Report what comic books you have read today--and tell us a little something about it while you're here!

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Side Note Regarding Radio:

When I was younger,  there was a radio station in eastern Massachusetts that my parents used to listen to that I privately thought of as "Music for the Extremely Elderly". In the 1980's,  they were playing music from the 20's and 30's.   When Ma was in the nursing home in the early 2000's, I put that station on the radio in her room. only to discover that they were now playing music from the 50's and early 60's.

I'd be afraid to listen to that station now, for fear that by now they're playing music from my youth.

Well, I did mention old farts, didn't I?

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Our newer car has satellite radio, which has been a life-saver on long trips. I tend to listen to the 60s and 70s channels on it, which are included with the basic cheap subscription. I've discovered an FM station called MYFM which has a pleasing mix of music from the 60s to today. I listen to it when the satellite stations are either playing something I hate or something I've heard too often. In the older car, which doesn't have satellite radio, I listen to MYFM or a news station.

My side note concerning radio:

I don't have any service in my car, so I'm at the "mercy" of whatever station(s) the aerial picks up.

At home, while I'll concede the technological advantages of cds and mp3s, I usually listen to the web broadcast of my favorite stations when I'm writing. You may still have commercials, but you don't have to stop every once in a while to change discs or select a different track/program.

Music videos (like on YouTube) are for only when I have the time to watch as well as listen.

As for genres, I've always leaned towards pop and lite/basic rock (Beatles, Bob Seager, etc); although I have dabbled in classical, country, and some heavier rock (Meatloaf, Aerosmith, etc) from time to time.

Old Time Radio programs are for when I'm not writing at my PC and can sit back and enjoy the show.

I'll chime on on radio. I grew up listening to WBAP (which has been around since 1922), and it was a country station then, and morphed into Talk Radio in the 90s. I haven't been a regular listener since 2004.

Now if I want to listen to music, 90% of the time I'm listening to my music. I ripped all of my CDs into MP3s, and upload those to Google's Play Music, so I can stream that on my car or at work. Otherwise I'm streaming Amazon Music which has the music I bought, plus stuff that I've added to my library with Prime. Like Netflix though, these albums can leave at any time.

Outside of that there are a few stations I listen to for music from time to time. Classic Rock (KZPS), Modern Rock (KEGL) or KXT which does any excellent job of playing a variety of music. When I work at my LCS we usually listen to KXT.

Most of my terrestrial radio is for sports or sports talk. Mainly The Ticket which a friend of my complains they don't talk enough sports. Which is a drea for me, if that was all they did I wouldn't listen to them nearly as much. You will get one segment on sports, then maybe another one about a documentary they radio show had seen, or daily entertainment news. Now at work, I will stream this as well.

One bicentennial comic that stands out in my mind is a “reprint” of Mad magazine from “1776.”

My radio story: In 1976 I was in the sixth grade and helping my brother and sister-in-law move across country from Perryville, Missouri to Laramie, Wyoming. He drove a 1969 Mustang fastback pulling a U-Haul trailer, and I sat in the back seat. It was AM radio the whole way, and there was three songs in particular I had had quite enough of by the time we got there. Cap mentioned two of them: "Don't Go Breakin' My Heart" by Elton John and Kiki Dee, and "Afternoon Delight" by The Starland Vocal Band. The third was “Rock and Roll Music”… by the Beach Boys. To this day I regret that I first heard this song by the Beach Boys rather than Chuck Berry.

PRINCE VALIANT: #170-172: Prince Valiant, Gawain and Tristram teach a lesson to three cheating gamblers. #173-178: Val brokers peace between a gentle giant and the village he has been “terrorizing.” #179-181: Val and company help the Veneti stand up against the Hun and inadvertently found the city of Venice. #182-197: The knights pass through the cities of Padova and Ravenna, and observe the Roman Empire in decline. They befriend a jewel merchant from the Orient and cross the Rubicon River. Prince Valiant saves the merchant from drowning, for which the merchant gives him a plain-looking necklace of iron discs with rough edges which bears a potent charm: “He who wears it can never be bound by chains.” At Ariminum they part ways with the merchant, who (somewhat reluctantly) pays them a jewel each for their protection. They meet Aetius, last of the great Roman generals, on the Flaminian Way and they part at the Tiber bridge.

#188-203: the Roman Emperor jealously plots the assassination of the popular General Aetius. Meanwhile, Gawain borrows Val’s cloak to woo a Roman noblewoman who ends up being married. In pursuit of Gawain, the noblewoman’s husband and his men pursue mistakenly Val. Entering the same intersection, Valentinian’s men catch up to and kill Aetus. Aeitus’ men kill Valentinian, and Val gets the blame. Forced to split up (#198), Gawain flees by sea, Tristam goes north and Val goes south.

