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krinsbez · 4 years ago

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The Heroes, Season Two: The Most Deadly Game

@skjam, @jcogginsa, @maxwell-grant, @anyone else interested...

-The Era: The ‘30s.

-The Location: A jungle island in the Caribbean (I think?)

-The Heroes: Pat Savage; Jane Porter Clayton, Lady Greystoke; Laurence “Larry” Talbot

-The Villains: General Zaroff; The Wolf Man

-The Concept...

Original suggestion by @jcogginsa...

- General Zaroff, the antagonist of ‘The Most Dangerous Game’ sinks a cruise ship, which he believes Doc Savage is aboard, believing that Savage will survive and make it to Zaroff’s island, where he can hunt him for sport. Unfortunately, he’s misinformed, because the Savage aboard the ship is actually Patricia Savage, not Clark. She, along with other pulp heroes who were aboard, then have to deal with Zaroff. Possibly with the Wolfman and Tarzan involved

Comment by @skjam:

“Most Dangerous Game” with Pat Savage? If you want to make things really tough for Zaroff, team her up with Jane Clayton, Lady Greystoke. By the third Tarzan book, Jane’s the second-best person in the world at jungle ��survival. (She drops back to third once their son reaches his teens.)

Comment by @krinsbez:

-On Most Dangerous Game: I love the concept, but I can’t buy Gen. Zaroff by himself as being a legitimate threat when Tarzan is involved? (as far as I’m concerned. kidnapping Jane is a form of suicide)

Comment by @jcogginsa:

Re: Most Dangerous Game, Perhaps Jane was travelling separately from Tarzan for plot related reasons. Alternatively, while Jane manages to escape the Ship due to the place she happened to be in, Tarzan was trapped aboard it. So while She and Pat are dealing with Zaroff and whoever he’s got with him, Tarzan to going through The Poseidon adventure

Comment by @maxwell-grant:

Re: Most Dangerous Game. I think Tarzan’s inclusion can actually be a good way to set the pace of the story. He’s not gonna be in the actual roster of characters trapped in Zaroff’s game, because the minute Tarzan meets Zaroff, it’s game over. Instead of making Tarzan a supporting player or main character, we make him to Zaroff what the Crocodile is to Captain Hook.

Maybe Zaroff is either using Jane specifically because he set his sights on the man who most embodies “the most dangerous game” and suicidally thinks he’s a match for Tarzan, or he wants to get rid of Jane as soon as possible because he knows Greystoke is WAY out of his league, and he figures he has to kill her and kill her NOW before Tarzan gets there (he may even consider letting her leave, but then reason that she would eventually tell Tarzan and he’d come after him anyway). His desperation grows as his attempts grow bolder, putting more danger on the characters but also painting a bigger target on his own back as the odds of him being spared a gruesome demise diminish by the second.

Putting somewhat of a role reversal where not only our characters have to deal with being hunted, but our villain hunting them is also dealing with being hunted himself, and he’s either scared shitless or unreasonably excited over it. Maybe both. Having Zaroff as a co-protagonist of sorts I think could be a way to shake up the structure compared to the last season, since he’s very different from Count Satan and a far more dynamic, engaging character. For our heroes, the time is ticking until Zaroff finds them. And for Zaroff, the time is ticking until Tarzan finds him. Will our heroes defeat Zaroff and escape? Will Zaroff kill one or more of them before Tarzan arrives? Will Tarzan arrive in time?

Another note: Zaroff’s casting. I don’t really have too strong of an idea but one that comes to mind is Jemaine Clement, based on his performances as Boris the Animal and particularly Vladislav (genuinely one of my favorite on-screen Draculas). Someone who can play a decadent, aristocratic villain who can be both reasonably intimidating but also humorous and likeable enough for us to even sort of root for him, even as he’s being a dastardly ghoul.

His comedy chops in particular make me think he could do a great job at depicting the gradual mental breakdown of Zaroff as his ego unravels and all his plans fail and he grows all the more desperate to kill the girl and her stupid friends NOW before that damn dirty ape man gets here and ruins everything oh god he’s gonna be here any minute NO, WHAT NONSENSE, I AM THE GRREAT COUNT ZAROFF, I SHOULD BE RRR-RELISHING THE ODDS OF FACING THE GRRREATEST OF BEASTS, BUT OH GOD WHAT HAVE I DONE WHY WON’T SHE DIE-

Comment by @jcogginsa:

I definitely think Zaroff would be excited, though I could also see the mixture being a good idea.

One thing I worry about regarding Tarzan’s presence as a looming threat for Zaroff is that it might do a disservice to the leads to have the villain constantly fearing the arrival of a different character. However, I gives me an idea.

Basically, at some point within the season, Zaroff begins receiving updates from his servants, regarding the approach of Tarzan, eventually getting to the point where Tarzan is actively on the island, and Zaroff has to move quickly so as to simultaneously hunt the girls while avoiding him.

Then in the Climax, the truth comes out: Tarzan was never there. He hasn’t even received word of the boat’s sinking yet, so he doesn’t even know Jane is in danger. The updates on his approach were orchestrated by the girls, as a form of psychological warfare to throw Zaroff off his game.

Comment by @maxwell-grant:

@jcogginsa Perfect. Absolutely perfect. I see no reason to do anything different.

It allows both for Zaroff’s fears and desperation to keep stewing until a boiling point and for him to grow into the co-protagonist role but also doesn’t downplay the worth of our protagonists. I imagined early on that Tarzan would have little to no role in the proceedings and the downfall of Zaroff (and whatever other villain we may team him with) would be brought entirely by the girls under his nose, but to have Tarzan not even be on his way not only ups the tension for the girls, but it also makes their victory more impressive.

In regards to Zaroff being scared of Tarzan: I suggest it mostly because I think it leads to fun scenarios and also makes him a bit of an underdog even which better suits my idea of Zaroff as almost the co-protagonist, but I do think it can be grounded in stronger reasons. I imagine Zaroff wouldn’t be scared of Doc Savage, despite also being someone bordering on superhuman, because Doc isn’t exactly known for being a wild man of legend who is perfectly willing to inflict savage jungle brutality on those who cross him and his allies, Doc is known as a great adventurer, man of science and crimefighter. Zaroff, in his arrogance, would think of Doc as a great challenge, but one he could take. A city dweller spoiled by his riches and privilege. He would like to think of himself as able to overcome Doc, as he overcomes the jungle and all savage beings in it. “It appears Clark Jr wasn’t much of a Savage after all”, he says as he mounts a new head on his wall.

Of course Count Zaroff at first is going to be dissappointed that the Savage he was looking to hunt is not the great doctor, but merely his female cousin. And Zaroff isn’t going to be scared of Jane. Why, the Grreat Count Zaroff, being scared of, dare I say it, a WOMAN? TWO, EVEN? PRREPOSTEROUS.

But the Legendary Count Greystoke, Tarzan of the Apes, he who kills and skins lions with his bare hands, fears nothing and no one, who knows the jungle far better than Zaroff ever could and can rely on all it’s inhabitants for help, and is known for being fiercely protective of the woman he loves and has killed men for lesser offenses? Zaroff isn’t that suicidal, and of course the girls use the fact that they are underestimated to their advantage. Zaroff only thinks of the girls, and whoever else they are with, as targets, and Tarzan as the only threat he is terrified and excited for in equal measure, and that becomes his undoing.

Comment by @jcogginsa:

I’m glad you like the idea Max. A further thought on the season: When I first pitched the idea, I recall throwing out the possibility of the Wolf Man, Lawrence Talbot, being present, and I’d like to expand on that.

The idea goes that Zaroff has let the Wolfman loose on his island, with the intent of passing him off as a beast terrorizing the local populace. The reason he does this is because he quite admires Doc Savage, and before he hunts the man, he’d like to hunt alongside him. Pat and Jane are initially a disappointment to him, as he figures that women aren’t really good enough to make for an entertaining hunt. However, when Pat and Jane hear about the ‘beast’, they insist on helping the hunt, since they’re good conscious won’t let them leave that be.

In the process of hunting the Wolfman and (seemingly) killing him, Zaroff becomes impressed enough with them that he decides they’re good prey after all. Jane and Pat eventually meet up with Lawrence, who tells him of Zaroff’s original plan of hunting Doc, and that’s when they put together the Tarzan fake out plan. They figure that if Zaroff’s goal was to hunt Doc, then he could have simply sent Pat to inform him of the ‘threat’ so as to lure him to the island, and that the only reason why he wouldn’t have done so would be because it would draw Tarzan to the island as well

And I think we’re caught up!

So, I like the idea of having poor Larry in the mix; it’s even possible he volunteered for the gig, because I’m pretty sure that at this point (while I don’t believe we have an official timeframe for the Universal Monsters films, they all take place in the late Nineteenth century, so Larry’s been The Wolf Man for decades) he’s pretty much given up on being cured, and is now trying to find a way to die that will actually stick (at this point he’s been “killed” with silver and then revived by magic or mad science so many times it doesn’t work anymore, it just keeps him down for a few years or less), and Zaroff has convinced him he can do that.

It very quickly becomes apparent Zaroff lied about that, and Larry is Not. Happy. I mean, even more so than usual. Also, Zaroff failed to mention there would be other people on the island who might become Wolf Man chow, or that said people would be female.

I also imagine that Zaroff underestimated how dangerous The Wolf Man is; he figured, OK it’s basically an oversized wolf, and I’ve killed loads of those, as long as I keep some silver rounds on hand, it’ll be fine. He’s a modern man, not prone to believing in peasant superstitions, and did not really comprehend how unnaturally vicious and hard to kill the thing is.

It also adds an extra element of danger, even if Tarzan does arrive, because his usual toolbox is not gonna help with The Wolf Man, and in fact is liable to get him turned into a werewolf himself, and the idea of Tarzan as a werewolf is too terrible to contemplate.

On the plus side, Pat’s pretty confident her cousin can cure him. She just has to convince Larry of that.

#The Heroes #Season 2 of The Heroes #Pulp Heroes #Collab #Tarzan #Doc Savage

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tokiro07 · 4 years ago

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I think I’ve said this before, but there’s still so much room for new Servant classes in Fate

Healer for medically focused heroes like Asclepius and Nightingale

Reaper for psychopomps like the Valkyries or the Pale Rider

Seer or Fortuneteller for psychics and clairvoyants like Pythia, Cassandra, or Nostradamus

Esper could also work for psychics that don’t specifically see the future, though I’m not sure who beyond Karl Zener would work well here considering that ESP is a fairly recent concept

Jester or Trickster for the trickster archetype like Coyote, Loki, Reynard the Fox, Anansi the Spider, Puck, etc. Jester could also expand beyond the comedic and apply to any form of entertainer or performer, such as singers and dancers, though all of those terms I just used could potentially stand on their own as class names. I think that Jester works as a catchall, but if trickery is too far removed from entertainment, Trickster and Performer could be separate

Tamer for heroes associated with animal companions but not necessarily riding them, like Androcles and the lion, Mowgli, even Dr. Dolittle (also qualifies for Healer)

Burglar or Robber for thieves so that stealthy heroes who didn’t actually kill people like Goemon or Lupin can have a class other than Assassin

Chopper may be a workable name for axe-wielders so they won’t need to be pigeonholed into Berserker, like Eric Bloodaxe (though I’m sure he belongs there) or Paul Bunyan

Crusher could work for hammer-wielders like Thor, though I feel like it doesn’t quite get the idea across as well as Chopper does for axes

Bomber, Grenadier or possibly even Sapper, for Servant’s known for use of explosives or weapons that utilized explosions like gunpowder in cannons. You’d likely see a lot of Chinese Servants like Chen Gui, as well as the more explicitly bomb-related Alfred Nobel, but Servants who utilize cannons like Napoleon may also count

Leader or Commander can also work for generals or other army leadership roles like Napoleon, while at the same time providing a class for kings like what most people assume Ruler is when they hear it

Someone suggested Scholar on another of my posts, and that could be useful as an alternative for intellectual heroes that get shoehorned into Caster, like Charles Babbage, Nikola Tesla, or Alexandre Dumas.

