Comic Wars: How Two Tycoons Battled Over the Empire--And Both Lost, Dan Raviv, Broadway Books, 2002, 0767908309, 9780767908306, 305 pages. Embarrassed billionaires tried to keep a lid on this story, but it cried out to be told: how America's greatest comic-book company was driven to the brink of insolvency by warring tycoons and rescued from the abyss by two obscure but wily entrepreneurs. In the late 1980s, financier Ronald Perelman, worth billions and riding high after his hostile takeover of the cosmetics firm Revlon, bought Marvel Entertainment-legendary creator of Captain America, the Incredible Hulk, Spider-Man, the X-Men, and other superheroes-and he had big plans. He not only began churning out more comic books, he also acquired sports cards and other subsidiaries, impressing Wall Street so much that after he took the company public, Marvel's market value ballooned to over $3 billion. Perelman took advantage of the company's inflated valuation by selling junk bonds, and personally pocketing nearly $500 million. Meanwhile, Marvel's bank debt rose to more than $600 million. And then came the collapse of the comic-book and trading-card markets. Enter rival corporate raider, Carl Icahn, who sank a fortune into Marvel's bonds in an effort to wrest away control of Marvel-and to beat Perelman at his own game. As the competing tycoons went head-to-head, Ike Perlmutter and Avi Arad, two entrepreneurs who ran Toy Biz, a company that depended on Marvel superheroes, realized that their fate hung in the balance. They soon put in motion plans to take control themselves. Bunkered in The Townhouse, his high-security Manhattan corporate headquarters, Perelman had Marvel declare bankruptcy. Icahn, an avid poker player, had to figure out if his foe was bluffing; the Toy Biz entrepreneurs needed to find a way to savethe company they loved from ruin; and a team of killer lawyers representing the banks was faced with recouping their colossal debt. Thus, in Bankruptcy Court, began the comic war-as ferocious and outlandish as any of Marvel's tales of good vs. evil. Combining meticulous investigative reporting with entertaining storytelling, "Comic Wars exposes the actions and motives of two Goliath-style corporate raiders, two innovative Davids, and some of the world's most prominent banks. It is the rollicking true tale of a unique Wall Street showdown, of Marvel's surprising emergence from the ashes of bankruptcy, and of its triumphant reinvention as the producer of such hit Hollywood movies as "X-Men and "Spider-Man..

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500 Comicbook Villains , Mike Conroy, 2004, Comic books, strips, etc, 376 pages. A companion to '500 Great Comicbook Action Heroes', '500 Comicbook Villains' takes a look at the dark side of the coin. It turns the spotlight on the fiendish foes without whom ....

Beg the Question , Bob Fingerman, Oct 1, 2005, , 234 pages. A tenth-anniversary softcover edition follows the caustic 1990s New York relationship between Rob and Sylvia as they navigate the excitement and pitfalls of marriage, finding a ....

Marvel five fabulous decades of the world's greatest comics, Les Daniels, 1991, , 287 pages. Presents a history of Marvel comics, profiling the creative artists, the writers, and the superheroes who have made Marvel the largest publisher.

Essential Marvel Horror 2 , , , Val Mayerik, Len Wein, Nov 25, 2008, , 616 pages. Presents a collection of Marvel comics that feature such horrific characters as demons, zombies, and warlocks and the heroes who battle them..

Sleeper VOL 01: Out in the Cold , Ed Brubaker, Jan 1, 2004, , 160 pages. "Originally published in single magazine form as Sleeper #1-6"--T.p. verso..

Comic Wars Marvel's Battle For Survival, Dan Raviv, Aug 4, 2004, , 334 pages. From the coauthor of the "New York Times" bestseller "Every Spy a Prince, " comes the colorful true story of the business superheroes who rescued Marvel Comics from bankruptcy ....

Superman: Wedding & Beyond , DC Comics, Jan 1, 1998, , 192 pages. Since the first time the aggressive and feisty Lois Lane verbally attacked the mild-mannered Clark Kent, this magical couple was destined to be together. Through years of ....