With Gawain and Tristram now out of the story, Val and his squire, Boldoro, come to the Appian Way and head toward Naples. As they pass Mount Vesuvius, their pursuit draws ever nearer. Val sends Boldero on with both horses, hoping the soldiers will follow and let Boldero go when they realize they have the wrong man. This works out well for Boldero’s fortunes, as the soldiers are not fooled ad all follow Val up Mt. Vesuvius on foot.

Partially hidden by the fumes, Val kills a soldier, takes his helmet and cloak and slips away. He makes his way to Naples and boards a ship bound for Syracuse, in Sicily. The captain plots ro rob Val of his jewels, but Val turns the tables. The captain ends up drugged, and almost suffers the fate he had intended for Val (being thrown overboard), before his men recognize him. A sgtorm rise and Val assumes command.

This is the end of volume two.

NEXT: :Past Scylla and Charybdis”

LITTLE ORPHAN ANNIE – MAY-JUNE 1933:

Elmer offers to get the knife from Annie for his father. Phineas knows Elmer will only use it for blackmail himself, but reckons it will be easier to get the knife from Elmer than from Annie. Elmer makes several unsuccessful attempts. Annie gets wise. One day she reurns to the tent with a bundle, knowing she’s being watched. After she leaves and has been gone for a while, Elmer begins to search the tent. He reaches under the cot and gets his hand caught in a bear trap. He can’t get it off and has to leave with it. His hand is turning blue and he’s afraid it may need to be amputated. His father is not very sympathertic and won’t call for a doctor. Annie suspected Elmer, anyway, and when she sees him with his hand bandaged that clinches it.

Pinchpenny finally orders the new pipe organ for the church. It is to be delivered COD, and Pinchpenny doesn’t have the cash on hand. He is hurting financially and has to forclose on a widow to pay for the organ, all while the townsfolk praise him for his generosity. Pichpenny ows money to a city banker named Cornelius Dank. When Dank hears of Pinchpenny’s “generosity,” he threatens to call in the loan. Pinchpenny tries to avoid Annie, but can’t for long. Next, she gets him to agree to pay $15 or $20 thousand for a new civic center.

One day, Annie loses her lucky knife. After looking everywhere else, she finally reaches to the bottom of a can of dirty kerosene used to clean paint brushes and she finds it. The kerosene removed the rust after several days in the can, and she can now read the initials on the knife: P.P.P. Annie now realizes the cause of the power she has had over Pinchpenny. She decides to proceed slowly. She lets Pinchpenny see the now clean knife so that she can gauge his reaction, but he also gauges hers. The next Sunday, Pinchpenny aims a gun at her, but his hand is shaking badly. Before he can fire, Mr. agate arrives on the scene and Pinchpenny hurries away.

The next day, Pinchpenny awaits Annie in a dark alley with a baseball bat, but is frightened off by Sandy. On Tuesday, a shot narrowly misses her head and embeds itself in a tree. On Wednesday, Annie digs the .45 slug out with a knife. After that, she writes down everything she knows and all of her suspicions, seals it in a package with the knife and the bullet, and gives it to Mr. Barrister to give to Mr. Agate in case anything should happen to her.

The next Sunday, a car with no lights comes very closer to her and an arm reaches out. It’s the last week of school. Annie has a piece to memorize. On Saturday, the Futiles will move into their new place and there is to be a housewarming. Mr. Dank calls in Picnhpenny’s loan giving him just one week to pay. In desperation, Phineas and Elmer make plans. On Thursday they “leave town.” On Friday, it’s such a nice night that Mrs. Futile decides to accompany Sandy to meet Annie at the newsstand and witnesses her being abducted by car. Sandy takes off in pursuit but is quickly outdistanced.

The word about Annie’s abduction spreads. Annie recognizes Phineas and Elmer by their voices, despite the bag they put over her head. Sandy runs on. Back in Cosmic City, Bart Barrister returns, having been out of town since just before Annie was abducted. Agate meets him at the train station and they immediately go to open Annie’s package. Meanwhile, sandy catches up to Annie just as the Pinchpennys are about to throw her off a cliff into the river below.