Alternatively, Storyteller or simply Teller could work for heroes known for their writing, differentiating the artistic scholars like Shakespeare, Anderson and even Scheherazade from the scientific scholars like Edison

To expand further on the arts, Painter could work for the visual arts, giving Hokusai something to do other than be possessed by horny aliens

We could also have at least one class dedicated to heroes with mundane origins, like Worker, meant to denote those who held various lower class labor positions and rose above their stations or became a hero simply from perfecting their craft. Muramasa claims he isn’t fit to be a hero, but he’s honestly probably better known worldwide than a fair number of heroes in Fate.

Potentially more specific mundane classes could include things like Farmer, Baker or Fisher, though I can’t imagine any of those would get too much use

Planter or Gardener could also work in place of Farmer, and can potentially have more varied use for figures who tended to plants but weren’t “farmers”

Trader, Peddler, Dealer, Seller, Vendor/Vender or any other term for a salesman could work for a merchant-based class, though admittedly I can’t think of any that would work for it off the top of my head. Hermes could work as a pseudoservant, since he’s a god, and one could argue that Jack from Jack and the Beanstalk could count on the basis that he traded his cow for the magic beans, though perhaps that’s a stretch. A distorted version of this class could be called Swindler for those who masquerade as Traders, such as famous conman George C. Parker.

Hoarder could work for money or treasure obsessed individuals like Alberich from the Ring of the Nibelung or any given pirate Servant, or even just particularly greedy characters like those who would become Swindlers

I’ve mentioned that Watcher could potentially be used for mentors, but since that doesn’t necessarily seem to be how it is used, why not just have a Mentor or Teacher class? This would certainly work for Chiron, Scathach, and even Merlin, even if none of them need alternative classes

Fate/Extra actually suggested a few interesting ones too, such as:

Launcher, Spirit of the Laser Beam, though I can’t think of anyone other than Archimedes who really fits without being too recent

Butler, heroes that were servants, caretakers, or possibly even slaves in life, like Cinderella, Vasilissa, or hilariously, Reginald Jeeves

Monster, though this wasn’t actually a class name, it was a title for a monstrous person, Shiki Ryougi. Still, I think literal monsters like Typhon or Echidna, or humans that become monsters, like Larry Talbot the Wolfman, may also qualify

Don’t get me wrong, I think Voyager and Foreigner are really cool concepts, but I'm just a little sad that more universal archetypes that would be easier to use without basically making things up are going unused

#MakeBoxerCanon2020

#fate series #fate stay night #fate grand order #servant classes #fan servants

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mightystargazer · 5 years ago

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Another year gone, another readinglist done!

W. Michael Gear Outpost

W. Michael Gear Abandoned

Angela Carter The Bloody Chamber

Sue Burke Semiosis

Rob Dircks Don't Touch the Blue Stuff!

Laurie Forest the iron flower

Joseph Nassise urban Enemies: a collection

Ezekiel Boone The Mansion

Richtel, Matt Dead on Arrival

Wilkie Martin Inspector Hobbes and the Blood

Wilkie Martin Inspector Hobbes and The Curse

Wilkie Martin Inspector Hobbes & The Gold Digger

Wilkie Martin Inspector Hobbes and The Bones

A. American Home Coming

Adam J. Wright Lost Soul

Adam J. Wright Buried Memory

Adam J. Wright Dark Magic

Adam J. Wright Dead Ground

Adam J. Wright Shadow Land

Robert Bevan Critical Failures VI

Darynda Jones Grave on the Right

Darynda Jones Grave on the Left

Darynda Jones Third Grave Dead Ahead

Darynda Jones Grave Beneath My Feet

Darynda Jones Grave Past the Light

Darynda Jones Grave on the Edge

Darynda Jones Grave and No Body

Darynda Jones Grave After Dark

Darynda Jones Brighter Than the Sun

Darynda Jones Dirt on Ninth Grave

Darynda Jones The Curse of Tenth Grave

Darynda Jones Eleventh Grave in Moonlight

Dan Simmons The Terror

Warren Fahy Fragment

Tim McBain The Scattered and the Dead

Scott Thomas Kill Creek

Kurt Anderson Resurrection Pass

Larry Correia Son of the Black Sword

Larry Correia House of Assassins

Chuck Wendig Blackbird

Chuck Wendig Mockingbird

Chuck Wendig The Cormerant

Chuck Wendig Thunderbird

Karen Thompson Walker The Dreamers

Hank Green An Absolutely Remarkable Thing

C.T. Phipps The Tournament of Supervillainy 5

Peter Clines 14

Peter Clines The Fold

Peter Clines Dead Moon

Sean Schubert Infection

Sean Schubert Containment

Sean Schubert Mitigation

Sean Schubert Resolution

James Marshall Smith Hybrid

Mark Tufo Demon Wars

Alan Dean Foster Interlopers

Anthony Melchiorri The Tide

Anthony Melchiorri Breakwater

Anthony Melchiorri Salvage

Anthony Melchiorri Deadrise

Anthony Melchiorri Iron Wind

Anthony Melchiorri Dead Ashore

Anthony Melchiorri Ghost Fleet

Anthony Melchiorri Devil to Pay

Scott Medbury Heel Week

Scott Medbury On The Run

Scott Medbury Cold Comfort

Scott Medbury Rude Shock

Terry Pratchett/Neil Gaiman Good omens

Barry J. Hutchison The Sidekicks Initiative

Catherynne M. Valente The Refrigerator Monologues

Ike Hamill Super Apex

J.H. Moncrieff Monsters in Our Wake

John Connolly The Underbury Witches

Jonathan Maberry Dead of Night

Lydia Kang Quackery

Tomi Adeyemi Children of Blood and Bone

Thomas Morris The Mystery of the Exploding Teeth

John A.Keel The Complete Guide To Mysterious Beings

Ted Dekker ADAM

Richard K. Morgan Altered Carbon

Ransom Riggs A Map of Days

Kevin Hearne Death & Honey

Benjamin Wallace Boom box 1

Benjamin Wallace Boom box 2

Benjamin Wallace Boom box 3

Benjamin Wallace Revenge of the Apocalypse

Victor LaValle The Changeling

Rick Chesler Sawfish

Nathan Barnes The Reaper Virus

Michael brent Collings The Deep

Bill Heavey If You Didn't Bring Jerky, What Did I Just Eat

Bill Heavey It's Only Slow Food Until You Try to Eat It

Bill Heavey Should the Tent Be Burning Like That

Jenny Lawson Let's Pretend This Never Happened

Mark Tufo The Spirit Clearing

Ambrose Ibsen Asylum

Ambrose Ibsen Forest

Ambrose Ibsen The Occupant

Stephen King The Man in the Black Suit

Sam Sykes The City Stained Red

Peter Meredith The Queen Unthroned

Peter Meredith The Queen Enslaved

Nicholas Sansbury Smith Extinction Red Line

Nicholas Sansbury Smith Extinction Horizon

Nicholas Sansbury Smith Extinction Edge

Nicholas Sansbury Smith Extinction Age

Nicholas Sansbury Smith Extinction Evolution

Nicholas Sansbury Smith Extinction End

Nicholas Sansbury Smith Extinction Aftermath

Nicholas Sansbury Smith Extinction Lost

Nicholas Sansbury Smith Extinction War

Nicholas Sansbury Smith Missions from the Extinction Cycle

Drew Hayes Super Powereds Year 4

Dean Koontz Odd Thomas

Patrick F McManus Kerplunk! Stories

Mark Wayne McGinnis The Simpleton

Mark Wayne McGinnis The Simpleton Quest

John Connolly A Book of Bones

Drew Hayes Corpies

Nathan Ballingrud Wounds

Michael Todd Torn Asunder

Michael Todd Killing Is My Business

Michael Todd And Business Is Good

Marty Ross The Darkwater Bride

Richard Porter Top Gear Epic Failures 50 Great Motoring Cock-Ups

Parker Peevyhouse The Echo Room

P. K. Hawkins Shark Infested Waters

M. R. James The Conception of Terror Tales

Broad Reach Publishing I, Zombie

Bobby Hall Supermarket

Terry Pratchett Night Watch

Patrick F McManus Never Sniff a Gift Fish

Michael Talbot The Bog

Michael Edelson Seed

Matthew Scott Hansen The Shadowkiller

Jonathan Maberry Ghost Road Blues

Jonathan Maberry Dead Man's Song

Jonathan Maberry Bad Moon Rising

Jonathan Maberry Property Condemned

Jonathan Maberry Darkness on the Edge of Town

Chris Angus Flypaper

Dean Koontz The Night Window

John P. Logsdon Platoon F Big Ass Bundle

Robert Tomoguchi The Scribbled Victims

Richard MacLean Smith Unexplained

Mark Edwards The Retreat

Dennis E. Taylor Outland

Bobby Adair Freedom's Siege

Bobby Adair Freedom's Fire

Bobby Adair Freedom's Fury

Bobby Adair Freedom's Fray

Bobby Adair Freedom's Fist

Bobby Adair Freedom's Fall

Bobby Adair Freedom's Fate

William Gibson Alien III

Terry Brooks Running with the Demon

Steven Campbell Hard Luck Hank

Neal Stephenson Reamde

Neal Stephenson Fall, or Dodge in Hell

J.F. Holmes Irregular Scout Team One

Michael Stephen Fuchs Odyssey

Kameron Hurley The Light Brigade

TTC History of Ancient Egypt

Justin Cronin The Passage

Justin Cronin The Twelve

Justin Cronin The City of Mirrors

J.N. Chaney Orion Colony

J.N. Chaney Orion Uncharted

J.N. Chaney Orion Awakened

Christopher Dowell The Adventures of Badass Mike

Barry J. Hutchison Sentienced to Death

Adam Savage Every Tool's a Hammer

Rob Dircks Gigi Make Paradox

Eric Rickstad What Remains of Her

Robert Bevan 6d6

L. L. Akers Fight like a Man

L. L. Akers Shoot Like a Girl

L. L. Akers Run Like the Wind

Jonathan Mayberry Broken Lands

Alexander C. Kane Andrea Vernon and the Superhero-Industrial Complex

A.R. Shaw The China Pandemic

A.R. Shaw The Cascade Preppers

A.R. Shaw The Last Infidels mp3

A.R. Shaw The Malefic Nation

A.R. Shaw The Bitter Earth

Jim C. Hines Terminal Uprising

Mark Tufo Dog Days of War

Rick Gualtieri Get Bent!

