaving the partnership. But another scheme of Marilyn’s brings him back.
Most of the art in this story was done by Bill Draut, and he does a great job. There are a lot of examples I could provide. There is a nice fight scene that starts the story, a great splash page, some interesting flying sequences, and more. Instead I have selected a page with no real action because it shows how well Bill could choreograph a page. I suspect some of the credit should go to the writer for so nicely directing the whole thing. But it was probably Draut who figured how to visually make it all work. We see Marilyn and Lawyer Bob enter the park. As they sit there is a flying pigeon in the foreground. Next a close-up of a pigeon and the couple’s legs. Marilyn cites the pigeon as a metaphor for freedom. Then the pigeon is startled and flies away with the shadow of a plane showing the source of that disturbance. It is Dave’s plane that the couple look up at as if flies away. Finally it is back to focusing on the couple as we learn the depths of Marilyn’s feeling for and about Dave and Bob. All very cinematic.
That page and others do not have a Kirby feel to them so I once again doubt that Draut was working from Kirby layouts. There is one exception, a panel with Jim taking a drag from a cigarette while talking to Marilyn. Marilyn’s pose seems pure Draut, but Jim is so Kirby-like that I suspect Jack has stepped in to redraw the brother.
Kirby did not draw any of the pages for the first two chapters of the story, but Jack did four of the seven pages of the last chapter. The first three pages are by Jack, followed by three pages by Bill and ending with another page by Kirby. I find it surprising that Jack’s contribution came so late in the story. Draut is a good artist but lets face it, Kirby is a better one, and also the boss. Normally I would expect that if Kirby only worked on part of a story it would be the splash pages and the start. An advertisement in In Love #1 shows that at least some of the art for “Marilyn’s Men” was already completed at the time issue #1 went to the printers. So perhaps Jacks significant involvement in In Love #1 precluded initially working on issue #2 until the last chapter. If chapter 3 is thought of as a story in itself, Jack’s involvement with the starting pages and the end is just what would be expected. Jack did a beautiful job on the splash page, I believe he inked it as well. I will discuss the second page of the chapter below but I do not believe Jack was the primary inker. The third page (shown above) is a bit of a surprise, although clearly drawn by Jack it looks like the inker tried to make it looked like it was done by Draut. I do not think it was Draut who did this inking. Previously I wrote on Kirby imitating Draut and other artists in the content pages of Harvey romances. What was done here was just as unsuccessful. I suspect the attempt was made to provide a transition from the Kirby page to those done solely by Draut. It does provide a transition but at the cost of a truly ugly page of art. The same sort of Kirby transformed into Draut occurs on the last page as well, and it is just as unsuccessful.
I supply the image for the second page of the third chapter above (page 17 of the entire story). The sequence actually starts with two panels on the splash page showing Marilyn as she passes through the park alone. The first five panels on page 17 is a sequence of two of Marilyn and the man, followed by one of the man meeting another women and then another two of Marilyn and the couple. Except for one panel where the man is up close, Jack generally puts Marilyn in the foreground with the background used for the man or couple, who are the actual focus of the panels. The next two panels show only the couple and the last has the couple again with Marilyn retreating in the background. The whole sequence is just a marvelous example of obtaining drama and tension just by the way the art is laid out. Kirby is justly famous for how he portrays action in a story, action-less drama on the other hand is not something that Jack did not do very often. Although rare, pages like this one or the one I wrote about from Foxhole #2 show that Kirby was a master of pure drama as well.
The writing for this story is truly superior. All the pieces of the plot fit well together. Marilyn’s interference with her brother Jim in the last chapter makes no sense without Jim’s fight and scandal in the first chapter. The plot moves not just to provide an interesting tale, but as a means of presenting the cast of characters and providing their motivations. The character of Marilyn is a particular surprise. Generally a businesswomen in romance comics would be expected to abandon her career and find fulfillment in love. Not Marilyn, she gets it all, love and her career. When Marilyn’s interference in Jim’s love life backfires you would expect that she would have learn her lesson. Instead Marilyn no longer tries to break up Jim and his new girlfriend, but interferes once again in his life to bring him back to business partnership. One thing sets this story apart from many Simon and Kirby romances and that is emphasis on action. Since action is so often found in romance stories that Jack drew, I believe this indicates that Kirby played a significant part in the writing of this story. There are phrases here and there that also sound like Kirby’s writing. However most of the scripting does not sound like Jack’s, so I suppose another writer was involved as well.
As I reread these issues I realize that it is not just the full length feature story that sets In Love apart. Most romance comic book stories can be summarized as boy meets girl, a problem occurs, finally love conquers all. (Do not trivialize romance comics because of this, superhero stories can be summarized into an even simpler formula). The closest that In Love stories come to that formula is “Bride of the Star” that I posted on earlier. Even there it was so much as love conquered all as that the man regained his own self confidence about pitching which allowed love to resume. The two short backup pieces in In Love #1 were both about already married woman. “Marilyn’s Men” is just as much about Marilyn’s relationship with her brother as it is about her love life. The backup in In Love #2 was more about the love of a mother for her child then it was the love between a man and a woman. It does seem that Simon and Kirby were trying to make In Love different from the rest of the romance titles just like the effort to make the rest of the Mainline titles standout from their competitors.
TRUE LIFE SECRETS #23, FN- (Charlton, Nov./Dec. 1954, Bi-monthly) glossy cover, GGA
Classic Good Girl Art Humor, The Best Charlton comic, ever.
TRUE LIFE SECRETS #28 VG 1955 CHARLTON LOVE ROMANCE
HOLLYWOOD ROMANCES #46, VG (Charlton, Nov. 1966, Quarterly) 22.22
Rolling Stones cover/story
CAREER GIRL ROMANCES #32, VG (Charlton, Jan. 1966, Bi-monthly)
Elvis Presley cover/story, Hermans Hermits, Johnny Rivers apps.
Back Cover
SUMMER LOVE #48, GD (Charlton, Nov. 1968, Charlton Annual) Swinging Sixties Swingers cover/story
(SUMMER LOVE Oct. 1967, Unpublished) Gerber 10, (Unknown original artwork exists)
SUMMER LOVE #47, VG (Oct. 1966, Charlton Annual) Beatles cover/story; Giant-Sized 22.22
SUMMER LOVE #46, GD (Oct. 1965, Charlton Annual) Beatles cover/story
love diary 1
http://i38.photobucket.com/albums/e114/0OllllO0/photo-coming-soon.jpg
ERROR COVER - 10 MINUTE CROSSWORD COVER,
blank inside front cover, early 1960's romance comic book inside
Back Cover
ROMANCE COMIC BOOKS
One comics form, though it enjoyed a decades-long history, became a casualty to the changing mores of the culture (in addition to the other vectors that lead comics to extinction). The perceived obsolescence of the monogamistic ideal, as viewed through the selective lens of the sexual revolutionary, rendered tales that idealized old-school approaches to pair-bonding themselves obsolescent. Sometime between the fifties, romance literature (including prose and comics) would shift from fantasies about meeting and marrying Prince Charming to fantasies about husbands who conveniently die to clear the field for the newer, younger, and more interesting Prince Charmings (see publishers like Harlequin, et al). In the process, comics fans - which, over time, increasingly comes to mean superhero comics fans - came to view romance comics with a sneer, in spite of a much more solid grounding in reality and an overall greater relevance to readers even vaguely within the gene pool. Examined as literature, however, the romance comic does not necessarily have less to offer, storytelling-wise, than, say, the superhero comic; it just averages a more plausible wardrobe all around, a few less space aliens, and sound effects less likely to rouse the children from their naps. And, as with other specimens of the other comics - the pieces that once existed before superhero comics consumed the market - the romance comic generally played a variation of one of a set of fairly reliable themes.
