Earl Kemp: E*I* Vol. 4 No. 6
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Aalseth Aaron Aarup Aasen Aasheim Abair Abanatha Abandschon Abarca Abarr Abate Abba Abbas Abbate Abbe Abbett Abbey Abbott Abbs
BUSCAPRONTA www.buscapronta.com ARQUIVO 35 DE PESQUISAS GENEALÓGICAS 306 PÁGINAS – MÉDIA DE 98.500 SOBRENOMES/OCORRÊNCIA Para pesquisar, utilize a ferramenta EDITAR/LOCALIZAR do WORD. A cada vez que você clicar ENTER e aparecer o sobrenome pesquisado GRIFADO (FUNDO PRETO) corresponderá um endereço Internet correspondente que foi pesquisado por nossa equipe. Ao solicitar seus endereços de acesso Internet, informe o SOBRENOME PESQUISADO, o número do ARQUIVO BUSCAPRONTA DIV ou BUSCAPRONTA GEN correspondente e o número de vezes em que encontrou o SOBRENOME PESQUISADO. Número eventualmente existente à direita do sobrenome (e na mesma linha) indica número de pessoas com aquele sobrenome cujas informações genealógicas são apresentadas. O valor de cada endereço Internet solicitado está em nosso site www.buscapronta.com . Para dados especificamente de registros gerais pesquise nos arquivos BUSCAPRONTA DIV. ATENÇÃO: Quando pesquisar em nossos arquivos, ao digitar o sobrenome procurado, faça- o, sempre que julgar necessário, COM E SEM os acentos agudo, grave, circunflexo, crase, til e trema. Sobrenomes com (ç) cedilha, digite também somente com (c) ou com dois esses (ss). Sobrenomes com dois esses (ss), digite com somente um esse (s) e com (ç). (ZZ) digite, também (Z) e vice-versa. (LL) digite, também (L) e vice-versa. Van Wolfgang – pesquise Wolfgang (faça o mesmo com outros complementos: Van der, De la etc) Sobrenomes compostos ( Mendes Caldeira) pesquise separadamente: MENDES e depois CALDEIRA. Tendo dificuldade com caracter Ø HAMMERSHØY – pesquise HAMMERSH HØJBJERG – pesquise JBJERG BUSCAPRONTA não reproduz dados genealógicos das pessoas, sendo necessário acessar os documentos Internet correspondentes para obter tais dados e informações. DESEJAMOS PLENO SUCESSO EM SUA PESQUISA. -
Bill Rogers Collection Inventory (Without Notes).Xlsx
Title Publisher Author(s) Illustrator(s) Year Issue No. Donor No. of copies Box # King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 13 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 14 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 12 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench Alan Kupperberg and 1982 11 Bill Rogers 1 J1 Group Ernie Chan King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 10 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench John Buscema, Ernie 1982 9 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 8 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 6 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar Mike Docherty, Art 1988 33 Bill Rogers 1 J1 Nnicholos King Conan Marvel Comics Roy Thomas John Buscema, Danny 1981 5 Bill Rogers 2 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema, Danny 1980 3 Bill Rogers 1 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1980 2 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar M. Silvestri, Art Nichols 1985 29 Bill Rogers 1 J1 Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 30 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 31 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Vince 1986 32 Bill Rogers -
Captain America and the Struggle of the Superhero This Page Intentionally Left Blank Captain America and the Struggle of the Superhero Critical Essays
Captain America and the Struggle of the Superhero This page intentionally left blank Captain America and the Struggle of the Superhero Critical Essays Edited by ROBERT G. WEINER Foreword by JOHN SHELTON LAWRENCE Afterword by J.M. DEMATTEIS McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London ALSO BY ROBERT G. WEINER Marvel Graphic Novels and Related Publications: An Annotated Guide to Comics, Prose Novels, Children’s Books, Articles, Criticism and Reference Works, 1965–2005 (McFarland, 2008) LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Captain America and the struggle of the superhero : critical essays / edited by Robert G. Weiner ; foreword by John Shelton Lawrence ; afterword by J.M. DeMatteis. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-3703-0 softcover : 50# alkaline paper ¡. America, Captain (Fictitious character) I. Weiner, Robert G., 1966– PN6728.C35C37 2009 741.5'973—dc22 2009000604 British Library cataloguing data are available ©2009 Robert G. Weiner. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. Cover images ©2009 Shutterstock Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 6¡¡, Je›erson, North Carolina 28640 www.mcfarlandpub.com Dedicated to My parents (thanks for your love, and for putting up with me), and Larry and Vicki Weiner (thanks for your love, and I wish you all the happiness in the world). JLF, TAG, DW, SCD, “Lizzie” F, C Joyce M, and AH (thanks for your friend- ship, and for being there). -