Brian Keene Darkness on the Edge of Town

Christopher Moore Practical Demonkeeping

Christopher Moore The Lust Lizard of Melancholy Cove

Christopher Moore The Stupidest Angel

Chuck Wendig Wanderers

John Connolly Conquest

John Connolly Empire

John Connolly Dominion

C. J. Tudor The Taking of Annie Thorne

Wellington, David The Last Astronaut

S. Bennett A Womans Journey with the Worlds Worst Behaved Dog

Levi Black Red Right Hand

Levi Black Black Goat Blues

Eoin Colfer Artemis Fowl

Eoin Colfer The Arctic Incident

Eoin Colfer The Eternity Code

Eoin Colfer The Opal Deception

Eoin Colfer The Lost Colony

Eoin Colfer The Time Paradox

Eoin Colfer The Atlantis Complex

Eoin Colfer The Last Guardian

Ambrose Ibsen Transmission

Daniel Green End Time

Daniel Green The Breaking

Daniel Green The Rising

Patrick F McManus The Bear in the Attic

Mark Tufo Encounters

Mark Tufo Reckoning

Mark Tufo Conquest

Mark Tufo From the Ashes

Mark Tufo Into the Fire

Mark Tufo Victory's Defeat

Mark Tufo Defeat's Victory

Brett Battles Mine

Caitlin Starling the luminous dead

Craig A. Falconer Not Alone

Craig A. Falconer Second Contact

Craig A. Falconer The Final Call

Gardner Dozois Down These Strange Streets

Greig Beck Primordia

Kevin Hearne Kill the Farm Boy

Kevin Hearne No Country for Old Gnomes

Kathleen Meyer How to Shit in the Woods

Joe Hill NOS4A2

Drew Hayes The Case of the Damaged Detective

Simon Haynes Robot vs Dragons

Nora Roberts Blood Brothers

Nora Roberts The Hollows

Nora Roberts The Pagan Stone

Peter F. Hamilton The Reality Dysfunction

Paul Tremblay The Cabin at the End of the World

Gerry Griffiths Down from Beast Mountain

Eoin Colfer The Reluctant Assassin

Eoin Colfer The Hangman's Revolution

Eoin Colfer The Forever Man

C A Fletcher A Boy and His Dog at the End of the World

N.C. Reed Odd Billy Todd

Stephen King The Shining

Stephen King Doctor Sleep

Richard J. Dewhurst The Ancient Giants Who Ruled America

Laird Barron The Croning

Keith C. Blackmore The Troll Hunter

J.L. McPherson The Gorge

Erin Bowman Contagion

Erin Bowman Immunity

Stephen King The Institute

Douglas Adams Starship Titanic

Lee Murray Into the Mist

Lee Mountford The Mark

Keith C. Blackmore White Sands, Red Steel

Joe Hill The Fireman

Barry J. Hutchison The Hunt for Reduk Topa

Greig Beck Return to the Lost World

Greig Beck The Lost World

Ted Dekker Obsessed

James D. Prescott Extinction Code

James D. Prescott Extinction Countdown

James D. Prescott Extinction Crisis

James D. Prescott Missions from the Extinction Cycle 2

Dean Koontz Strange Highways

Mira Grant Rolling in the Deep

Mira Grant Into the Drowning Deep

Luke Romyn Ash

Thomas Olde Heuvelt Hex

Jeremiah Knight Hunger

Jeremiah Knight Feast

T. Kingfisher The Twisted Ones

Patrick F McManus The Horse in My Garage

Jeff Strand Wolf Hunt

Jeff Strand Wolf Hunt 2

Annie Wilder Trucker Ghost Stories

Kathryn Croft The Girl with No Past

Larry Correia Monster Hunter International

Larry Correia Vendetta

Larry Correia Alpha

Larry Correia Legion

Larry Correia Nemesis

Larry Correia Siege

Larry Correia Guardian

Nicholas Sansbury Smith Extinction Inferno

Jack Townsend Tales from the Gas Station

Dean R Koontz Phantoms

Scott Sigler Blood Is Red

Stephen Chbosky Imaginary Friend

Larry Correia Grunge

Larry Correia Sinners

Larry Correia Saints

Larry Correia The Monster Hunter Files

Dean Koontz Innocence

Hugh Howey Half Way Home

Shaun Hamill A Cosmology of Monsters

Cameron Milan Zombie Slayer!!

Charles Soule The Oracle Year

Christopher Moore Practical Demonkeeping

Christopher Moore The Lust Lizard of Melancholy Cove

Christopher Moore The Stupidest Ange

Iain Rob Wright Sea Sick

Iain Rob Wright Ravage

Iain Rob Wright Savage

Keith C. Blackmore 131 Days

Keith C. Blackmore House of Pain

Keith C. Blackmore Spikes and Edges

Keith C. Blackmore About the Blood

Keith C. Blackmore To Thunderous Applause

Kevin Hearne The Princess Beard

Adrian Tchaikovsky Walking to Aldebaran

Cixin Liu Supernova Era

Dave Pedneau Night, Winter, and Death

Dean Koontz Nameless

Jack Hunt As We Fall

Jack Hunt As We Break

Katherine Arden Small Spaces

Katherine Arden Dead Voices

Larry Correia #1 in Customer Service

Myke Cole The Armored Saint

Myke Cole The Sacred Throne

Myke Cole The Killing Light

C. T. Phipps The Future of Supervillainy

Charlie Huston The Mystic Arts of Erasing All Signs of Death

T.W. Piperbrook St. Matthews

T.W. Piperbrook Onset

T.W. Piperbrook Crossroads

T.W. Piperbrook Wasteland

Paul Tremblay Disappearance at Devil’s Rock

Ferrett Steinmetz The Sol Majestic

Grady Hendrix Horrorstör

Mark Tufo The Perfect Betrayal

William Goldman The Princess Bride

Joseph John The Eighth Day

Stephen King Gwendy's Button Box

Richard Chizmar Gwendy's Magic Feather

Ronald Malfi Snow

Robert Bevan Critical Failures VII

Mark Tufo Winter's Rising

Mark Tufo Cedar's Conflict

Mark Tufo The Edge of Deceit

Michael McBride Unidentified

Scott Sigler Infected

Scott Sigler Contagious

Prescott, James D The Genesis Conspiracy

Michael Crichton Andromeda Strain

Michael Crichton The Andromeda Evolution

Melanie Golding Little Darlings

Iain Rob Wright Escape!

Ambrose Ibsen Midnight in a Perfect World

Scott Baron Bad Luck Charlie

Scott Baron Space Pirate Charlie

Scott Baron The Dragon Mage

#reading #readinglist #books #audiobooks #list

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classicfilmfreak · 5 years ago

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New Post has been published on https://www.classicfilmfreak.com/2019/06/06/abbott-and-costello-meet-frankenstein-1948-starring-bud-abbott-lou-costello-and-the-monsters-three/

Abbott and Costello Meet Frankenstein (1948) starring Bud Abbott, Lou Costello and the Monsters Three

Jeepers! The creepers are after Bud and Lou!

After their film partnership was well under way—sometimes, perhaps, not so “well”—Bud Abbott and Lou Costello were frequently “meeting” people. In the late 1940s and ’50s, it was the killer Boris Karloff, Captain Kidd, the Keystone Kops, Dr. Jekyll and Mr. Hyde and, in 1951, the Mummy, one of their best films.

Even better—the best, by far, of these “getting acquainted” movies—is the comic pair’s encounter with the Frankenstein monster—not only the good doctor’s misassembled creature (here played by Glenn Strange rather than Karloff, who had refused another go at the part), the personification of Dracula (Bela Lugosi) and that wandering moonlighter, the Wolfman in the person of Larry Talbot (Lon Chaney, Jr.).

The film works because, against the shenanigans of A&C at their best, the monsters play it straight.

Abbott and Costello Meet Frankenstein, which premiered after an extended slump in the team’s box office receipts, was an enormous hit, and is easily the best of all their features. For those not A&C fans—they are an acquired taste much like the Marx Brothers or the Three Stooges—they just might be able to tolerate this entry, even laugh a few times.

Instead of “Lou” and “Bud” as was the usual practice on screen, the actors address one another by their character’s names, which causes occasional flubs. So now they become Wilbur Grey (Costello) and Chick Young (Abbott), a pair of railway baggage clerks who unload two crates containing the remains of Count Dracula and the Frankenstein monster.

In a phone call, Larry Talbot attempts to warn Wilbur of the danger in the shipment intended for McDougal’s House of Horrors, but, as luck would have it, at that particular moment he is caught under the influence of a rising full moon. Transformed into a werewolf, he proceeds to destroy his hotel room and Wilbur, thinking it’s a prank call, hangs up.

The writers had apparently forgotten that Dr. Edelmann (Onslow Stevens) had cured Larry of his lycanthropy four years earlier in House of Dracula. No matter: the Frankenstein monster, the Count, the Wolfman, the Mummy—all those wild and vicious creatures—might be irrefutably killed at the end of one movie, but emerge unscathed and ready to go in a subsequent outing.

The Count and the monster waste no time in wreaking havoc. There are abductions, a revolving door, chases, hidden passages, brief jail time for Chick and Wilbur, disguises, more chases and a ball. In all the confusion, Wilbur and Chick find a pier and a lake behind the castle.

Dracula plans to revitalize the monster with a new brain, assisted by the lovely but vividly evil Dr. Sandra Mornay (Lenore Aubert). The two abduct Wilbur for his cranial contents.

The monster is prepared for the operation and Sandra is about to cut into Wilbur’s forehead with a scalpel when Chick and Larry pull him to safety. Later, when Dracula transforms himself into a bat in an attempt to escape, Larry grabs him and the two fall to their deaths on the rocks below.

In the climax, Chick and Wilbur escape from a fire and climb into a rowboat as the monster staggers across the flaming pier and is consumed—a continuity error since his intense fear of fire was clearly established in Frankenstein (1931).

After Chick assures Wilbur that all the bad creatures are dead, a ghostly voice intones, “Oh, that’s too bad. I was hoping to get in on the excitement. Allow me to introduce myself: I’m the Invisible Man!”—an uncredited Vincent Price, who had made The Invisible Man Returns in 1940. Chick and Wilbur jump into the water and swim away amid the laughter of the Invisible Man.

For Bela Lugosi, whose extra make-up hid well his advancing age, this was his last appearance in a movie by a major studio—and his last decent role. Lon Chaney, Jr., by contrast, would never be out of work, even if many of the films were low-budget and humdrum. Although he made the occasional horror movie, he also appeared in a few substantial non-horror films,including High Noon (1952) and The Defiant Ones (1958), and numerous TV movies and series.