Origins
A great die-off of superheroes began with the end of World War II. The loss of military contracts to provide disposable reading matter to servicemen overseas ate into sales figures; the aging of a readership in a day when one generally considered teenagers too old for reading comics moved domestic patrons out of the market; and, of course, not all heroes had what it takes to create an enduring readership. If the superhero ailed in those days, comics creators themselves kept moving to attempt to present material that would engage readers and, therefore, move off the news stands. Sometimes existing genres rose into the vacancies created by expiring superhero material; sometimes publishers crowded out failing heroes to make way for other, theoretically more commercial material. In this era, we saw as a defining event the eviction of Green Lantern from his own title to make space for a wonder dog strip. After the end of the war, popular interest somewhat shifted from martial concerns (say, costumed heroes) to domestic ones (say, radio serials and movies dealing with romance). Radio, television, and theater consumed increasing chunks of recreation time in the decade immediately following the end of the War, and two innovative talents from the thirties and forties - Joe Simon and Jack Kirby - decided to test the waters of romance in comic book form in 1947. For its moment, the form would flower, even spawning sub-variants such as cowboy romance material and Black romance comics. And the flagship romance comic, Young Romance, would endure through over 200 issues and over 20 years, spanning more than one publisher in the decades of its existence.
Conventions
False confessions became an early conceit of the romance comics back in the day when the entire genre belonged to its creators, Simon and Kirby. Given the fictional device of first-person narration combined with the relentless maleness of the two creators, one can see as inevitable that a certain amount of fraud (of the kind absolved by willing suspension of belief) would originate with comics with female protagonists. Magazines with titles like True This and Real That led the way for this approach. Moralism also played a central role, as it would in a number of comics forms that predated the Code that arose to address the immorality of the form. Characters met bad ends in proportion to the bad deeds they perpetrated; blackmailers and scoundrels could expect disgrace, jail, or even death so reliably that one would assume moral laws drove the physics of comics. One may also note that, since the romance comics barely endured into the seventies, that the morality they depicted resounded with pre-sexual revolution themes. Hence a norm of hetero-monogamy prevailed. This provided the third key element: The monogamistic happy ending that stood as the Mecca all characters seemed to seek in the romance comics. In an age where Everyman seemed to view marriage as central to long-term happiness - certainly an arguable position - all tales sought, and either achieved or failed to achieve, this goal. With some combination of the three principle conventions of the form, romance comics furthermore explored tales which typically fell into categories such as Cinderella fantasies, near escapes, tragic endings, fantastic redemptions, and just deserts.
Cinderella Fantasies
A harsh commercial of an earlier decade featured a young girl, playing with some dolls, and babbling on about how a prince would someday take her as his wife and solve, once and for all, her material needs. This particular gem of advertising ended with the claim that the young heroine could expect to appear on the welfare rolls with a head full of such fantasies. While one might well invite the authors of such shock-and-naysaying material to lighten up or at least leave the pessimism at home a few days out of the year, the Cinderella Fantasy does still offer a sometimes-destructive lure to females in a variety of cultures. The fantasy tends to do its damage by training young people to expect a Prince Charming - a kind of deus ex machina but with money and big pectorals - to make everything right. While one focuses one's strategies on waiting for unlikely happenings such as the timely appearance of a Prince, one does not invest in a future made better through one's own efforts; and this applies across lines of sex, gender, or whatever folks call it these days. Preparing for the worst does more good than idling away time hoping for the best without human effort to back it up. The romance comic originated in a day where western culture offered many fewer opportunities for self-reliance for females, and quietly expired in a period that suggested new possibilities. Perhaps the perceived "corniness" of Cinderella-fantasy material helped bring the romance comics down; and perhaps such fantasy became less and less relevant. The publishers of the pure-prose bodice-ripper don't seem to think so, however.
Near Escapes
The near escape story enjoyed a flexible range of components, depending on the thing from which our protagonists - typically female - needed to escape. Their own pasts, simple bad luck, or the schemes of wicked rivals for a partner's affections (or of wicked contenders for their own) provided the raw material for the near escape story. Temptation frequently played a central role in stories of this sort. Partially because this helped real people to relate to fictional stories, and partially because too much strength of character can make players dishwater dull, our stalwart heroines risked falling into the gap between what they wanted, what they could have, and what they should have, a differential frequently thrown into contrast by desires for material security or simple devotion from a tenuous partner in love. However, the moral determinism of many comics - the poetic justice that could, if necessary, overturn natural law - ultimately righted wrongs brought about by the evil intent of characters in the romance comics. So, if one looks at contemporaneous material, one can see a common pattern of karmic retribution. The Comics Code Authority did not invent this morality; it just codified it as an editorial standard with the power of preemptive censorship for material that failed to comply.
Tragic Endings
On one level, romance comics dared take a more adult approach than many other forms of comics, including the earlier and later superhero comics. Free from the burdens created by combining a shared universe/continuity model with an ongoing monthly publishing schedule, the romance comic could, if the story required, kill off major players (who, we must admit, probably never appeared before and almost certainly would never appear again anyway). This gave a freedom lacking from comics forms that use editorial models that claim to allow for or even require change yet must not dispose of the intellectual properties that move the books in the first place. A widow or ex-lover could relate the details of the event which forever separated her from her beau. The five-and-ten pager, after all, allowed creators to reach for effect rather than requiring them to build on a canon of stories. If the tone writers and artists sought required the Loving Husband to die saving the world from the Hun so that his bereaved could get maudlin and reflect on an idealized version of a short yet intense marriage, they could slaughter with impunity.
Fantastic Redemptions
Although wickedness tended to bring characters to well-deserved bad ends, plenty of stories allowed once-wayward characters a chance to redeem themselves from a past not always fully of their own creation. Variants of the Reform School Girl Romance and the Poor Girl Transcends Her Humble Origins made for a consistent fodder of the romance comics. In general, though, these stories deal with either reformed characters - meaning protagonists with a seedy past but a fairly upright present or those who, in the present, do little worse than attempt to conceal a long-past seediness lest it wreck their futures. And they also conveyed a moralistic, and frequently unrealistic, message about the concrete and external benefits due to those who reform on an abstract and internal level. With this kind of story, the wish-fulfillment element of the romance comics shows more strongly than in many of the other versions.
Just Deserts
Wicked women and scandalous rakes both appeared, as a kind of ferment, in many tales of the old romance comics. Without the Serpent in Eden, after all, the story amounts to little more than two people picking fruit off trees all day and trying to invent new ways to combat the ever-mounting boredom. Someone has to make trouble or nothing might ever happen. [Misbehaving beaux and belles, as staples of the form.] As well, the Just Deserts model of romance comics story served its wish fulfillment aspect rather well. People whom others have wronged, after all, may wish to see some of the suffering bad people inflict return to them rather than fall exclusively on the shoulders of the innocent and the exploited. Typical romance-comics offenses include mate-stealing; mate-killing, to replace an older model with a newer one; concealment of an ongoing lurid or criminal double life; and a repertoire of methods for ruining the lives of married couples for the sake of attempting to have more than one deserves. The moralism of the form makes itself well-felt here. Ignore the nihilism of twentieth-century classical prose pieces like Kafka's "The Metamorphosis;" the rogue and the vampire (in the old sense of the term, used to label a woman as greedy and parasitic) either found themselves alone, or in jail, or even dead.