Alter Ego #78 Trial Cover
Roy Thomas ’Merry Mar vel Comics Fan zine No. 50 July 2005 $ In5th.e9U5SA Sub-Mariner, Thing, Thor, & Vision TM & ©2005 Marvel Characters, Inc.; Conan TM & ©2005 Conan Properties, Inc.; Red Sonja TM & ©2005 Red Sonja Properties, Inc.; Caricature ©2005 Estate of Alfredo Alcala Vol. 3, No. 50 / July 2005 ™ Editor Roy Thomas Roy Thomas Associate Editors Shamelessly Celebrates Bill Schelly 50 Issues of A/E , Vol. 3— Jim Amash & 40 Years Since Design & Layout Christopher Day Modeling With Millie #44! Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editors Emeritus Jerry Bails (founder) Ronn Foss, Biljo White, Contents Mike Friedrich Production Assistant Writer/Editorial: Make Mine Marvel! . 2 Eric Nolen-Weathington “Roy The Boy” In The Marvel Age Of Comics . 4 Cover Artists Jim Amash interviews Roy Thomas about being Stan Lee’s “left-hand man” Alfredo Alcala, John Buscema, in the 1960s & early ’70s. & Jack Kirby Jerry Ordway DC Comics 196 5––And The Rest Of Roy’s Cover Colorist Color-Splashed Career . Flip Us! Alfredo Alcala (portrait), Tom Ziuko About Our Cover: A kaleidoscopically collaborative combination of And Special Thanks to: three great comic artists Roy worked with and admired in the 1960s and Alfredo Alcala, Jr. Allen Logan ’70s: Alfredo Alcala , John Buscema , and Jack Kirby . The painted Christian Voltan Linda Long caricature by Alfredo was given to him as a birthday gift in 1981 and Alcala Don Mangus showed Rascally Roy as Conan, the Marvel-licensed hero on which the Estelita Alcala Sam Maronie Heidi Amash Mike Mikulovsky two had labored together until 1980, when R.T. -
HOW BLACK IS BLACK METAL [JOURNALISMUS] Nachrichten Von Heute
HOW BLACK IS BLACK METAL [JOURNALISMUS] nachrichten von heute Kevin Coogan - Lords of Chaos (LOC), a recent book-length examination of the “Satanic” black metal music scene, is less concerned with sound than fury. Authors Michael Moynihan and Didrik Sederlind zero in on Norway, where a tiny clique of black metal musicians torched some churches in 1992. The church burners’ own place of worship was a small Oslo record store called Helvete (Hell). Helvete was run by the godfather of Norwegian black metal, 0ystein Aarseth (“Euronymous”, or “Prince of Death”), who first brought black metal to Norway with his group Mayhem and his Deathlike Silence record label. One early member of the movement, “Frost” from the band Satyricon, recalled his first visit to Helvete: I felt like this was the place I had always dreamed about being in. It was a kick in the back. The black painted walls, the bizarre fitted out with inverted crosses, weapons, candelabra etc. And then just the downright evil atmosphere...it was just perfect. Frost was also impressed at how talented Euronymous was in “bringing forth the evil in people – and bringing the right people together” and then dominating them. “With a scene ruled by the firm hand of Euronymous,” Frost reminisced, “one could not avoid a certain herd-mentality. There were strict codes for what was accept- ed.” Euronymous may have honed his dictatorial skills while a member of Red Ungdom (Red Youth), the youth wing of the Marxist/Leninist Communist Workers Party, a Stalinist/Maoist outfit that idolized Pol Pot. All who wanted to be part of black metal’s inner core “had to please the leader in one way or the other.” Yet to Frost, Euronymous’s control over the scene was precisely “what made it so special and obscure, creating a center of dark, evil energies and inspiration.” Lords of Chaos, however, is far less interested in Euronymous than in the man who killed him, Varg Vikemes from the one-man group Burzum. -
TAZ, Ontological Anarchy, Poetic Terrorism.Pdf
T. A. Z. The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism By Hakim Bey Autonomedia Anti-copyright, 1985, 1991. May be freely pirated & quoted-- the author & publisher, however, would like to be informed at: Autonomedia P. O. Box 568 Williamsburgh Station Brooklyn, NY 11211-0568 Book design & typesetting: Dave Mandl HTML version: Mike Morrison Printed in the United States of America Part 1 T. A. Z. The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism By Hakim Bey ACKNOWLEDGMENTS CHAOS: THE BROADSHEETS OF ONTOLOGICAL ANARCHISM was first published in 1985 by Grim Reaper Press of Weehawken, New Jersey; a later re-issue was published in Providence, Rhode Island, and this edition was pirated in