While it’s hard to take the eyes off of A&C, the most outstanding performance might well be by Lenore Aubert, something of a Hedy Lamarr look-alike, also born in Austria-Hungary. In 1949, she would make another A&C movie, that meeting with the Killer, Boris Karloff, and end her twenty-picture career in 1952.

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#Bud Abbott #Lou Costello #Monsters Three

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djfreakfineman · 2 years ago

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We here @macabrerecordsinc #atx are hard-core Svengooliegans @realsvengoolie . Tonight Sven presents: House of Dracula (1945) starring: Lon Chaney Jr. And John Carradine House of Dracula is a 1945 American horror film released and distributed by Universal Pictures. Directed by Erle C. Kenton, the film features several Universal Horror properties meeting as they had done in the 1944 film House of Frankenstein. The film is set at the castle home of Dr. Franz Edelmann, who is visited first by Count Dracula and later by Larry Talbot, the Wolf Man, who are trying to cure their vampirism and lycanthropy, respectively. Talbot is eventually cured, which leads him to discover the body of Frankenstein's monster in a cave below the base of the castle. Edelemann takes the monster's body back to his laboratory but finds Count Dracula has awakened and by attacking his assistants, he captures Edelmann and forces a reverse blood transfusion, which gives Edelmann a split personality and makes him a killer. We are huge fans of All Things Sven and Totally Dig this Awesome Picture created by: @maniyackmonsters so again, Please Support all Artists/ Illustrators / Profiles we Showcase and enjoy the Carnage! Everyone have a Sadistic Svengoolie Saturday and as always… Keep it Kreepy🎃🔪#freakfineman #macabrerecordsinc #horrorlife #sonofsvengoolie #svengooliesaturday #metv #maniyackmonsters (at U.S.A) https://www.instagram.com/p/Cin6EnyOfBt/?igshid=NGJjMDIxMWI=

#atx #freakfineman #macabrerecordsinc #horrorlife #sonofsvengoolie #svengooliesaturday #metv #maniyackmonsters

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quasar1967 · 2 years ago

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House Of Dracula (1945)

House of Dracula is a 1945 American horror film released by Universal Pictures. Directed by Erle C. Kenton, the film features several Universal Horror properties meeting as they had done in the 1944 film House of Frankenstein. The film is set at the castle home of Dr. Franz Edelmann, who is visited first by Count Dracula and later by Larry Talbot, the Wolf Man, who are trying to cure their vampirism and lycanthropy, respectively. Talbot can not be cured, which leads him to discover the body of Frankenstein's monster in a cave below the base of the castle. Edelemann takes the monster's body back to his laboratory, but finds Count Dracula has awoken and by attacking his assistants, he captures Edelmann and forces a reverse blood transfusion, which gives Edelmann a split personality that likes to wreak havoc with those around him.

The film was developed initially with the title Wolf Man vs. Dracula to be directed by Ford Beebe with Bela Lugosi reprising his role of Count Dracula. After actor Boris Karloff returned for a two-film deal with Universal and several requests from the censorship board, the film was put on hold for nearly six months. House of Dracula went into production directed by Kenton with a screenplay by Edward T. Lowe, who took elements from the Wolf Man vs. Dracula script while adding in Frankenstein's monster to the plot. Many cast and crew members returned from House of Frankenstein, including John Carradine in the role of Count Dracula, Glenn Strange as the monster, and Lon Chaney Jr. as both the Wolf Man and Larry Talbot. The film went into production on September 17, 1945, and finished on October 24. The film uses large sections of music from previous Universal feature films and footage, sets and props from other early Universal horror films. The film was released on December 7, 1945. Historian Gregory Mank described it as "the final serious entry of Universal's Frankenstein saga".[3] It received predominantly negative reviews in its early New York screenings, while retrospective reviews have been predominantly lukewarm.

#house of dracula #lon chaney #john carradine

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nitrateglow · 7 years ago

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For the headcanon meme: Larry Talbot and Fritz?

Larry

Headcanon A: He had a totally normal childhood.

Headcanon B: Larry goes on living into the twenty-first century and one time when in his wolfman state, he accidentally wanders into a furry convention. His costume is praised and he desperately tries to get out of there as soon as possible.

Headcanon C: When Larry was a boy, he once made a wish in a wishing well that he one day gain immortality.... ha ha *sobs*

Headcanon D: Larry eventually finds a way to mostly control himself when he makes his transformation, though he still tries to avoid human contact.

Fritz

Headcanon A: Fritz tortured the Monster because he relished having power over someone who was more of an outcast than he.

Headcanon B: Fritz hates socks because none ever seem to fit him right, but his feet are sensitive to the cold, so he must suffer with ill-fitting pairs.

Headcanon C: Fritz’s family rejected him for his hunched back and he has had a rough time living on his own since he left home as a boy. He often suffered horrible humiliations and abuse at the hands of those who employed him. This is why he takes to Henry so much-- Henry doesn’t treat him like garbage, even if he can be a bit short with him.

Headcanon D: Fritz ended up in Paris at one point as a child and heard about the Phantom of the Opera.