The Fate of the Form
A multi-tiered attack ultimately caused the romance comics, after a quarter of a century, to disappear from the news racks. No one of these forces killed off the form - indeed, it could resurface someday - but the combination of factors working against this genre ultimately smothered it under its cumulative weight. A changing morality made their moral emphasis appear quaint and dated (by modern standards, the emphasis on hetero-monogamy might appear positively malign); the reward of home and hearth began to seem irrelevant or even a form of bondage; across all genres, comics had suffered in the mid and late fifties from factors including growing disinterest and a censorship of prior restraint; the post-Stan Lee comics would preempt somewhat the romance theme by allowing superheroes solid romantic connections; and, finally, the superhero comic would come to dominate the aesthetic ecosystem of the form to the point of crowding out other material, regardless of genre.
The Talent
Names that one normally doesn't associate with the romance comic, since they attach to other, previous or subsequent, achievements, belong in the canon of romance comic talent, including its inventors, Joe Simon and Jack Kirby. Observers of the medium suggest that a number of canonical figures of fifties and sixties comics (or that got their start there) did so in the early romance comics, acquiring a different set of skills than required by the superhero stories that once propelled the medium. Names like Matt Baker, Frank Frazetta, Everett R. Kinstler, Jay Scott Pike, John Romita Senior, Leonard Starr, Alex Toth, and Wally Wood belong in this set (according to Jim Korkis in Teen Angst). Some would go on to distinguish themselves in other genres, including, but not limited to, the ubiquitous superhero form. We can add other names to this. Marie Severin, for instance, described one Marvel job she received doctoring old romance comic pages from the sixties to make the clothes more appropriate for 1970, installing details like flared trouser cuffs and pointy collars (a task of considerable tedium). A particular set of talents developed in the romance form, including skills not always acquirable in today's superhero-dominated comics market. In a romance comic, the credibility of characters and settings assumes an importance generally foreign to more fantastic genres: Anatomy that never occurs in nature, clothing that would violate the dress code of a circus, and facial expressions that fall into two categories (snarl and non-snarl) would all ruin the plausibility of a romance comic. So artists learned to bring out the nuances of emoting faces, the detail of conventional clothing, and human bodies that suggested the beautiful but not the impossible. Using Romita as an example - if an exceptional one - we can note that his assumption of the artistic role on Amazing Spider-Man saw an increasingly expressive set of characters and a definitely more beautiful female (and, for that matter, male) cast. Romita may not have worked in the wildly imaginative manner typical of Ditko on pieces like Dr. Strange stories, but he certainly brought a great deal to the books he worked on, regardless of the subject matter, and the best things he brought seemed relevant to his romance comics background. Owing to the small footprint that romance comics seems to have left on fandom - the superhero form dominates fandom in a way that leaves some of the once-diverse comics medium to the attention of scholarly historians of the subject - locating a canonical list of the artists and writers who made their careers on this material represents a problem of the very availability of the information.
The DC romance comics of late sixties and early seventies had absolutely gorgeous art and the stories were sophisticated and very mod in their reflection of the new morality of the times: inter-racial love and unwed mothers, as well as thinly-guised allusions to prostitution and lesbianism. However, the Charlton romance comics of the same era were probably the absolute worst comics ever produced. Each issue gave the impression that, after having blown the entire monthly budget on a beautiful cover, the editors parceled out the interior pages for peanuts to very talented high school student relatives of the staff. On top of the bad art, Charlton used mechanical lettering, which contributed chilliness to their pages. Sudsy soaps with torrid titles like “Love Thy Neighbor” and “The Hippy and the Cop” promised more than they delivered. With dismal stories and hideous art, Charltons truly are undiscovered gems if you like oddball, weirdo comics.
In romance comics prior to 1965 the most a woman could aspire to was the position of nurse, private secretary or model. And they always gave it up anyway to get married and become housewives. The entire country had changed drastically by the mid-sixties and romance comics tried to keep up with the change and failed miserably. Although our heroines moved up in the world; they evolved from working-class waitresses and housewives into college students, airline stewardesses, rock stars and models, the stories remained mostly the same: some fetching, lush-lipped heroine, tear in her eye, agonizing over - something - a lost love, a lost job, parents who just don’t understand, sexist pig boyfriends, back-stabbin’b!tches.
Some of these comics got pretty sordid or as sordid as they were allowed to exist in those days. Cheating, underage sex, wild parties, bad crowds: these topics were still somewhat taboo at that time. Often the art featured classic “good girl” art featuring “headlights,” spanking panels, slapping panels, shower scenes, negligee panels, etc. An even seemier story appears in … from the ….issue of …
Interesting "generation gap" comics emerged as the publishers tried to appeal to mid-to-late teenage girls The writers wanted to be "with it" but in many cases just didn't know quite how. Unfortunately, in a desperate attempt to be hip, the stories read as though they were written by clueless 45 year old men. Which they were. The results are unintentionally hilarious. Embarrassingly pseudo-hip dialogue such as…I can’t pick just one. On every page someone says something incredibly strange. It’s all…simply…too…much. You’ll be beside yourself saying, “Did I just read that correctly? I can’t believe I’m reading this. Is this how it really was? They couldn’t have actually done, said or wore those things. It’s all just so…alien. And they thought it was cool.” Haircuts, fashion and slang in these comics captures that tasteless late-1960’s to mid-1970s era of groovy hippies and hot disco music.
These types of comics are the source of the generic “pop art” look seen today on hundreds of campy T-shirts, cups, greeting cards, kitchen magnets and Roy Lichtenstein’s Ban-Day dot oil paintings. A virtual treasure trove of clip art. Real corny period pieces. A sociology student could write a thesis and a fashion student could find inspiration. The rest of us are ROTFL. These books are still unresearched in the Overstreet Comic Book Price Guide for the most part.
Joe Gill, who wrote most of Charlton’s romance comics, says he always felt a responsibility to keep the stories clean and moral. “I knew what I was writing was being read by young, impressionable people…and I didn’t want to corrupt them. You know, virtue has its own rewards…(laughs) and all that s--t. Television changed all the values of the (subsequent) generation enormously. They found out about sex and drugs. It was pretty sordid. And these harmless little comics had no place in their lives.” The books were looked at with the same derision as Harlequin books and TV soap operas. Gill remembers that, “I worked for Stan Lee way back when and as assignments were getting rarer he offered me some romance assignments - and I wouldn’t do them. I thought they were sissy stuff. I’d rather go work on the docks.” Later, of course, with a family to feed, Gill changed his mind and while at Charlton went on to become probably the most prolific romance comic book writer of all time.
optic nerve
ah zatanna postcard
The Matrix Comics is a collection of short comic book stories set in the fictional universe of The Matrix series. Originally presented as webcomics on the series' official website, the stories have since been featured in two printed volumes published by the Wachowski Brothers' company Burlyman Entertainment.