Boulder, Colorado. Another edition was released by Verlag Golem of Providence in 1990, and pirated in Santa Cruz, California, by We Press. "The Temporary Autonomous Zone" was performed at the Jack Kerouac School of Disembodied Poetics in Boulder, and on WBAI-FM in New York City, in 1990. Thanx to the following publications, current and defunct, in which some of these pieces appeared (no doubt I've lost or forgotten many--sorry!): KAOS (London); Ganymede (London); Pan (Amsterdam); Popular Reality; Exquisite Corpse (also Stiffest of the Corpse, City Lights); Anarchy (Columbia, MO); Factsheet Five; Dharma Combat; OVO; City Lights Review; Rants and Incendiary Tracts (Amok); Apocalypse Culture (Amok); Mondo 2000; The Sporadical; Black Eye; Moorish Science Monitor; FEH!; Fag Rag; The Storm!; Panic (Chicago); Bolo Log (Zurich); Anathema; Seditious Delicious; Minor Problems (London); AQUA; Prakilpana. Also, thanx to the following individuals: Jim Fleming; James Koehnline; Sue Ann Harkey; Sharon Gannon; Dave Mandl; Bob Black; Robert Anton Wilson; William Burroughs; "P.M."; Joel Birroco; Adam Parfrey; Brett Rutherford; Jake Rabinowitz; Allen Ginsberg; Anne Waldman; Frank Torey; Andr Codrescu; Dave Crowbar; Ivan Stang; Nathaniel Tarn; Chris Funkhauser; Steve Englander; Alex Trotter. -
ART THAT KILLS 04 Introduction by CARLO Mccormick 04 06 a Beginning, and an End 06 10 the Precursors: WILLIAM S
ART THAT KILLS 04 Introduction by CARLO McCORMICK 04 06 A Beginning, and an End 06 10 The Precursors: WILLIAM S. BURROUGHS 10 14 The Precursors: ANTON LaVEY 14 20 The Precursors: KENNETH ANGER 20 22 The Precursors: ROBERT WILLIAMS 22 30 The Precursors: CHARLES MANSON 30 38 The Precursors: GENESIS P-ORRIDGE 38 46 The Precursors: MONTE CAZAZZA 46 50 The Precursors: HARLEY FLANNAGAN / CRO-MAGS 50 54 Soundtrack to 1984: Rev. Jim Jones — The Last Supper 54 55 Soundtrack to 1984: PSYCHIC TV 55 56 Soundtrack to 1984: ANTON LaVEY et al - The Satanic Mass 56 57 Soundtrack to 1984: CHARLES MANSON - Lie 57 58 Soundtrack to 1984: LYDIA LUNCH 58 59 Soundtrack to 1984: FOETUS 59 60 Soundtrack to 1984: NON 60 61 Soundtrack to 1984: RADIO WEREWOLF 61 62 Soundtrack to 1984: WHITEHOUSE 62 63 Soundtrack to 1984: Skinned Alive 63 64 Soundtrack to 1984: MICHAEL MOYNIHAN 64 65 Soundtrack to 1984: GG ALLIN 65 66 Soundtrack to 1984: KING DIAMOND / CRO-MAGS show 66 67 Soundtrack to 1984: SWANS 67 68 JOE COLEMAN 68 76 LYDIA LUNCH 76 82 NICK ZEDD / THE UNDERGROUND FILM BULLETIN 82 88 RICHARD KERN / DEATHTRIP FILMS 88 94 J.G. THIRLWELL a.k.a. FOETUS 94 98 FRED BERGER / PROPAGANDA 98 106 JONATHAN SHAW 106 112 Killer Clowns 112 124 BOYD RICE/NON . 124 132 JOHN AES-NIHIL 132 138 NICKBOUGAS 138 144 ZEENA SCHRECK nee LaVEY 144 148 NIKOLAS SCHRECK / RADIO WEREWOLF 148 154 ADAM PARFREY / FERAL HOUSE 154 162 Your host, GEORGE PETROS 162 170 MICHAEL ANDROS 170 174 ROBERT N. -
William Rotsler Post Office Box 3126 Los Angeles California 90028
WILLIAM ROTSLER POST OFFICE BOX 3126 LOS ANGELES CALIFORNIA 90028 jurrg/W Jj 13 June 77 Received a letter from George Barr, along with a lot of good quotes. He starts out by saying he felt guilty for not writing, etc etc. BUT YOU PEOPLE LISTEN, PLEASE! I don't want to make anyone feel guilty! My attempts to trim the mailing list are just an effort to cut down expenses, and not to bother anyone who doesn't want it with Kteic Magazine. None of you are under an obligation to write. Please believe that. Just now and again, though, I'd like verbal or written proof that (1) you still want to get KM; (2) you are getting KM. That's all. Now on with George's letter. Thanks for sending the photos of Sharman. I'll try to have the picture finished in time to exhibit at the World Fantasy Con in LA this coming October. The photos course are beautiful... beautiful subject: (almost-) automatically beautiful photos. If I were to pick a fault at all, it would be that they are obviously publicity photos. And the only thing wrong with that is that it bothers me occasionally knowing that people will have the picture I used as referance material to compare with the finished painting. I make so many changes fox’ character or composition, that I'm always afraid people will point out every minute way in which the painting differs from the original photo and assume that it was be- .• cause I couldn’t do any better. -
The Biglittle Times®