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orbemnews · 4 years ago

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Archaeologists discover homesite owned by Harriet Tubman's father Archaeologists discover homesite owned by Harriet Tubman’s father Historic artifacts date back to early to mid 1800s Updated: 11:10 AM EDT Apr 20, 2021 Hide Transcript Show Transcript Good morning. Mhm. I hope everyone is enjoying this beautiful spring. My name is need a subpoena. I am the superintendent of the Maryland park Service and it is my great pleasure to welcome all of you to the Harriet Tubman Underground Railroad State Park. Since opening its doors in 2017, we have welcomed hundreds of thousands of visitors from around the world to learn about the remarkable life of Harriet Tubman. I think you would all agree that the park looks beautiful on this spring day. And I just like to thank and acknowledge our staff in the back there. Who were waving you in as you joined us. Thank you guys. Okay, okay, of course. Led by our wonderful park manager ranger, Dana Patera, This state park, this National Historical Park. This visitor center interprets the legacy of Harriet Tubman as a courageous conductor, Liberator and humanitarian in the resistance movement of the Underground Railroad. Many partners, all dedicated to preserving the legacy of Harriet Tubman played a key role in making this park a reality and many are represented here. Today. We would like to acknowledge our partners and distinguished guests including Boyd Rutherford, Lieutenant governor, the state of Maryland, Jeannie Haddaway Rikio Secretary Maryland, Department of Natural Resources, Greg slater Secretary Maryland, Department of Transportation, Marcia, pray Dean’s project leader, U. S. Fish and Wildlife Service, Chesapeake marshlands, National Wildlife Refuge Complex, Diane Miller, National Program Manager, National Park Service, National Underground Railroad Network to Freedom Deanna Mitchell Superintendent Harriet tubman Underground Railroad, National Historical Park, Liz fitzsimmons, Managing director Maryland, Department of Commerce, Office of Tourism and Film. Dr julie schablitsky, chief archaeologist Maryland, Department of Transportation, State Highway Administration. MS Tina Wyatt Harriet tubman’s great, great great grannies, herschel johnson, a local community historian representing Harriet tubman organization and also caretaker of the lovely Stanley Institute and state senator. Eddie Eckerd representing Caroline dorchester, talbot and Wicomico counties, delegate chris Adams, Representative for congressman, Harris, keith gravy, gravy as representative for senator Ben Cardin kim crowd of ill and also we have a representative here from the ah city council of Cambridge. So thank you all for joining us. Today. We gather here because our discovery and understanding of the life and times of Harriet tubman continues to be revealed and continues to inspire us and with that I am pleased to present our first speaker Lieutenant Governor Boyd Rutherford, the lieutenant governor is someone uh we have gotten to know at the Maryland park service. Our staff has welcomed him to dozens of state parks as he continues his, what I like to call is odyssey to visit all of the state parks in Maryland and promote them most recently. Last week when he kicked off our first ever state parks week. Lieutenant Governor Boyd Rutherford was elected to office with governor Larry Hogan in 2014 and re elected in 2018. He is an accomplished attorney with a lifetime of experience in both public and private service, including the U. S. General Service Administration, U. S. Department of Agriculture and his secretary of the Maryland Department of General Services. In addition to his public service, he has extensive legal and business experience, including service and business and government law, information technology, sales and small and minority business development. As lieutenant governor, he has been a strong partner with Governor Hogan, leading the administration’s efforts to combat the opioid epidemic reform, burdensome regulations on job creators, uh break the cycle of poverty between family generations. And he has also led the state’s efforts to modernize procurement, improve the mental health delivery system and make Maryland a national leader in the implementation of the federal opportunity zones program. The lieutenant governor attended the dedication of the Harriet Tubman Underground Railroad State Park in 2017 and joins us today for this momentous occasion. Please welcome Lieutenant Governor Rutherford. Good morning and thank you Superintendent uh, Latina. Every time I hear that bio, I feel older and older every day. But you know, it’s a beautiful day here. Uh, it’s always beautiful day on the eastern shore. And so it’s great to be here at the Harriet Tubman Underground Railroad National Historic Park here in Dorchester County. And it brings me great joy to highlight a historic fine that that takes, that took a significant investment on the part of the state of Maryland. Our federal partners, historians and others who seek to preserve our, our history for the last year, archaeologists at the State Department of Transportation, State Highway Administration have searched the Blackwater National Wildlife Refuge for a site where Harriet Tubman’s father, Ben Ross, once lived in november. They found signs that indicated that they were on the right track and a breakthrough occurred in March, Archaeologists uncovered evidence of a home site and its historic artifacts dating back to the early 1800s, early to mid 1800s. Today, I’m excited to announce that our archaeologists have confirmed that this site was once the home of Ben Ross and may have been where Harriet Tubman spent her early years. I want to share a little more about what we have learned about Ben Ross and his life on the eastern shore of Maryland. For several years. We believe that mr ross harvested trees on the property and sold the timber and the timber was then transported two shipyards by free Black Mariners to use to make ships in Baltimore. Harriet Tubman worked alongside her father as a teenager and historians believe that Tubman learned to navigate the land and waterways she would later traverse to lead enslaved people to freedom. The discovery of Ben rosters. Cabinet is a major fine and I’m proud that julie Schablitsky and her team of archaeologists at the Maryland Department of Transportation, we’re able to use their hard work and dedication to make this project a reality. And yes, the Department of Transportation does have archaeologists on staff and they are scientists who lend their expertise and planning in planning infrastructure in order to avoid disturbing structures, cemeteries and other significant historic areas. In that process. Their commitment to their work is illustrated by their willingness to brave the elements and other obstacles to preserve the nation’s history. And the State Department of Transportation also supports archaeological projects that chronicle how transportation systems and communities have evolved over time so that we can share those stories with the public and save precious remnants of our history. Maryland is full of history from the mountains of western Maryland to the beaches of the eastern shore. The addition of Ben Ross’s homesite to the Harriet Tubman by way, will bring a boost to Dor Dorchester County visitors and historical significance to this area. This discovery adds to another puzzle piece in the story of Harriet tubman, the state of Maryland and our nation. It is important that we continue to uncover parts of our history that we can learn from, especially when we can do this before time and other forces wash it away. I hope that this latest success story can inspire similar efforts and help strengthen our partnerships in the future. Thank you very much. Yeah, thank you. Lieutenant Governor. Our next speaker is a valued partner of the Harriet tubman Underground Railroad State Park and National Historical Park Marcia up ratings. Marcia is the project leader of the Chesapeake Marshlands National Wildlife Refuge complex with the U. S. Fish and Wildlife Service. Since joining us on the Eastern Shore five years ago, she has focused on strengthening relationships with the community, helping new audiences engage with the outdoors through programs like mentored hunts and finding the connections between people and wildlife that make conservation successful. Please welcome Miss Marcia proteins. Thank you so much, Nita and thank you everybody for joining us here today. Yes, shocking. I was going to make some joke but I decided not to Thank you when I first started here. Not quite five years ago, I was so excited about the prospects ahead of me. Blackwater National Wildlife Refuge is a magnet for residents all over the Maryland, D. C. Virginia area and even all over the globe. We have 30,000 acres of wildlife habitat that attract people as well as wildlife. But I was most excited about the potential to invite new audiences to the refuge to learn how conservation is valuable, not only to wildlife but also to people history, into the landscape that made us all who we are today. The future of conservation lies in the hands of people and it must have value to everyone when we can serve habitat. We also conserve the stories of those who came before us, like Harriet Tubman’s father, Ben Ross, and all the others whose names we may never ever hear about. And that worked alongside of him in the marshes and the forests of the refuge with the Harriet Tubman Underground Railroad Visitors Center is our immediate neighbour. We have an opportunity to welcome even more people and to do more together than any of us could do alone. The Peters Neck property has been an extremely important piece for the refuge to acquire ever since. Our comprehensive conservation plan was first written all the way back in 2000 and six, With rising sea levels, increased storms, loss of habitat, its value to us only increased. The area is predicted to naturally convert to marsh, with parts remaining forested all the way into the year 20 100. The 2600 acre parcel was bought for $6 million dollars, But not with taxpayer dollars. It was bought by dollars from those waterfowl hunters and birders who bought the federal duck stamp for only $25 each, and offshore oil and gas leases from the land and water conservation fund. So this is a major investment in conservation and outdoor recreation right here in Dorchester County. But we also heard that perhaps just perhaps Ben Ross’s Homestead might be on the parcel, we weren’t sure. But with that in mind, before we even stepped onto the property, we began discussions about what to do next with the state park and with the National Park Service, Thankfully, Maryland stepped up to meet the very first challenge before us to begin the search for what they call Ben’s 10. I don’t think they knew what they were getting into here with our outrageous mosquitoes that call us home. Yes, the relentless flooding from rain and tied. Yes. And the mud that results, we can’t thank them enough for their hard work and their dedication in the field. All of those weeks in october and then again in april In less than one year from when we purchased the site. The crew has indeed found Ben’s 10. And just in time as the river rises, invaluable, bits of the story were about to be lost forever. What happens next is just as exciting, but we need a team to make it reality. We opened the parcel to hunting already, but before doing so we set aside a potential trail system for interpretation with the help of our partners. Should we be able to secure path forward to improve the roads to the area for the public hand in hand with our partners in Maryland, Department of Natural Resources and the National Park Service. We have a big vision that we’re excited to find a way to fulfill for conservation of our natural and cultural resources. When land is treated well, it is many values including wildlife and fish, habitat, sustainable timber, storm buffers, water quality, soil, health, recreation and even history. And when it comes to cultural history. This land has rich stories to tell from the native americans who first walked here harvesting from the woods in the river to Ben ross, teaching his daughter how to manage timber or even fred Bensley Maryland’s first state forester who owned this land and stayed in his family up until the point that we required it. We want to honor those stories And help create new stories from a refuge hunter who hears a sick of bugle before dawn in October two. A birdwatcher hiking the trail that we plan to bill perhaps hearing their very first pine warbler in spring or a family that comes to visit to immerse themselves in what the landscape was like when Harriet tubman was growing into the strong woman, she was to become Together, we will nurture all of these stories yet to be written. Thank you. Yeah. Okay. thank you Marcia. I was sitting there listening to your remarks and the birds uh surrounding us. I could hear eagles. Uh we are so fortunate to be surrounded by your your refuge. So thank you for your conservation service. It is now my pleasure to introduce dr Shuli julie Schablitsky, Otherwise known as I understand it very fondly by her colleagues. As Dr julie. She is the chief archaeologist at the Maryland Department of Transportation, State Highway Administration. She is noted for her Maryland research on african american sites and the recovery of D. N. A from artifacts. In her role, she oversees archaeologists and architectural historians who managed projects for the Department of Transportation as well as local governments. Uh We recently partnered with the Maryland Department of Transportation and dr julie on several archaeology projects, including most recently at Newtown Next State Park, which is in southern Maryland, where dr Schablitsky is. Recent archaeological survey discovered a 300 year old slave quarters on a former Jesuit plantation that is part of Newtown Next state Park. And the lieutenant Governor and the Secretary and myself had an opportunity to meet you there and see the artifacts, some of the artifacts she recovered. Um It is really my pleasure to welcome dr julie Schablitsky whose work has made today possible. Thank you. Okay, thank you. So right before Covid hit, I got this call from Marcia and she said we just aren’t going to be being going to acquire some property that may have Ben’s 10 on it. And I asked I said what’s Ben’s 10? And she said, well it’s where Harriet tubman’s father lived and we believe that it could be in this location that we found. But we’re not sure. And I said all right, you know, this sounds like a great opportunity. We could, if we find it, put it on the heritage and underground railroad. By way, it would be a great way to share it with the public because that’s what we do. We have a stewardship program at m dot that also we have the ability to share it with the public. So we plan to going out in March. But of course everything shut down. And finally, in august the hottest time of the year and the worst time to be in a swamp is the time we decided to all gather together. So, so Marcia ratings, Ray Patera, um, dana terra, Deana Mitchell in my archaeology colleague and and um partner in Crime Aaron Leventhal. We all met out there and Peter’s neck with our mosquito netting on and our rubber boots to our knees in our four wheel drive vehicles. And we went out there when we began to look at the property and its wooded. It’s very wet, it’s very buggy. And I I was inspired. I thought, you know, we can find this if it’s here, we’re going to find it. And they’re like, yeah, that’s the spirit. But then in the back of my head I’m like, I don’t know, it’s really wet and you know when you dig holes, it’s muddy and you have to push all that that stuff through those screens, looking for little bits of broken things. You know, how can we possibly find this site? But we decided to do it anyway. So um trials in hand shovels at our side, rubber boots on. We decided to go out in november of last year. So How do we know where to even begin? Well, we know that in 1836, Anthony Thompson’s will and he was a person who enslaved Ben Ross. He put in there. That and five years from his death that that Ben would be monumental, freed and be given 10 acres. So that’s where you get that. Ben’s 10. So those 10 acres or where he was supposed to live, but where in this place? Would would it be? Not only with the will, but also some land deeds over time began to mention old bends place alongside the road in this location by the water and putting those clues together, we had a search area and within that search area we began to bring a dozen archaeologist along the roadways and dig hole after hole after hole after 1000 holes, I was getting a little frustrated. I’m like, where is this place? And then I thought, well, I have one more tool in my toolkit and that’s a military doctor. I’m gonna go and see if I can go out and find perhaps nails that are social with a building. So within five minutes I’m jumping inside the road with my mellow detector. I got this beep beep beep and I and I dug it out and it looked like a shock. I thought this was a shotgun shell signature. But no and I dug. And what came up was this coin from 1808, A 50 Cent Liberty, ironically had 50 cent piece. And this to me was my clue that we’re getting close 1808 was Ben Ross and rick Green. Harriet’s parents date that they were married and began their family. So I thought alright we’re gonna keep going. So we got to the end near the road and began to find little broken bits of ceramics. These are the calling cards to the archaeologist that you’re getting two something old, something important. But guess what? We found this in the last few days of the project, We ran out of time, ran out of money and our time was up. But we were inspired to come back yet again. So we came back last month with more archaeologists in tow and with our rubber boots and it wasn’t quite as wet and the bugs still weren’t out. And so we had, we felt inspired. So we went out to the location and began to to our little small holes that we used to find sites began to be dug larger sites, five ft by five ft units and each unit that we dug revealed more and more information artifacts dating to the first half of the 19th century because that’s what we’re looking for. But we also want to know, not only do we have a domestic site where someone live, but where is the building? Where is the home? Where’s the cabin? And