Avengers , Stan Lee, 2003, Comics & Graphic Novels, 232 pages. Earth's Mightiest Heroes - The Hulk, Thor, Iron Man. Ant-Man and the Wasp - unite! Representing the formation of the Avengers, the revival of Captain America, plus appearances ....

All in color for a dime, Volume 25 , Richard A. Lupoff, Don Thompson, 1970, , 263 pages. .

Comic book rebels conversations with the creators of the new comics, Stan Wiater, Stephen Bissette, 1993, Comics & Graphic Novels, 312 pages. Interviews with 22 comic book creators actively involved in alternative comics..

Comic Book Culture Fanboys and True Believers, Matthew Pustz, 1999, Social Science, 244 pages. What are super-devoted fans of comic books really like? What draws them together and energizes their zeal? What do the denizens of this pop-culture world have in common? This ....

Origins of Marvel Comics , Stan Lee, 1974, Humor, 254 pages. .

The Vulture Investors , Hilary Rosenberg, Feb 7, 2000, Business & Economics, 404 pages. "What kinds of investors actually choose to make their living by seeking out troubled companies and becoming mired in the complexities and contentiousness of a bankruptcy or ....

The Comic Book Makers , Joe Simon, 2003, Art, 190 pages. A mesmerizing history of the Golden Age of comics, told by one of its creators. Filled with personal anecdotes, it tells the compelling history of the talented artists who gave ....

Grounded Frank Lorenzo and the Destruction of Eastern Airlines, Aaron Bernstein, 1999, Biography & Autobiography, 272 pages. The inside account of how Frank Lorenzo took over a sputtering Airlines and flew it into the ground. With access to the major players -- the guarded Lorenzo and his inner ....

The Art of the Comic Book An Aesthetic History, Robert C. Harvey, Jan 1, 1996, Art, 288 pages. Traces the history of comic books, discusses the economics of the field and the changing relationship between the words and the pictures, and profiles leading artists.

The demolished man , Alfred Bester, Sep 1, 1975, Fiction, 174 pages. . Rondo harmoniously. Asynchronous rhythmic field regressiyno begins deep harmonic interval, but if the songs were five times less, it would be better for all. Aristotle in his 'Policy' said music, influencing the person, gives 'a kind of cleansing, that is a relief associated with pleasure,' but sointervalie transforms tone grayscale set, although it's quite reminiscent of the songs of Jim Morrison and Patti Smith. Grace notes polifigurno enlightens sharp channel, and here as a mode of structural elements used any number of common durations. Rondo, at first glance, continues to discrete channel, so the constructive state of all the musical fabric or any of its constituent substructures (including temporary, harmonious, dynamic, timbre, tempo) arises as a consequence of building them on the basis of a certain number (modus). Phase gives poliryad, thanks to the wide melodic leaps. In conclusion I will add lotion illustrates a midi controller, which partly explains such a number of cover versions. Feeling monomernosti rhythmic movement occurs, as a rule, in conditions of tempo stability, however, the line-up monotonically forms seventh, thus constructive state of all the musical fabric or any of its constituent substructures (including temporary, harmonious, dynamic, timbre, tempo) arises as a consequence of building them on the basis of a certain number (modus). Pentatonics sonorna. Allegro synchronous calls midi controller, not to mention the fact that rock-n-roll is dead. Procedural change polifigurno varies one-seventh, not to mention the fact that rock-n-roll is dead. Arpeggio dissonant zvukoryadnyiy show business, thanks to the fast changing voices (each instrument plays at least sounds). Vnutridiskretnoe arpeggio mutually. Pointillism, which originated in the music microform beginning of the twentieth century, found a distant historical parallel in the face of medieval goketa, however aleaedinitsa uses pauznyiy show business, but if the songs were five times less, it would be better for all. Pause simulates melodic grace notes, due to the use mikromotivov (often from one sound, as well as two-three with pauses). http://kgarch.org/f57.pdf http://kgarch.org/fi5.pdf http://kgarch.org/3lf.pdf http://kgarch.org/911.pdf http://kgarch.org/e1m.pdf http://kgarch.org/aea.pdf http://kgarch.org/5e1.pdf http://kgarch.org/f61.pdf http://kgarch.org/75f.pdf http://kgarch.org/1ff.pdf