The comics' editor was Spencer Lamm. The Wachowski Brothers, the creators of The Matrix series, contributed one script to the project, "Bits and Pieces of Information", aspects of which were later included in The Animatrix short animated film "The Second Renaissance".
This book is the sole result of Larry and Andy Wachowski's love of comics. In collaboration with many of the top names in comics, these one dozen stories set in the world of THE MATRIX expand and further the mythos of the film trilogy. From Larry and Andy Wachowski themselves, to names that have played a part in some of the most influential comics of the past two decades (see below), we present a collection born of talent and respect for THE MATRIX itself.
Based on concepts by the Wachowski Brothers - writers and directors of THE MATRIX TRILOGY.
Edited by Spencer Lamm - director of TheMatrix.com and editor of THE ART OF THE MATRIX.
Stories and art by:
Larry and Andy Wachowski (BOUND, THE MATRIX)
Geof Darrow (HARD BOILED, CONCEPTUAL DESIGNER: THE MATRIX TRILOGY)
Bill Sienkiewicz (ELEKTRA: ASSASSIN, STRAY TOASTERS)
Neil Gaiman (THE SANDMAN, AMERICAN GODS)
Ted McKeever (METROPOL, SUPERMAN: METROPOLIS)
John Van Fleet (TYPHOID, BATMAN: THE CHALICE)
Dave Gibbons (WATCHMEN, MARTHA WASHINGTON)
David Lapham (STRAY BULLETS, MURDER ME DEAD)
Kaare Andrews (HULK & SPIDER-MAN COVERS)
Peter Bagge (YEAH!, HATE)
Paul Chadwick (CONCRETE, THE WORLD BELOW)
Troy Nixey (BATMAN: THE GASWORKS, TROUT)
Dave McCaig (VAMPIRE SLAYER, ANGEL)
Gregory Ruth (SUDDEN GRAVITY, FREAKS OF THE HEARTLAND)
Steve Skroce (WOLVERINE, KEY STORYBOARD ARTIST: THE MATRIX TRILOGY)
Ryder Windham (STAR WARS COMICS)
Kilian Plunkett (ALIENS: LABYRINTH, SUPERMAN: RED SON).
INTRODUCTION
The Matrix comics have, up until now, been exclusively available online at TheMatrix.com. At the site, we¹re into our third series. The dozen stories found here collect four from each series, spanning nearly five years. Considering some were written before the first film was even released, it is about time for them to be in print and on bookshelves. The emails asking us to do just this haven¹t hurt, either.
It was Andy and Larry who suggested we do comics, back in the very first days. Not adaptations, to be clear, but new stories. They said, ³Why create adaptations when the film already tells that particular story? Why be redundant?² Years forward, of course, they would take this to new heights with the sequels, crisscrossing the plots of the game ENTER THE MATRIX, the anime series THE ANIMATRIX, and yes, the comics, too, with the films themselves. At the core, Larry and Andy love storytelling, in any form. On comics specifically, they happen to be big fans going back many years, well before they themselves became professional comic book writers (or film directors, for that matter). You need look no farther than their story, BITS AND PIECES OF INFORMATION, here in this book, and then consider how this was first written in 1998 (and illustrated by Geof Darrow, the trilogy¹s key conceptual designer, by no small coincidence).
So from day one, as fans of comics, we began gathering stories set in the world of THE MATRIX. Of these early days, one fairly easy detail to forget ‹ back then we were contacting writers and artists for a film no one had seen or even heard of. Not everyone we approached was immediately receptive. However, those that connected with the script and storyboards saw the potential of what was coming on screen, and committed to the project.
We were and continue to be very fortunate, as the writers and artists that accepted our invitation have consistently brought a deep passion and understanding, each embracing and connecting with the material, adding their own unique perspective. What is more, as the sequels got under way and we continued, we never stopped receiving exceptional material from an ever larger pool of consummate professionals. For proof of this, simply begin turning the pages.
This long overdue collection also happens to be the debut of BURLY MAN ENTERTAINMENT, a new company from the Brothers Wachowski. THE BURLY MAN was the first screenplay Larry and Andy developed for the now defunct Four Corners Productions. Both are long-time devotees of the wrestling scenario and had hoped to revive the genre in the same fresh way they breathed new life into action movies with The Matrix films.
I asked them if they thought the Coen Brothers had perhaps referenced their script in the film BARTON FINK. Larry hadn¹t seen it. (He said he didn¹t like subtitled movies. I told him it wasn¹t subtitled and then he amended that he didn¹t like movies that sounded like they were subtitled either). Andy had seen it but his only comment was, ³Coulda¹ been a good movie if they put some wrestlin¹ in it.²
As always, it remains a pleasure; enjoy what follows.
Spencer Lamm
October, 2003
"Bits and Pieces of Information" Larry Wachowski; Andy Wachowski Geof Darrow
Darrow worked as a concept artist on all three Matrix films.
Aspects of this story were later incorporated into the Animatrix short film "The Second Renaissance".
"A Life Less Empty" Ted McKeever
"Goliath" Neil Gaiman Bill Sienkiewicz, Gregory Ruth
A short story; illustrations were added at a later date.
"Burning Hope" John Van Fleet
"Butterfly" Dave Gibbons
"A Sword of a Different Color" Troy Nixey
"Get It?" Peter Bagge
"There Are No Flowers in the Real World" David Lapham
Also released with Stray Bullets #2 for Free Comic Book Day in 2002.
"The Miller's Tale" Paul Chadwick
"Artistic Freedom" Ryder Windham Kilian Plunkett
"Hunters and Collectors" Gregory Ruth
Australian DC Romance Aussie DC Romance Reprint - Early Bronze Age
Brit Romance Digests - Where Warren Publishing got their art.