what would that look like? Well, luckily enough, in fact, there’s a brick right there. That’s from Ben Ross’s cabin. He probably had a building set on brick piers. And within that associated with that site, we’re finding drawer pulls from his bureau. We’re finding a button from his shirt. We’re finding pipe bowls and pipe stems from what he smoked all that in this location. But was it old enough? Ben was there in 1830s 1840s. So we looked at the artifacts closer and confirm that these artifacts due date to the time period he was living there. So how do we know that? We have it? How are we? Sure. Well, we looked everywhere. We could with that search here. And the only thing, Only space that told us that this could be at something from the early 19th century is where the place that we have found. So with that, with the artifacts, the archaeology, the evidence of a building and just the location. Knowing he worked in in the timber wetlands. Those multiple lines of evidence tell us unequivocally that this is the home of Ben Ross. So why is this find important? Well, as someone who knows something about Harriet tubman, um I always thought, well, is this everything we’re ever going to learn? How do we learn more? And sometimes the answer is archaeology. When we’re able to find an extra sites, additional sites out of their people who inspired her, who gave that lesson of integrity and perseverance. Like her father, It’s not only it takes her kind of in a situation and puts her as a daughter as a child, as someone who is standing on the shoulder of a giant her father. And I think that kind of gives us that um excitement that we can learn more about Harriet tubman through her, her parents. We can learn more about the people who taught her how to navigate, negotiate through places like wetlands and woods. So I think that’s what’s important. We have also just begin to excavate that location. We’re keeping it private and so that no one will disturb it. But we want to return back because we want to learn more. What did, what did he eat? What did he have in his home? How big was this site? So all those questions have yet to be answered. And so we’re going to be able to learn more. Now the thing is, it’s great that archaeologists are out in this, in this marshland looking for this important site, but it means nothing if we don’t have a descendant community with us. So from the beginning we did have Herschell johnson who’s here today. He’s the local community member and historian. He was well this to help inspire us and help and have us reach out to the community. We have been able to make contact with Douglas Mitchell who’s in Washington state. Probably hopefully watching right now. He’s a descendant. He’s a great great great great grandson of Ben Ross. We also have Tina White here with us today and she’s the great great great grand niece of Harriet tubman and great great great great great grand daughter of Ben Ross. And while we’re out there every day I was sending them photographs of the things that would pop up a prettily painted piece of ceramic went through their phone for my phone to their phone. So in a way they were sitting on my shoulder, looking over my shoulder as we’re beginning to pull these things out of the earth and that is the reason we do this. It’s great for marylanders but it’s also very important that we’re in a way creating memories and giving them photographs of their family and their families items. So without thought any more talk about archaeology and I’m happy to have to answer questions later, but I’d like to introduce um Tina Wyatt, the descendant of Harriet Tubman and Ben Ross. Okay, yeah, greetings to you, Lieutenant Governor and to all those working in the Maryland State Department and it’s great to be here. I love coming down here. Um ever since that we, you know, had the opening and before we had the opening, it was just a wonderful place to be for something that occurred that was so horrific to my people. This place is so peaceful and so calm and I just love it. I love just coming standing out here and I’m just looking around and knowing that you know, this was a part of her life, the beginnings of her life and knowing that it’s and the other thing that is so wonderful about it is that it’s pretty much untouched from the time that she was here, that he was here. So we’re able to really see what she saw here, what she heard and look and just feel the environment. She embraced this environment, not her circumstances but the environment. And she learned from it. She learned from what her father had to teach her. And he also embraced that environment and made the best of it most of all I want to thank Dr julie yeah, who kept us abreast as family every step. You know, she contacted us even though we couldn’t be here and I wish I could have been here. I would have loved to have been here. Uh, but you know, safety and everything else comes first. So, uh, but she text us, she, she sent pictures as soon as it came. Uh, a parent to her. So it was, it was like, as she described as like we were right there with her, you know, the next best thing. Uh, and it means so much to the family to be able to, to see all of this. And and that’s why I want to thank the state of Maryland for having the vision and also to have to give the support to create this tourist center and also to keep funding things that that relate to it, that keep the story going and expanding because it’s so important not just for family but for, you know, the world to understand about our history, to know what happened and to, and uh, to be able to understand the differences between the different types of plantations and farms and things that existed then. And I think this is part of also what the dig that julie is doing um, shows because when she showed us the fragments of, of some of the plates, things like that. And I looked at him, I said, wow. I asked, I said, this is to me it looks highly decorative. I didn’t expect to see something like this used by enslaved people. I mean because my knowledge of seeing things were, you know, guards and wooden spoons and wooden plates, things like that. But to see that, I said, you know that, that dispels a myth, you know, how is that related, is it related to just this area uh, to this plantation? Was it related because who he was because for him to have been given 10 acres, You know, and, and, and freedom, but mostly that 10 acres, that’s something that’s not common, you know? So was it, was he using those kinds of uh, everyday utensils, uh, to be able to eat off of and use on the data because of who he was, The status that he had within the plantation. Um, we don’t know. And so that’s something that, you know, continues to be explored. And as you come up with more and more artifacts, it tells the story, it expands the story of our family, but also of telling the story of enslaved life, uh, and also afterwards for, you know, for United States and the world to be able to see. So um it also humanizes him. It makes a connection for us as a family to be able to be able to, because julie just showed me the the half dollar And I and 1808 and that’s when they were married. Uh So, you know, it helps me to visualize them getting married. Maybe they, maybe they were given that half dollar. Um and you know, it being there and then they dropped it or something like that. Um you know, making up my own story about what it was. Um And so it also tells me when, when she found the pipe, I said, oh, so he was a pipe smoker, you know, and uh, you know, so that helped me to visualize at the end of his day, did he have time to go and and sit in his cabin and uh, smoke his pipe? You know, sit down and contemplate what he was going to do next? Uh Because for for him to be a supervisor, um for the timbering, that was something unusual as well. But but but but with him being her father, I’m Harriet’s father. He taught her many valuable lessons, things that she used throughout her life, things. She used to liberate herself to liberate others, things that she used when she went down to fight in the civil war that made her so great at what she did. A lot of that came from her father and that knowledge that she uh embraced as she was growing up, no matter what her circumstances were. So, you know, I love you dr julie for being for persevering and being so determined to keep on trying to uncover uh their life story that brings it more of alive to us. Thank you Archaeologists discover homesite owned by Harriet Tubman’s father Historic artifacts date back to early to mid 1800s Updated: 11:10 AM EDT Apr 20, 2021 Archaeologists in Maryland discovered the historic homesite once owned by the father of Harriet Tubman, state officials announced Tuesday.The former home of Tubman’s father, Ben Ross, was discovered on property acquired in 2020 by the U.S. Fish and Wildlife Service as an addition to the Blackwater National Wildlife Refuge in Dorchester County. “I am excited to announce our archaeologists have confirmed that this site was once the home of Ben Ross, and may have been where Harriet Tubman spent her early years,” Lt. Gov. Boyd Rutherford said.In November 2020, 11 News reported on how archaeologists were combing through clues found in the Dorchester County woods, looking for Tubman’s birthplace.”A breakthrough occurred in March,” Rutherford said. “Archaeologists uncovered evidence of a homesite and historic artifacts dating back to the early to mid 1800s.”State Highway Administration Chief Archaeologist Dr. Julie Schablitsky and her team found numerous artifacts dating to the 1800s, including nails, brick, glass, dish fragments and a button.See photos from the Maryland Department of Transportation”We looked at those artifacts closer and confirmed that these artifacts do date to the time period when he was living there,” Schablitsky said. “With the artifacts, the archaeology, the evidence of a building, and just the location — knowing he worked in the timbered wetlands — those multiple lines of evidence told us unequivocally that this is the home of Ben Ross.”State officials said the property acquired by the USFWS contains 10 acres bequeathed to Ross by Anthony Thompson in the 1800s. As outlined in Thompson’s will, Ross was to be freed five years after Thompson’s death in 1836. Ross was freed from slavery and received the land in the early 1840s.Tubman was born Araminta Ross in March 1822 on the Thompson Farm near Cambridge in Dorchester County. She and her mother were enslaved by the Brodess family and moved away from the farm when she was a toddler.”The importance of discovering Ben Ross’ cabin here is the connection to Harriet Tubman. She would’ve spent time here as a child, but also she would’ve come back and been living here with her father in her teenage years, working alongside him,” Schablitsky said.Ben Ross felled and sold timber, which was transported by free Black mariners to Baltimore shipyards and used to build ships. Tubman learned to navigate difficult terrain while working with her father. Interacting with mariners also provided knowledge of waterways on the East Coast, which may have helped her lead people to freedom via the Underground Railroad, state officials said.”This was the opportunity she had to learn about how to navigate and survive in the wetlands and the woods. We believe this experience was able to benefit her when she began to move people to freedom,” Schablitsky said.Schablitsky kept in touch with family descendants, sending them photos of what they found as the search was underway.”It means so much to the family to be able to see all of this, and that’s why I want to thank the state of Maryland for having the vision and also to give the support to create this tourist center and also to keep funding things that relate to it and keep the story going and expanding because it’s so important, not just for a family, but for the world to understand about our history, to know what happened,” said Tina Wyatt, Tubman’s great-great-great-grandniece and Ben Ross’ great-great-great-great-granddaughter.The archaeological discovery of Ben Ross’ home site will be highlighted on the historic Thompson Farm where he and his family were enslaved. This new point of interest will be officially added to the Harriet Tubman Underground Railroad Byway, designated an All-American Road by the U.S. Department of Transportation Federal Highway Administration. The byway is a 125-mile, self-guided scenic drive that includes more than 30 sites related to Harriet Tubman’s life and legacy.In October 2020, 11 News reported on the team of archaeologists from the Maryland Department of Transportation and St. Mary’s College who unearthed what they believe are slave quarters in Southern Maryland that are more than 300 years old.In September 2020, 11 News reported on the tiny log cabin in Hagerstown that is at the center of a major archaeology dig. Historians and archaeologists figured out the cabin, which was slated for demolition, had major ties to the history of African Americans in Western Maryland.In 2014, 11 News reported about the SHA’s archaeological find in Anne Arundel County that provided a look at life 200 years ago. CHURCH CREEK, Md. — Archaeologists in Maryland discovered the historic homesite once owned by the father of Harriet Tubman, state officials announced Tuesday. The former home of Tubman’s father, Ben Ross, was discovered on property acquired in 2020 by the U.S. Fish and Wildlife Service as an addition to the Blackwater National Wildlife Refuge in Dorchester County. “I am excited to announce our archaeologists have confirmed that this site was once the home of Ben Ross, and may have been where Harriet Tubman spent her early years,” Lt. Gov. Boyd Rutherford said. In November 2020, 11 News reported on how archaeologists were combing through clues found in the Dorchester County woods, looking for Tubman’s birthplace. “A breakthrough occurred in March,” Rutherford said. “Archaeologists uncovered evidence of a homesite and historic artifacts dating back to the early to mid 1800s.” State Highway Administration Chief Archaeologist Dr. Julie Schablitsky and her team found numerous artifacts dating to the 1800s, including nails, brick, glass, dish fragments and a button. “We looked at those artifacts closer and confirmed that these artifacts do date to the time period when he was living there,” Schablitsky said. “With the artifacts, the archaeology, the evidence of a building, and just the location — knowing he worked in the timbered wetlands — those multiple lines of evidence told us unequivocally that this is the home of Ben Ross.” State officials said the property acquired by the USFWS contains 10 acres bequeathed to Ross by Anthony Thompson in the 1800s. As outlined in Thompson’s will, Ross was to be freed five years after Thompson’s death in 1836. Ross was freed from slavery and received the land in the early 1840s. Tubman was born Araminta Ross in March 1822 on the Thompson Farm near Cambridge in Dorchester County. She and her mother were enslaved by the Brodess family and moved away from the farm when she was a toddler. “The importance of discovering Ben Ross’ cabin here is the connection to Harriet Tubman. She would’ve spent time here as a child, but also she would’ve come back and been living here with her father in her teenage years, working alongside him,” Schablitsky said. Ben Ross felled and sold timber, which was transported by free Black mariners to Baltimore shipyards and used to build ships. Tubman learned to navigate difficult terrain while working with her father. Interacting with mariners also provided knowledge of waterways on the East Coast, which may have helped her lead people to freedom via the Underground Railroad, state officials said. “This was the opportunity she had to learn about how to navigate and survive in the wetlands and the woods. We believe this experience was able to benefit her when she began to move people to freedom,” Schablitsky said. Schablitsky kept in touch with family descendants, sending them photos of what they found as the search was underway. “It means so much to the family to be able to see all of this, and that’s why I want to thank the state of Maryland for having the vision and also to give the support to create this tourist center and also to keep funding things that relate to it and keep the story going and expanding because it’s so important, not just for a family, but for the world to understand about our history, to know what happened,” said Tina Wyatt, Tubman’s great-great-great-grandniece and Ben Ross’ great-great-great-great-granddaughter. The archaeological discovery of Ben Ross’ home site will be highlighted on the historic Thompson Farm where he and his family were enslaved. This new point of interest will be officially added to the Harriet Tubman Underground Railroad Byway, designated an All-American Road by the U.S. Department of Transportation Federal Highway Administration. The byway is a 125-mile, self-guided scenic drive that includes more than 30 sites related to Harriet Tubman’s life and legacy. This content is imported from Twitter. You may be able to find the same content in another format, or you may be able to find more information, at their web site. “Today, I am excited to announce our archaeologists have confirmed that this site (searched in the Blackwater Wildlife Refuge) was once home to Ben Ross, and may have been where Harriet Tubman spent her early years.” ⁦@MarylandDNR⁩ ⁦@MDOTNews⁩ ⁦@USFWS⁩ pic.twitter.com/Q7P1OuTC1d — Boyd Rutherford (@BoydKRutherford) April 20, 2021 Maryland Department of Transportation Coin found from 1808 that led to more discoveries. In October 2020, 11 News reported on the team of archaeologists from the Maryland Department of Transportation and St. Mary’s College who unearthed what they believe are slave quarters in Southern Maryland that are more than 300 years old. In September 2020, 11 News reported on the tiny log cabin in Hagerstown that is at the center of a major archaeology dig. Historians and archaeologists figured out the cabin, which was slated for demolition, had major ties to the history of African Americans in Western Maryland. In 2014, 11 News reported about the SHA’s archaeological find in Anne Arundel County that provided a look at life 200 years ago. Source link Orbem News #Archaeologists #artifact #BlackwaterNationalWildlifeRefuge #discover #Discovery #dorchestercounty #father #Harriet #harriettubman #HarrietTubmanUndergroundRailroadByway #HarrietTubman’sfather #HarrietTubman’sfatherhome #homesite #Maryland #owned #sha #statehighwayadministration #Tubmans #UndergroundRailroad