THE BIG LITTLE TIMES® __________________________________________________ SUMMER EDITION BIG LITTLE BOOK COLLECTOR’S CLUB JUNE 2012 P.O. BOX 1242 DANVILLE, CALIFORNIA 94526 _______________________________________________________________________________________ JANE ARDEN AND THE VANISHED PRINCESS WHITMAN BETTER LITTLE BOOK #1498 (1938) BUCK ROGERS IN THE WAR WITH THE PLANT VENUS WHITMAN BETTER LITTLE BOOK #1437 (1938) Back Front Cover Cover Beginning this year, the Big Little Book Club is publishing its Big Little Times newsletter on a semi-annual basis. The issue is larger than previous issues. It contains more articles and lots more collecting information for Club Members to read and enjoy. The next issue will be in December • • • For this issue, Jon Swartz, Member #1287, has written an extensive article on the Buck Rogers Big Little Books and the many collectibles that were produced during the heyday of the comic strip and radio program. The history of the character, which began in 1928, reveals that he has never fully lost his appeal to subsequent generations. The pictures of premiums that accompany the article are from Jon’s extensive collection of Buck Rogers ephemera. • • • Walt Needham, Member #1102, has been a popular contributor of BLT articles for nearly 20 years. His carefully researched articles provide details that most collectors don’t know about the characters in the Big Little Books. In this issue Walt takes us on a journey through the world of Jane Arden, one of the earliest comic strip characters who exemplified the changing role of women in the American Society. Although Jane appeared in just one BLB, her comic book life lasted for many decades – from 1927 through 1968. -
Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created. -
Olympia Competitors
Patrick J. Kearney A Checklist of the Paris Competitors of the Olympia Press Scissors & Paste Bibliographies Santa Rosa, CA 2019 Introductory Note The genesis of these notes was a fragmentary 8-page hand- written checklist put together by G. Legman, who gave it to me at some point in the mid-1980s. Legman’s checklist was appar- ently an early draft of an attempted listing of Paris-published English-language erotica produced in the 1950s and ‘60s. It in- cluded many of the titles published by Maurice Girodias, to- gether with one of the six novels he published at Denmark as part of the short-lived Odyssey Library series, and some half dozen erotic novels put out by “Colombia Books – London” which seem to have actually been published at New York by Jake Brussel about 1965. The balance of Legman’s checklist comprises a partial at- tempt to catalogue in short-title form the output of Girodias’ Parisian competitors. Little information is provided concerning paginations, dates or authorship, but addresses are occasionally given together with a few tidbits about imprints and series names. I have attempted to flesh this material out by browsing the on-line catalogues of the British Library (BL) and the Li- brary of Congress (LC), and where possible supplied the press- marks of repository copies. Much further information has been supplied by Jan Moret, a Dutch collector, whose generosity has been overwhelming, and by Steve Gertz, now of McMinnville, Oregon, who has been most helpful with his knowledge of the US paperbacks reprints of many of these novels. -
The Case of Kate O'brien's Mary Lavelle
ariel: a review of international english literature ISSN 0004-1327 Vol. 41 No. 2 Pages 47–74 Copyright © 2011 Literary Criticism and the Recovery of Banned Books: The Case of Kate O’Brien’s Mary Lavelle Brad Kent In discussing a given work and writer, one of the critic’s implicit ob- jectives is to make a case for or against their inclusion in the literary canon. The political nature of this objective is heightened in the case of previously censored books that have remained relatively marginal and is especially emphatic in situations wherein a novel is banned almost im- mediately after its publication. Because of the rapidity of the ban, often the book does not receive an initial readership. As a result, the book in question becomes cloaked in a form of silence, its contents known to a select few who are connected in high cultural circles while the mass public remains largely ignorant of its existence.1 Kate O’Brien’s Mary Lavelle is one such novel. Published in 1936 and banned in Ireland on 29 December of that same year, its Prohibition Order under the Censorship of Publications Act of 1929 was not revoked until 1967, when the passage of amending legislation released all titles that had been banned for a time of twelve years or more.2 It is therefore not surprising to find that much of the critical work undertaken on the novel has been in the post-1970 period, although the establishment of Irish Literature as a serious field of study, the ever-increasing academic publishing industry, and the institutional acceptance of more women and women writers were further contributing factors.