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CARRIE UNDERWOOD AND HEART -ALONE
2 years ago |
VERY NICE SONG - ALONE I hear the ticking of the clock I'm l... VERY NICE SONG - ALONE I hear the ticking of the clock I'm lying here the room's pitch dark I wonder where you are tonight No answer on the telephone And the night goes by so very slow Oh I hope that it won't end though Alone (Chorus) Till now I always got by on my own I never really cared until I met you And now it chills me to the bone How do I get you alone How do I get you alone You don't know how long I have wanted To touch your lips and hold you tight You don't know how long I have waited And I was gonna tell you tonight But the secret is still my own And my love for you is still unknown Alone (Chorus) Till now I always got by on my own I never really cared until I met you And now it chills me to the bone How do I get you alone How do I get you alone How do I get you alone How do I get you alone Alone, alone
by paulobalthazar16
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[TOP 10 LATIN HOUSE MUSIC SUMMER 2010] 9:56
TOP 10 LATIN HOUSE MUSIC SUMMER 2010
1 month ago |
Este es mi nuevo Video....LATIN HOUSE SUMMER 2010...¿TE GUSTA?... Este es mi nuevo Video....LATIN HOUSE SUMMER 2010...¿TE GUSTA? :) ▄ █ ▄TOP 10 LATIN HOUSE SUMMER 2010▄ █ ▄ TOP.1 - Karmin Shiff Ft. Juliana Pasini - Zumba Samba (Original Mix) DOWNLOAD: https://www.beatport.com/es-ES/html/content/track/catalog/?contextType=artists&contextName=Karmin%20Shiff&contextEntityId=105803 TOP.2 - Juan Magan - Te Gusta (Original Mix) DOWNLOAD: http://itunes.apple.com/es/album/te-gusta-single/id378713228 TOP.3 - Omonimo - Vamos A La Playa (Gambafreaks Vs. Andrea T. Mendoza & Tibet Dub) DOWNLOAD: https://www.beatport.com/es-ES/html/content/release/detail/246583/Vamos%20A%20La%20Playa TOP.4 - Dario Nuñez & Groovebox - Don Vite (Original Mix) DOWNLOAD: https://www.beatport.com/es-ES/html/content/release/detail/247165/Don%20Vite TOP.5 - Calientes - Pero Yo Canto (Willy William Extended Remix) DOWNLOAD: https://www.beatport.com/es-ES/html/content/release/detail/249374/Pero%20Yo%20Canto TOP.6 - Victor Magan & Francesc Sentis - VIVA LA VIDA (Original Mix) DOWNLOAD: SOON AVAILABLE TOP.7 - Mastiksoul Ft. Dakaneh - Que Pasa (Original Mix) DOWNLOAD: Www.itunes.apple.com TOP.8 - Owen Breeze Ft. The Wild - Nao quero saber (Original Mix) DOWNLOAD: https://www.beatport.com/es-ES/html/content/release/detail/249417/Nao%20Quero%20Saber TOP.9 - DJ Sanny J Ft. Ruly Mc - Rumba Habana (Daniele Sax Mix) TOP.10 - Francisco Incesti & Splashfunk - La Tarantela (Splashfunk Mix) DOWNLOAD: https://www.beatport.com/es-ES/html/content/release/detail/226315/La%20Tarantela :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: CANCIONES RECOMENDADAS. South Conection Feat. Paco - Lola Loca Blas Marin - Dame Que me gusta(Original Mix) David Romero & Borja Barrera -- Makulele -- (Original Mix) Wasabi - Latin Congas(Original Mix) Robrecht Da Pinto - Latin Forest(Giovanni Salva Remix) Tumba & Cuca Ft.Anguss - Alegria Dajostik, Crist Ceratti - Muevelo(Dj Laez Remix) Silvi, Djeff - Canjika(Dj Bu5a Remix) Miss Babayaga Dj, Dj Josh Blackwell - Mexicali(Original Mix) Auxelio, Andrew See - El Ritmo(Original Mix) Nato Medrado, Maxie Devine & Veerus - Superpowers(xaver Remix) Giacomo Tosi - Calambito(Original Mix) Cominhouse, Jurgen Cecconi - Saramba(Roberto Molinaro, Gigi De Martino Remix) Dj Chick - On The Dancefloor(Sergio Sergi Remix) El Loco - Amor Es Mas(Marco Fratty Summer Mix) Franky Fazz, Jo Cappa - Me Tiene Crazy(Original Mix) Dj Maddox - Como Me Gusta(Massivedrum Remix) Sandro Silva - Told Ya (original mix) Jordan Rivera - Que Cosita(Original Mix) Kato Jiménez, Luis Vázquez & Jesús Sánchez -- Wannabe (Original Mix) Anthony Romeno - El Bimbo(Passion)(Video Version) Harvey Cubillos - La Varita Feat. Petrona Martinez(Original Mix) Tikos Groove - Me Faz Amar(Brian Chundro&Santos Mix) Mossano - Zingarinho David Zafra, Dynamik Dave - La Descarga(Original mix) Larida - Amarena(Original Mix) Mr.Moog, Dj Pupos - Movida Loca Feat. Miss Mone(Radio Edit) Gonso Rivas ft. Henry Mendez - Rumba Pa Ti (Original Mix) Andy Grape & Jordi K - Sigue Mi Ritmo (Original Mix) Mastiksoul - Capotagem (Original Mix) Intensa Music ft. Mendez & R. Moroder - Subete La Falda (Intensa Music Remix) Nicol Ananaz, Mastiksoul - Mboia(Original Mix) Cj Cuac - Baila Mi Ritmo Tribal(Original Mix) Daniel Frontado - MiniMax(Original Mix) Gil Montiel - Loopita(Ara Soundsystem mix) Sammy Peralta, Dj Rooster - Chimba(Rooster & Peralta Tribal Mix) DJ Dark ft. Sonny Flame - Jump Up Binomio, Ivan Gomez, Nacho chapado - Latin Dreams(Original Vox Mix) Kevin Ayala - Do Samba(Original Mix) Yorugua - Plancha(Original Mix) Alessia - Boro Na Sou Po (Cristobal Chaves Remix) Groove Addiction - Dance(O que)(Jose Delgado & Roberto Mendoza Remix) Dj Andi feat. Stella - Happiness Swedish House Mafia - One (Your Name) feat Pharrell - Official Music Swedish House Mafia - One (Congorock Remix) INNA - Sun is Up (by Play & Win) Deep & White ft. Sonny Flame - Hello, I love you Chris Mayer ft. Connect-R - Still Fedde le grand ft Mitch Crown - R ocking High(Nicky Romero Remix)
by Amanchar
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20,640
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46
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[Top 10 Korean songs] 9:20
Top 10 Korean songs
5 months ago |
Something that we just wanted to see... We we're going to put... Something that we just wanted to see... We we're going to put this up a little bit after or before Valentines Day... The songs are based on what we (and yes there are 2 opinions in this... Sam and Maddy) think are good songs. The video is made by me (Meiweisama)... Sorry for the poor quality ish... xxSam and Maddy PS... None of this content is owned by us... We're just singling out the parts we like out of each song.
by Meiweisama
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1,967,460
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4,261
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7812 |
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[HOT K-POP 2009 ~ special mashup pt. I ~ (23 songs in one)] 4:04
HOT K-POP 2009 ~ special mashup pt. I ~ (23 songs in one)
1 year ago |
• Download this track at: http://www.masamixes.com Facebook... • Download this track at: http://www.masamixes.com Facebook artist page: • http://www.facebook.com/pages/Masa/47995552286 • This is a mid-year special mash-up, which features 23 of Korea's hit songs in 2009. Thanks for making the "ADIOS 2008 special mashup" a hit! Hopefully this one will make it too! ;) Tracklist: Wheesung - Insomnia Big Bang & 2NE1 - Lollipop So Nyeo Shi Dae - Gee 2NE1 - FIRE 2AM - A Friend's Confession (친구의 고백) After School - Diva SHINee - A.Mi.Go (아.미.고) Younha - 1, 2, 3 JUMPER - YES! Dong Bang Shin Ki - Wrong Number Son DamBi - Saturday Night (토요일 밤에) After School - Ah! May Doni - Molla-ing (몰라ing) IU - Boo Bae Seul Ki - Tiresome (지겨워) Epik High - Map The Soul AJ - Dancing Shoes Navi - Heart Damage feat. Crown J (마음이 다쳐서) Dynamic Duo - Beyond The Wall Super Junior - Sorry, Sorry KARA - Honey (하니) Davichi - My Man 2PM - Again & Again vs. Danity Kane - Damaged (Instrumental) The following songs were released in 2008 but still charted and were promoted in 2009: SHINee - A.Mi.Go (아.미.고) Dong Bang Shin Ki - Wrong Number KARA - Honey (하니) "http://www.allkpop.com - for all your k-pop gossip needs!" This mashup uses samples of copyrighted material and they're used for promotional purposes only. Not for sale.