Sandy attacks Elmer. Phineas pulls a gun but Annie saves Sandy. Her hat goes over the cliff as Sandy Saves Annie. Phineas and Elmer were both knocked senseless. When they awaken, they see Annie’s beret on a branch ½ way down the cliff face and conclude she must have backed off in the scuffle. Phineas and Elmer ditch their stolen car and return to town to find an angry mob awaiting them. Agate and Pincher save them from being lynched. They recover the stolen car and find Annie’s beret. Phineas and Elmer flip on each other. Mr. Dank ends up not being such a bad guy after all, offing to use Pinchpenny’s assets to pay for an operation to fix Gus Pincher’s legs.

Meanwhile, Annie decides it’s time to move on. She sends a postcard to the Futiles so they know she’s alive. That is the end of volume five.

BENEATH THE PLANET OF THE APES:

I was stunned when I saw Alfredo Alcala’s art on the first chapter of Marvel’s adaptation of Beneath the Planet of the Apes. It was the first time I had ever seen Alcala’s art, and it was so distinctive that I would be able to recognize it ever after. Last week I said that George Tuska’s art on Planet of the Apes was his best ever; I also think Alcala’s work on Beneath was his best.

All of the stories, both main and back-up, have been reprinted in four volumes of Planet of the Apes Archives. That doesn’t include the articles, but the Archives feature informative essays by Rich Handley. Apropos the adaptations, he does a good job pointing out the differences between the movies and the adaptations, which were prepared from shooting scripts.

The most amazing thing about "Afternoon Delight" was that it got the Starland Vocal Band their own TV show during the summer of '77 which, I'm proud to say, I never watched! 

Hey, Donny & Marie were on!



Jeff of Earth-J said:

One bicentennial comic that stands out in my mind is a “reprint” of Mad magazine from “1776.”

My radio story: In 1976 I was in the sixth grade and helping my brother and sister-in-law move across country from Perryville, Missouri to Laramie, Wyoming. He drove a 1969 Mustang fastback pulling a U-Haul trailer, and I sat in the back seat. It was AM radio the whole way, and there was three songs in particular I had had quite enough of by the time we got there. Cap mentioned two of them: "Don't Go Breakin' My Heart" by Elton John and Kiki Dee, and "Afternoon Delight" by The Starland Vocal Band. The third was “Rock and Roll Music”… by the Beach Boys. To this day I regret that I first heard this song by the Beach Boys rather than Chuck Berry.

Lee, I've found treasury editions at comicons go for about $10, which wasn't too bad for the unique reading experience they provide. The con I was at had at least two copies of the Cap treasury. I also got a DC one: Batman's Strangest Cases.

Lee Houston, Junior said:

The only commemorative issue of anything I managed to obtain during the bicentennial was Time magazine's, which was written as if the signing of the Declaration of Independence was a recent news event. Wish they would reprint it, because I have absolutely no idea where my copy disappeared to after all these years.

Years later I managed to find a copy of DC's Superman Celebrates the Bicentennial, but that turned out to be reprints of either Superman time traveling back to the 1770s or Tomahawk stories.

With newsstand distribution as spotty as it was back then, never saw the Jack Kirby Captain America tabloid beyond house ads in other Marvel books of the day. Especially in light of recent comments here, wish I could find an affordable/readable copy of it, but considering back issue prices on anything by Kirby...

And Captain, in my humble opinion, radio stations haven't had much improvement in the years since...

I've been catching up on e-comics that have been piling up on my Kindle Fire: my virtual "pile of shame." Most recently it was Alan Moore: The League of Extraordinary Gentlemen Vol. 3 (Century) and the The League of Extraordinary Gentlemen: Nemo trilogies.  According to my Goodreads page I read  TLOEG: Black Dossier in 2015, or tried to, anyway. I gave it two stars, and don't remember a thing about it!

So I should have been as prepared as anyone for Century. It was pretty trippy--especially the 1969 story, of course--but despite my personal connection to that era the story never quite connected for me. I found the whole Antichrist theme hard to swallow, and the League's membership unengaging. But the first story did give me necessary background for the Nemo series, so that was useful.

Because I really enjoyed Nemo. I had recently read Lovecraft's At The Mountains Of Madness for a book meetup, so I was very well prepared (for once) for the literary references in the first chapter. In fact, I would describe Heart of Ice as making so many Lovecraft references that it's almost a gloss on the story. Not a literal copying, but so many direct borrowings that it goes beyond just homage for me. I know Moore has been accused of this throughout the series. Maybe the reason it struck me this time was because I was so familiar with the source. Still an enjoyable story, though, and I liked the other two parts even more. Moore must have enjoyed the structure of Century, because he used the same device here, setting the story first in 1925, then 1941, and finally 1975.

I will also confess to giving myself permission to skip Moore's strange, dense text pieces in both collections. They're certainly clever, but I don't think they add enough to the story to justify the time and effort of reading them.

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