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stillellensibley · 5 years ago

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Out in the World: Still Life Photography between Art and Commerce

The intertwining of art and commercial photography is nowhere more evident than in the genre of still life

Albert Renger-Patzsch, advertisement for Kaffee Hag, from Die Welt ist schön (The World is Beautiful) Kurt Wolff, Munich, 1928 / Andy Warhol ‘Brillo Boxes’ 1964 From Andy Warhol Moderna Museet, Stockholm, 1968

Photography may have triumphed in art over the last couple of decades, but questions linger as to whether art gets the best out of it. Many artistically minded photographers admit to finding art an interesting place to visit but they wouldn’t want to live there. It can be airless, self-serving and very slow. (Photography permits rapid artistic development for those who want it, but curators and collectors rarely do.) Moreover, given that art photography triumphed by remaking, diverting or otherwise contemplating the medium’s ‘applied’ forms – such as the document, the film still, the advertisement and the archival image – there is always much in common between art photographs and those we see elsewhere.

Karen Knorr The Principles of Political Economy 1990. Colour Cibachrome 114×91 cm From the series ‘Capital’

Nothing demonstrates this better than the promiscuous still life photograph, present everywhere from the gallery wall and the family album to billboards and mail-order catalogues. Picked fruit and cut flowers, artefacts of glass, plastic, wood and metal, objects rare and commonplace, the still life bridges art and commerce. Its rise from the lowest genre to the equal of landscape and portraiture followed the rise of commodity culture. In the 1820s and ’30s, the pioneers of photography could not resist gathering objects before their cameras. Nicéphore Niépce shot a dining table laid for one. Louis Daguerre contrived arrangements of classical sculpture and paintings. William Henry Fox Talbot showed off his china and glassware. Were these images documents, pictures for contemplation or advertising? All three. The still life was ideal for a world of accelerated manufacture and exchange, mobilizing desires and expressing tastes. Even the humble table, the basic support for the still life, was unthinkable without its marketable image. As Karl Marx famously declared in his 1867 passage on commodity fetishism, a table ‘not only stands with its feet on the ground, but in relation to all other commodities, it stands on its head, and evolves out of its wooden brain grotesque ideas, far more wonderful than if it were to begin dancing of its own free will.’1 Two years later, Comte de Lautréamont was after the new beauty of ‘the chance encounter, on an operating table, of a sewing machine and an umbrella’.2 Such wild tableaux! In the hallucination of capital the still life is a hybrid of sculpture and montage.

When photographers made their bid for modern artistic significance in the 1920s many were key figures in the medium’s applied fields, notably reportage, portraiture and the advertising still life. They included Man Ray, Edward Steichen, Laure Albin-Guillot, Helmar Lerski and Albert Renger-Patzsch. Others made still lifes that could be taken for advertisements (Edward Weston, László Moholy-Nagy, André Kertész, Heinz Hajek-Halke). But as Modernists true to their métier, the aim was to make good photographs and the ‘art’ part could be left to take care of itself. Photographers as different as Man Ray and Walker Evans insisted their medium was not art but it could be an art – a distinction lost on many today. Exhibiting or publishing a book of one’s commissioned work might be enough to shift the emphasis from the things depicted to the depiction, from anonymity to named author, from paid work to Works, from applied art to fine art. Context, as any photographer will tell you, is key.

Mike Mandel & Larry Sultan, Evidence, 1977 Clatworthy Colorvues, 1977

This indirect path to artistic status produced extraordinary images – and they could only have been made that way. A weak claim to art can be a great stimulus for photography, but a strong claim can crush it. This is why so many contemporary photographers feel constrained by the anxious categories and stifling agendas of art world photography and look to the freedom of that older attitude. But this has proved difficult. In the 1950s and ’60s, commercial photography became wary of the unpredictability of art and tried to develop a reliable science of image design (the TV series Mad Men, 2007–ongoing, nails this shift brilliantly). Images would be vetted or even designed in the boardroom. In his 1964 essay ‘Rhetoric of the Image’, Roland Barthes examined a still life advertisement for Panzani, a food company contrived to connote ‘Italianicity’ to the French.3 It was the start of ‘photography theory’. Branded tins and packets intermingle with fresh fruit and vegetables spilling from a rustic net bag against a scarlet backdrop. It was a ruthlessly designed image and, like its makers, Barthes accounted for its every aspect from colour, lighting, composition and text to its committee authorship. He described the ideological sleight of hand that endows manufactured goods with ‘naturalness’. And it is photography that facilitates the slippage most effectively. It is unique in appearing to point at things transparently (‘there it is’) while fashioning appearance artificially (‘this is how it is’). Photographs are taken and made, natural and cultural. Barthes’s semiotic critique also aimed to be a science of popular signs and advertising got the analysis it deserved.

This calculated attitude was quite of a piece with Pop art’s approach to commodity images. Andy Warhol’s stacked ‘Brillo Boxes’ (1964) were a strategic fusion of the readymade and the still life, and it made little difference whether you saw them exhibited or in photographic reproduction: the flash of recognition was all. Warhol, the former ad man, grasped Marcel Duchamp’s insight that the industrial/commercial object plucked and placed incongruously (like Lautréamont’s monstrous encounter) will hit the viewer with the deadpan force of a snapshot. But a less remarked legacy of Pop was the polarizing of art’s attitudes to commerce into rictus-grin irony or high- minded disgust. It led to a fraught attitude to money, to the commodity status of art works themselves and, indirectly, to a stand- off between art photography and applied photography. Since the 1960s, the still life photograph in art has passed through the polemic Postmodern image–texts of Barbara Kruger (a former art director at Condé Nast), the post-classical allegories of Olivier Richon and Karen Knorr (whose first joint publication was a cookery book), and the photography-as-sculpture-montage-joke of Fischli/Weiss, Gabriel Orozco and Vik Muniz (a former advertiser). All of which is Art with a capital ‘A’, all of it keen to distance itself from the still life as Commerce (capital ‘C’), even though commerce is often the subject matter.

Olivier Richon, Studium, 2003

Consider two examples from either side of Pop, both by figures better known for other things. In 1955, Walker Evans published ‘Beauties of the Common Tool’ in Fortune magazine: five exquisitely restrained still lifes of one-dollar pliers and wrenches. Reproduced larger than life, they were monuments to blue-collar labour. In his accompanying text Evans praised them for holding out against overdesigned and image-led manufacture, while his photos resisted the graphic opulence typical of Fortune. In 1992, the BBC commissioned 20 artists to make public billboards, including the young Damien Hirst, who was the only one keen to do more than simply re-present gallery art. He approached a professional still life photographer to help shoot exquisitely restrained pairs of objects: a hammer with a peach and a cucumber with a pot of Vaseline. They formed two panels of a rotating tri-vision billboard; the third read ‘The Problems with Relationships’. On the street it looked like advertising with nothing to sell but an idea. Evans and Hirst were fashioning still life as a pitch-perfect intervention beyond art. However, whereas Hirst remade his billboard in 1996, exhibited it and sold it, Evans let his magazine work slip into obscurity.

Few photographers find these options appealing, preferring a more open situation. The work of British photographer Jason Evans is exemplary here. For 20 years he has moved between still life, portraiture, fashion and music photography, and between commissions, collaborations, websites and images made for fun. He has exhibited in major museums but refuses any hierarchy between the wall, the magazine page and the computer screen. Everything he makes is driven by curiosity about the medium: its processes, transformative qualities and its powers of proposition.

Barbara Kruger, Untitled (You are seduced by the sex appeal of the inorganic), 1987. Silkscreen 1.3×1.3 m

A request from i-D magazine to shoot a Miu Miu skirt is an opportunity to see clothing as a Modernist still life or sculpture. Christmas present packaging by Gareth Pugh is photographed for Fantastic Man magazine with the precisionist flair of the machine aesthetic. An experiment by the design provocateurs Dunne & Raby to harness energy emitted by live rodents leads to images that update the paranoiac lab science of the 1950s. When Evans exhibits such laconically elegant photographs they carry this astute assimilation of the best applied photography of the past. Little surprise then that Evans’s touchstone is Evidence (1977), the gnomic book of photographs gathered by artists Mike Mandel and Larry Sultan from police, scientific and fire department archives. Strip the most functional photography to its bare essentials and you’re left with enigmas, not facts.

Jason Evans Miu Miu skirt 2005 Photograph for i-D magazine. Styled by Adam Howe

With its use of images and objects from the recent past, there is a twinge of ‘retro’ here, comparable in some respects to the work of photographers – for all their differences – such as Christopher Williams and Roe Ethridge. This is less nostalgia than a sign of how hard it is to develop an artistic relation to the very new. ‘Design just a little dated will interest any artist. Design current is always terrible. Anyone who has tried to find a good contemporary lamp or clock will know what I mean.’4 So declared Walker Evans. How perceptive. He wasn’t writing off the aesthetic of any era, merely noting that not-newness is what often permits artistic access.

Countering the restraint and historical consciousness of his black and white work, Jason Evans’s colour photography is a nower-than- now world of crazed form and crafty process. The hugely popular website thedailynice.com is an outlet for his compulsive photo-notations that have no other home. There’s only ever one image to see, which changes daily, and there is no archive. What you are likely to get is a disarming configuration of colour and shape presented as a considered observation of the made stuff that fills the material world. Fittingly, when thedailynice.com briefly became a gallery exhibition in 2009, visitors could help themselves to prints from a big cardboard box on a table.

Walker Evans, Page from ‘Beauties of the Common Tool’, Fortune, July 1955

Evans’s artwork for musicians such as Wild Beasts and Four Tet reminds you that record covers can still be hotly anticipated and dearly prized. The sleeve for Four Tet’s There is Love in You (2010) started with the scavenging of test prints made each morning by the digital photo labs of central London. Colour spectrums, bright flowers and fine geometric grids will tell technicians if their printers are working correctly. These were pinned on his studio wall and photographed on colour negative film, which was then subjected to a hole-punch.