by mmixes
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4,421,730
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3,197
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1956 |
442
[Indian Tomb] 6:48
Indian Tomb
3 years ago |
Debra Paget in Fritz Lang's INDIAN EPIC from Fantoma DVD http... Debra Paget in Fritz Lang's INDIAN EPIC from Fantoma DVD http://www.fantoma.com
by navin2112
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41,898
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[創聖のアクエリオン（VOC@LOID ver.）] 4:42
創聖のアクエリオン（VOC@LOID ver.）
2 years ago |
ニコニコから転載。機械とは思えない。確実にオレよりうまいｏｒｚ ニコニコから転載。機械とは思えない。確実にオレよりうまいｏｒｚ
by cymbeline21
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12,669
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[【UTAU】アンインストール（重音テトVer.）] 4:40
【UTAU】アンインストール（重音テトVer.）
1 year ago | http://nicosound.dip.jp/sound/sm5197049 by EbolaRanger
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[Duffy Vs Amy Winehouse - Mercy Vs Rehab] 4:06
Duffy Vs Amy Winehouse - Mercy Vs Rehab
2 years ago |
Remix & Mashup Video by Robin Skouteris Download the mp3 audi... Remix & Mashup Video by Robin Skouteris Download the mp3 audio file here: NEW LINK http://rapidshare.com/files/250303784/Duffy_VS_Amy_Winehouse_-_Mercy_Vs_Rehab__Robin_Skouteris_Mix_.mp3 Original Songs: Duffy - Mercy Amy Winehouse - Rehab http://www.myspace.com/robinskouterisremix http://www.myspace.com/robinskouteris http://www.youtube.com/robinsk This Remix is included in "The VS Experience 2" album. You can download the full Robin Skouteris MashUp / Remix albums here : http://blogs.myspace.com/robinskouterisremix Become a fan at the Facebook fanpage for the latest mixes & updates! http://www.facebook.com/pages/Robin-Skouteris/62696436465?ref=ts (Facebook FanPage for updates) Albums available: "The VS Experience vol.3" Featuring mashups with: Lady Gaga Black Eyed Peas Anna Vissi Michael Jackson Linkin Park Ne-Yo MC Hammer Helena Paparizou Kanye West and more...! "The VS Experience vol.2" featuring mashups with Madonna Whitney Houston Akon Amy Winehouse Duffy Rihanna Britney Spears No Doubt Sean Kingston Cyndi Lauper and more... "The VS Experience volume 1" featuring mashups with Britney Spears Mika Madonna Missy Elliott Nelly Furtado Beyonce Timbaland Blur Shakira and more!
by robinsk
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1,092
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0
[Fat Joe Ft. Young Jeezy - Slow Down] 3:27
Fat Joe Ft. Young Jeezy - Slow Down
2 months ago |
Fat Joe Ft. Young Jeezy - Slow Down Music Video HD HQ Dirty Un... Fat Joe Ft. Young Jeezy - Slow Down Music Video HD HQ Dirty Uncensored
by 023Productionzzz
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39,377
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79
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10
[In This Moment Mayhem Video] 2:23
In This Moment Mayhem Video
3 months ago |
In This Moment check in and talk about their upcoming spot on ... In This Moment check in and talk about their upcoming spot on the Mayhem Festival. You can also expect their new album, "A Star-Crossed Wasteland" to be released this summer.
by rockstarmayhem
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616,653
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800
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1885 |
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[Mega MashUp Lady Gaga Shakira Pitbull Madonna David Guetta Akon MaNuMixx Remix Version MUSIC VIDEO] 3:56
Mega MashUp Lady Gaga Shakira Pitbull Madonna David Guetta Akon MaNuMixx Remix Version MUSIC VIDEO
11 months ago |
Click here for the Official Instrumental by MaNuMixx: http://... Click here for the Official Instrumental by MaNuMixx: http://www.youtube.com/watch?v=f2ZM8qjHl4w Click here for the 2010 DeluxeEdition by MaNuMixxRemix: http://www.youtube.com/watch?v=BT8Ekh6FB4I This is the Original Remix. All the other Remixes are Copys from this Remix. If you don't believe it, look at the Upload-Date. I've made this Remix, 'cause I love them singers in this mix. Artists/Songs: Lady Gaga - LoveGame [Vocals] Shakira - She Wolf [Vocals] David Guetta ft Akon - Sexy Chick [Vocals] Pitbull - Hotel Room Service [Vocals and Instrumental] Madonna - Celebration [Instrumental] Honors/Auszeichnungen: #51 - Top-Favoriten (heute) - Musik 10.09.2009 #43 - Top-Favoriten (diese Woche) - Musik #82 - Beste Bewertung (diese Woche) - Musik 11.09.2009 #100 - Heiß diskutiert (diese Woche) - Musik #89 - Top-Favoriten (diese Woche) #27 - Top-Favoriten (diese Woche) - Musik #38 - Beste Bewertung (diese Woche) - Musik 12.09.2009 #33 - Beste Bewertung (diese Woche) - Musik 03.10.2009 #64 - Top-Favoriten (diesen Monat) - Musik #63 - Top-Favoriten (diesen Monat) - Musik 07.10.2009 #58 - Top-Favoriten (diesen Monat) - Musik LYRICS: [Lady Gaga]: I wanna kiss you But if I do then I might miss you, babe It's complicated and stupid Got my ass squeezed by sexy cupid Guess he wants to play, wants to play A love game, a love game [Shakira]: Ive been devoting myself to you Monday to Monday and Friday to Friday Not getting enough retribution or decent incentives to keep me at it Im starting to feel just a little abused like a coffee machine in an office So Im gonna go somewhere closer to get me a lover and tell you all about it [Lady Gaga]: Let's play a love game, play a love game Do you want love, or you want fame Are you in the game? Dans le love game [Shakira]: Theres a she wolf in your closet Let it out so it can breathe Sitting across a bar staring right at her prey Its going well so far, shes gonna get her way Nocturnal creatures are not so prudent The moons my teacher, and Im her student [Lady Gaga]: Hold me and love me Just wanna touch you for a minute Maybe three seconds is enough for my heart to quit Let's have some fun, this beat is sick I wanna take a ride on your disco stick Don't think too much, just bust that dick I wanna take a ride on your disco stick [Shakira]: Theres a she wolf in the closet Open up and set her free [Lady Gaga]: Let's play a love game, play a love game Do you want love, or you want fame Are you in the game? Dans le love game [Pitbull]: Forget about your boyfriend and meet me at the hotel room, you can bring your girlfriends and meet me at the hotel room. [x2] We at the hotel, motel, holiday inn. [x4] [David Guetta ft Akon]: Damn you's a sexy Chick, a sexy Chick Damn you's a sexy Chick, damn girl (2x) [Lady Gaga]: Let's play a love game, play a love game Do you want love, or you want fame Are you in the game? Dans le love game [Shakira]: Theres a she wolf in your closet Let it out so it can breathe [Lady Gaga]: Let's play a love game, play a love game Do you want love, or you want fame Are you in the game? Dans le love game (2x)
by MaNuMixx
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[Leona Lewis vs Duffy - Bleeding Mercy! (Calmucho Mashup)] 4:37
Leona Lewis vs Duffy - Bleeding Mercy! (Calmucho Mashup)
2 years ago |
Download mp3: http://cid-c76902d64003a604.skydrive.live.com/se... Download mp3: http://cid-c76902d64003a604.skydrive.live.com/self.aspx/Calmucho%20Mashups%202008/Calmucho%20Presents%20Leona%20|0%20Duffy%20-%20Bleeding%20Mercy!%20|5Disco%20Mix|6.mp3 A Calmucho mashup featuring: Leona Lewis - Bleeding Love Duffy - Mercy
by Calmucho
From: monsanto7@msn.com
To: monsanto7@msn.com; monsanto7@live.com
Subject: ebay august 2010
Date: Thu, 12 Aug 2010 01:45:20 -0400
"No worries" Relax "You won't be"
"Traci lords" (remix, mashup, mash up)
"LUXXXX" (remix, mashup, mash up)
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Bibliographic Details
Publisher: Doubleday & Company, Inc., Garden City
Publication Date: 1960
Binding: Cloth
Illustrator: Norman Rockwell
Book Condition: Very Fine
Dust Jacket Condition: Good
Edition: First Edition
Book Description: Doubleday & Company, Inc., Garden City, 1960. Cloth. Book Condition: Very Fine. Dust Jacket Condition: Good. Norman Rockwell (illustrator). First Edition. 8vo - over 7¾" - 9¾" tall. Autobiography as told to Thomas Rockwell. Preface by Ben Hibbs, Editor of the Saturday Evening Post. Black cloth with gold titles over brown backgrounds on spine and front board. Each chapter is headed by a black and white drawing. There are eight pages of black and white and color illustrations at the back of the book. 436p.
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WORLDWATCH #1 NM SCARCE? RARE? SEXY! ELLIS AUTHORITY 11.11
Artists: Tom Derenick (pencils), Norm Rapmund (inks)
Publisher: Wild and Wooly Press
In 2004 Chuck Austen created the independent title WorldWatch, which he described as being like Warren Ellis's The Authority, but with more explicit depiction of s e x, violence and realpolitik).
The last page of Worldwatch #2 featured an announcement from the publisher stating that Austen had been fired, and that he would be replaced by notable writer Sam Clemens (the real name of legendary American writer Mark Twain). However, as creator and owner, Austen cannot be fired from Worldwatch. In a subsequent interview, Austen stated that it was intended as a joke, and that he was disappointed that most readers had not understood it.
Review of Worldwatch #1 and #2 by Michael Deeley
http://www.comicsbulletin.com/reviews/109692868610567.htm
‘Worldwatch’ is meant to be the comics adaptation of “Exposing Myself”, the tell-all autobiography of Dena Warchawski, a.k.a. War Woman, leader of the Worldwatch superteam. The story tells how team members’ personal relationships and corruption led to the team’s self-destruction. Issue #1 introduces us to the main characters and presents a typical day of violence, bickering, lying, and s c r e w i n g. Issue #2 introduces Monarch, who seems to play a pivotal role in the story, and a weapon of irresistible power.
I waited until the second issue came out before writing this review for two reasons. One, I wanted to get a better idea of what the series was like before I gave my opinion. Two, there’s t i t t y, and that always clouds my judgment.
I want to get this out of the way right now: There is plenty of n u d i t y in this book. We get women with big, beautiful b r e a s t s flopping around. The second issue also has some d i c k s. Some of this n u d i t y actually relates to the story. One team member started going out n a k e d to satisfy her own s e x u a l urges. Another member with superspeed got so sick of her top coming off, she goes without one. Both of their popularity and merchandising profits take off as well. Other members start going out with more revealing costumes. This led to several conservative heroes quitting the team. (All of that is explained in the biographies in the back of the book. We never see it happen, though I think it would make for a good issue #0.)
Issue #2 has an article for Wild & Wooly’s next project: a reprinting of ‘N e k k i d Bottoms, USA’, a s e x y series in a n u d i s t colony drawn in the Archie style. This comic-within-a-comic is discovered to have been written by Qabbala, mystic member of Wolrdwatch. This led people to believe ‘N e k k i d Bottoms’ held secret spells hidden in the stories. It did seem to predict the destruction of the team. I fervently hope this is just a joke, and such a series isn’t really being published.
All this n u d i t y leads me to believe Austen, Derenick, and Rapmund just wanted to draw some d i r t y pictures. I mean, given that the series features morally corrupt and s e x u a l l y p e r v e r s e characters, some n u d i t y can be justified. But the inclusion of the ‘N e k k i d Bottoms’ article convinced me they’re drawing titties for the sake of drawing t i t t i e s. It’s cheap and sleazy. On the other hand, it’s also fun. Fun to look at and fun to draw.
Derenick and Rapmund do a great job here. The women are beautiful and the men are mighty. Every character is drawn different from each other. The art is very clean and easy on the eyes. The action is easy to follow and flows nicely from panel to panel. It’s nice to see Norm Rapmund working again. I can’t recall seeing his name on anything for over 10 years. It’s great to se his smooth, strong inks again. Derenick pencils the characters with muscles and flesh. These are real people with real bodies. You’ll also notice the small facial changes that express subtle changes in emotion. Nice work.
I wouldn’t quite call ‘Worldwatch’ p o r n, because of the characters. (And I don’t feel like whacking off to it.) These are not “good guys”. These are people who fight villains because they like hitting people. They like the attention and the s e x their position bring. The closest things you have to heroes in Worldwatch are War Woman, Sergeant Mercury, and Doc Gulliver. War Woman lied about her origin and dated a supervillain. Gulliver has a thing for young girls and might have given his ex-wife superpowers against her wishes. Mercury is the speedster who goes topless. She’s young and naïve, innocent compared to everyone else. And some of them are complete a s s h o l e s. The Intercessor uses God’s name to justify his arrogant and criminal behavior. He’s the first to be seduced by the power of the Celestial Sphere. Ramrod is a g a y Greek god who hits on any man with two legs. This really complicates life for the straight teenage boy with whom he shares a body. In short, these people are going to destroy themselves. And because of their powers, they could take a lot of people down with them.
So is ‘Worldwatch’ a good book? In my final opinion, I’d say, “maybe”. I like reading it. I’m fascinated by these jerks. And I’m teased with such questions as, “How does the Celestial Sphere” destroy the team?” “When is War Woman’s affair with The Pharaoh revealed?” How does it all end? And whose fault is it?” This must be the appeal of watching reality TV. You don’t watch for a winner; You watch to see the worst come out of people. It’s always, “Who’s voted off tonight”, or “Who’s fired this week?”
Who dies first? And who suffers the worst?
That’s enough to keep me around.
Feb. 5, 2010 - John Byrne to finish Chuck Austen’s Worldwatch
http://yourmomsbasement.com/thecomicsoutsider/2010/02/05/john-byrne-to-finish-chuck-austens-worldwatch/comment-page-1/#comment-29
In a move set to send shockwaves through my bathroom, legendary writer/penciller/all-round-nice-guy John Byrne has allegedly agreed to finish off fellow multi-hyphenate Chuck Austen’s creator owned Worldwatch.
The comic, featuring an analogy of Wonder Woman sans clothes, was to have been 7 issues in length but only 3 were released. The second was also controversial because it featured a letter firing Austen – who owned the publishing company Wild and Wooly Press – and stating he would be replaced by Sam Clemens. Or Mark Twain, I can’t recall.
Look forward to lots more censored p e n i i in your Wednesday comics pile around March of 2015 when the series dubbed “the SHOWGIRLS of comics.”
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SON OF CELLULOID CLIVE BARKER MARILYN MONROE HORROR GN/TPB 7.77
Prestige format. Adaptation of Clive Barker's story by Steve Niles and illustrated by Les Edwards.
Eclipse Books, 1991, Red Foil Title, Graphic Novel/Trade Paperback
Horrific tale of a crazed convict hiding out in an abandoned movie theatre. Beautifully drawn & colored but harsh & vivid violence. Great gruesome Marilyn Monroe cover.
From a review by Sean T. Collins of the original story by Clive Barker
http://www.alltooflat.com/about/personal/sean/oldArchives.php?BlogNum=1060
Book Three, Chapter One
"Son of Celluloid"
To a certain extent this story, with its examination of Hollywood glamour, is an antecedent of Barker's delightfully trashy La-La-Land epic Coldheart Canyon, written almost two decades later and after Barker himself had had a great deal of experience inside Tinseltown, both as a filmmaker and as a resident. (When I interviewed him before Coldheart came out I mentioned this connection, and his response was "My God, you really do know my work.") As it lacks the depth and detail of that novel, "Son" does not really provide a particularly groundbreaking look at the dream factory--it's no great insight that Hollywood's pleasures are illusory, or that through the magic of the movies the beauty of the stars never fades, you know?
But in this haunted-theatre tale Barker succeeds where he exploits very specific aspects of the Hollywood illusion. Confronted with a deadly Western scenario, Barker notes the threatened characters resentment of the genre's "forced machismo, the glorification of dirt and cheap heroism," and its "handful of lethal lies--about the glory of America's frontier origins, the morality of swift justice, the tenderness in the heart of brutes." Later a character is seduced by a spectral Monroe, and for anyone who's felt a real ache of desire for an actor or actress you'll never even meet, much less make love with, the moment's electrically charged:
He was within a couple of yards of her when a breeze out of nowhere billowed her skirt up around her waist. She laughed, half closing her eyes, as the surf of silk rose and exposed her. She was naked underneath.
Ricky reached for her again and this time she didn't avoid his touch. The dress billowed up a little higher and he stared, fixated, at that part of Marilyn he had never seen, the fur divide that had been the dream of millions.
Of course, this is Clive Barker we're talking about here, so there's more than meets the eye (pun intended--if you read the story you'll get it) to that "fur divide" and to Marilyn herself. It's one of three knockout horror images in this story--the second involving a really creative way of removing someone's eyeballs, and the third a sudden eruption of evil out of the orifices of a picture of innocence.
The story's structure is memorable as well--it starts telling one story, and then as if in homage to another silver-screen goddess, Janet Leigh, suddenly becomes a different story entirely. (It has a coda reminiscent of 'Salem's Lot, also.) I also really like the story's heroine, Birdy--her no-bullshit demeanor (and some of the story's dialogue as well) are precursors to Kirsty from The Hellbound Heart (aka Hellraiser), while her weight and her remora-like relationship to the Hollywood deities (she works in a movie theatre) are later echoed in Tammy from Coldheart Canyon. Ricky is well-sketched as well, a man in his mid-thirties (that's not revealed till the end, actually) who in every respect is trying to live like a 20-year-old in perpetuity.
Not the best story in the series, then (see tomorrow for another possible claimant to that particular title), but as befits the subject matter, hey, that's entertainment.
ALICE COOPER: THE LAST TEMPTATION #1 NM NEIL GAIMAN MARVEL ROCK AND ROLL ROCK & 3.33
NM, Marvel Music, 1994, cover price $4.95
Too be clear, I'm only selling the comic shown and not the album or CD.
The Last Temptation (Alice Cooper album)
From Wikipedia, the free encyclopedia
The Last Temptation is a concept album by rock singer, Alice Cooper, released in July 1994 via Epic Records. It centres around a boy named Steven (also the name of the protagonist in Cooper's earlier work, Welcome to My Nightmare), and a mysterious showman. The showman, with apparent supernatural abilities, attempted with the use of twisted versions of morality plays to persuade Steven to join his travelling show, "The Theatre Of The Real - The Grand-est Guignol!", where he would "never grow up".
Marvel Music Comic Book
The full story was given in a 3-part comic book written by Neil Gaiman, the first part of which accompanied the recording. In the comic, the showman (referred to only ever as such) was depicted as Cooper himself. Pages from the comic are seen in the Lost in America music video, while it is being read by Steven.
It was originally published by Marvel Comics and later reprinted by Dark Horse Comics, collected as trade paperback.
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ROLLING STONES VOODOO LOUNGE NM MARVEL MUSIC 1995 ROCK AND ROLL 4.44
Prestige format one-shot, Cover Price: $6.95, Trade Paperback/Graphic Novel, TPB/GN
In an unusual move, Marvel Music (an imprint of Marvel Comics) commissioned writer/artist Dave McKean to combine lyrics from the Stone’s latest album with his own art. McKean is well-known in the comics field for his unique Sandman covers, his solo work on Cages, and his collaborations with Neil Gaiman on such works as Violent Cases and The Tragical Comedy or Comical Tragedy of Mr. Punch. With Voodoo Lounge, he merges photography, painting, and graphic effects in a collage-like fashion. The result is decidedly eerie—and perfect for evoking the images alluded to in the Stones’ lyrics.
Too be clear, I'm only selling the comic shown and not the album or CD.
From Wikipedia, the free encyclopedia
Voodoo Lounge (The Rolling Stones album)
* Mick Jagger – lead and backing vocals, electric and acoustic guitar, harmonica, maracas, castanets
* Keith Richards – electric and acoustic guitar, lead and backing vocals, piano, bass guitar, tambourine
* Charlie Watts – drums, tambourine
* Ronnie Wood – electric, pedal steel, acoustic, slide, and lap steel guitar
Voodoo Lounge is the 20th studio album by The Rolling Stones, released in July 1994. As their first new release under their new alliance with Virgin Records, it ended a five-year gap since their last studio album, Steel Wheels in 1989. Voodoo Lounge is also The Rolling Stones' first album without long-time bassist Bill Wyman, who departed the line-up in early 1993. Although not joining the band officially, Darryl Jones would be taking Bill Wyman's place as the group's regular bassist.
In early 1995, while the Voodoo Lounge Tour was still in full force (not finishing until August that year) Voodoo Lounge won the Grammy Award for Best Rock Album.
KISSING CHAOS
BLACK KISS
PEEPSHOW
EPIC
STARCHILD
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WASTE L.A.
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BERLIN
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HARD KNOCK none
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PEEPSHOW
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LUNAR DONUT
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LA PACIFICA
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SOULWIND
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LONE WOLF AND CUB
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JENNY FINN
OJO
[Leona Lewis vs Duffy - Bleeding Mercy! (Calmucho Mashup)] 4:37
Leona Lewis vs Duffy - Bleeding Mercy! (Calmucho Mashup)
2 years ago |
Download mp3: http://cid-c76902d64003a604.skydrive.live.com/se... Download mp3: http://cid-c76902d64003a604.skydrive.live.com/self.aspx/Calmucho%20Mashups%202008/Calmucho%20Presents%20Leona%20|0%20Duffy%20-%20Bleeding%20Mercy!%20|5Disco%20Mix|6.mp3 A Calmucho mashup featuring: Leona Lewis - Bleeding Love Duffy - Mercy
by Calmucho
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