Gabriel Orozco, Cats and Watermelons, 1992

ason Evans, artwork for the Four Tet album There is Love in You, Domino Records 2010

The tiny, rough-edged discs were arranged meticulously on a sheet of glass from which a positive print was made. The digital/analogue blend is a consummate visual expression of the electro-acoustic music. Look closely and see that it could only have been made this way. This is still life as pure process, as profound as the best of the process-driven photography in art, but it’s less po-faced and lot more joyous.

This fluid, exploratory and untormented attitude to image-making has much in common with that earlier era of only vague distinctions between art photography and applied photography. If Evans’s refreshing work is now coming to wider attention it’s because it offers so many paths for photography around the Art Obstacle. Besides, in a climate where we are now provided with media-ready art the way supermarkets provide oven-ready chickens, doesn’t most art photography start to seem more applied than fine?

Karl Marx, Capital: A Critique of Political Economy, vol 1., translated by Ben Fowkes, Vintage, New York, 1977, p. 163

Comte de Lautréamont, Les Chants de Maldoror, Œuvres complètes, Guy Lévis Mano, Paris, 1938, p. 256

Roland Barthes, ‘Rhétorique de l’image’ (Rhetoric of the Image), Communications no. 4, Seuil, Paris, 1964, p. 40–51. Published in English in Barthes’ anthology Image-Music-Text, Fontana, 1977

Walker Evans, ‘Collectors Items’, Mademoiselle, May 1963. Evans’s statement accompanied his photographs of thrift store windows, shot as if they were found still-life compositions. See David Campany, Walker Evans: the magazine work, Steidl, 2014

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carnimonsterau · 6 years ago

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Have any of the monsters found weird good things for being whatever kind of monster they are? Like not being able to get sunburn, walking on walls, or being able to avoid awkward conversations?

Depends on your definition of “weird good things”. But yeah, a number of the monsters understand and can take advantage of certain benefits of being a certain type of monster.

The invisible people find it’s easier being stealthy when you’re invisible (if you know what you’re doing).

The electricity absorption/discharge thing Dan has can be useful in controlled doses, but the thing is he can’t really control it anymore because of the experiments done on him.

Having the ability to willingly turn into an animal (like Lisa or one of the vampires) can be useful depending on the situation. (Like if you wanna sneak into the zoo or something. /no)

We imagine the senses for some of them are heightened more than the average person’s as well, sometimes to make up for weaker ones (like the invisible people’s vision may not be good but their hearing is probably good) or because of something to do with them having ties to animals (the vampires, the werewolves, Paula, Lisa).

Being a monster can be a very mixed bag. Sometimes, you have to learn to see a positive side to the situation.

#Dr. Jack Griffin c #Sir Geoffrey Radcliffe c #Kitty Carroll c #Dan McCormick c #Lisa Moya c #Count Dracula c #Countess Cora Dolengen of Gratz c #Dima c #Tisiphone c #Countess Marya Zaleska c #Count Alucard c #Larry Talbot c #Phyllis Allenby c #Paula Dupree c #Monster Mash g #Anonymous

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bdscuatui · 5 years ago

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Tài sản được bán lần cuối vào tháng 11 năm 2012 với giá 7 triệu đô la.Sheridan-MacMahon Realtor ở Middleburg đại diện cho người bán và người mua.Cũng trong tuần trước, một trang trại rộng 83 mẫu gần The Plains được bán với giá 2,85 triệu USD.Dọc theo đường Zulla, nông trại Gone Away Farm có một ngôi nhà chính gồm bốn phòng ngủ với bảy phòng tắm, một nhà bếp sành điệu và bốn lò sưởi.Tài sản bao gồm một người thuê nhà ba phòng ngủ, một nhà khách, hồ bơi, bốn ao, hai chuồng trại, một nhà kho thiết bị và các tòa nhà khác.Tài sản đã đi vào thị trường vào tháng 5 năm 2018 với giá chào bán 4,98 triệu đô la, theo Realtor.com. 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amazingstories · 7 years ago

Text

The other day I got into a brief discussion of cover mentions throughout the history of the science fiction magazine.

Of course we all focus on the cover image first, but unless it is a really extraordinary sample of the genre’s art (between BEMs and brass brassieres it’s a bit tough to hit “extraordinary”) the very next thing we look at are the names of the authors to be found within.

To the first time buyer, these mean little to nothing. To the aficionado however, they can serve as an instant assessment of the expected quality of the issue. Lots of top names, stands a chance of being an excellent issue. No recognizable authors – well, either the title is on its way out (the editors are scraping the bottom of the submission barrel) or – we’re about to discover the next great thing to come down the genre pike. This latter possibility can only be found in the “vanishingly small probability” box, and represents more of a hope for the reader than a real possibility.

I decided to take a look at how the various magazine titles handled this bit of self-promotion. I then decided to use 1953 as my exemplar year.

Why 1953? Because 1953 was THE banner year for science fiction and fantasy magazines. And because the frenzy surrounding this boom year somewhat resembles what we’ve been seeing for the past several years – an explosion of electronic magazine titles, each of which carefully lists it’s available contents.

1953 was also a year in which the genre was changing; more markets meant that more authors could stretch, had a few more places they could pitch to. Many of the “old guard” were still publishing, and a lot of familiar names had become firmly established. The short story was still the dominant form for the genre and thus, it’s at least as good a year as any other to pick on.

(Wikipedia only lists 219 SF novels published in 1953. There were undoubtedly a handful of others, but this is a pretty good indicator of how few novels were published, as opposed to short fiction in the magazines.)

Here’s a gallery, displaying the magazine covers from 1953, in alphabetical order by magazine title.

AMAZING STORIES

Published by: Ziff-Davids Publishing Company Edited by: Howard Browne Format: Pulp

Charles Creighton, Mallory Storm, Chester Geier, Guy Archette, E. K. Jarvis, Paul Lohrman (2), Jack Lait, Lee Mortimer, Ray Bradbury, Robert Heinlein, H.L. Gold (2), Theodore Sturgeon, Harriet Frank, Walter M. Miller Jr., Kendall Foster, Henry Kuttner, Algiss Budrys, R. W. Krepps, Richard Matheson, Robert Skeckley (2), Vern Fearing, William P. McGivern, Wallace West, Evan Hunter 2/26

ASTOUNDING SCIENCE FICTION

Published by: Street & Smith Publications Edited by: John W. Campbell, Jr. Format: Digest

Poul Anderson (3), H. Beam Piper, John J. McGuire, John Loxmith, Hal Clement, John E. Arnold, Lee Correy, Mark Clifton (2), Alex Apostildes (2), Tom Godwin, Raymond F. Jones

0/11

AVON SCIENCE FICTION AND FANTASY READER

Published by: Avon Novels Inc, & Stratford Novels Inc. Edited by: Sol Cohen Format: Digest

Arthur C. Clarke (2), John Jakes (2), Alfred J. Coppel Jr., John Christopher, Milton Lesser (2), Jack Vance

0/9

BEYOND FANTASY FICTION

Published by: Galaxy Publishing Edited by: Horace L. Gold Format: Digest

Ted Sturgeon (2), Damon Knight, T. L. Sherred, Jerome Bixby (2), Joe E. Dean, Richard Matheson (2), Roger Dee, Frank M. Robinson, James McConnell, Isaac Asimov, Robert Bloch, T. R. Cogswell, Philip K. Dick, John Wyndham, Wyman Guin, Richard Deeming, Algis Budrys, Franklin Gregory, Zenna Henderson, Ted Reynolds

1/23

COSMOS SCIENCE FICTION AND FANTASY MAGAZINE

Published by Star Publications Edited by Laurence M. Jannifer Format: Digest

Poul Anderson, Carl Jacobi (2), Philip K. Dick, Evan Hunter (2), Ross Rocklynne, John Jakes, Bertram Chandler (2), Robert S. Richardson (2), B. Traven, N. R., Jack Vance

0/15

DYNAMIC SCIENCE FICTION

Published by: Columbia Publications Edited by: Robert A. W. Lowndes Format: Pulp

Cyril Judd, Raymond Z. Gallun, James Blish, Michael Sherman, Algis Budrys

0/5*

FAMOUS FANTASTIC MYSTERIES

Published by: All Fiction Field (imprint of Popular Publications) Edited by: Mary Gnaedinger Format: Pulp

Talbot Mundy, H. Rider Haggard, Ayn Rand, Kafka

1/4

FANTASTIC

Published by: Ziff-Davis Publications Edited by: Howard Browne Format: Digest

Samuel Hopkins Adams, Joseph Shallit, Kris Neville, Edgar Allan Poe, John Collier, Billy Rose, B. Traven, Stephen Vincent Benet, William P. McGivern (3), Isaac Asimov, Alfred Bester, John Wyndham (2), Esther Carlson, Evelyn Waugh, Ralph Robin (3), Walter M. Miller Jr., Robert Sheckley (2), Richard Matheson, Frank M. Robinson, Rog Phillips, Robert Bloch

2/27

FANTASTIC ADVENTURES

Published by: Ziff-Davis Publications Edited by: Howard Browne Format: Pulp

Frank McGiver, Peter Dakin, E. K. Jarvis, Mallory Storm, Ivar Jorgensen, Alexander Blade

1/6

FANTASTIC STORY MAGAZINE

Published by:Best Books Edited by: Samuel Mines Format: Pulp

Edmond Hamilton, Murray Leinster (3), L. Sprague de Camp (4), Thomas L. McClary, Leigh Brackett, Henry Kuttner, Carl Jacobi, Horace L. Gold, Jerry Shelton, Ed Weston, Kevin Kent, Jack Townsley Rogers, Frederic Brown, Cleve Cartmill, Manly Wade Wellman, Otis Adelbert Kline, Roscoe Clark, Robert Moore Williams

1/23

FANTASTIC UNIVERSE SCIENCE FICTION

Published by: King-Sized Publications Edited by: Sam Merwin Format: Digest

Ray Bradbury, Arthur C. Clarke, Frank Belknap Long, E. Hoffman Price, Evan Hunter, Irving Cox, William Campbell Gault, A. Bertram Chandler (2), Walt Sheldon, Clifford D. Simak, Poul Anderson, Richard Matheson, Eric Frank Russell, Jean Jaques Ferrat, William F. Temple, Wallace West, C. M. Kornbluth, William Morrison, Philip K. Dick, Evelyn E. Smith

1/21

THE MAGAZINE OF FANTASY AND SCIENCE FICTION

Published by: Mercury Press Edited by: Anthony Boucher Format: Digest

Fritz Leiber, Mabel Seeley, John Wyndham, Idris Seabright (2), Robert Louis Stevenson, R. Bretnor (2), L. Sprague de Camp, Fletcher Pratt, Oliver la Farge, J. T. McIntosh, Wilson Tucker, Richard Matheson, Anthony Boucher (2), Kris Neville, Chad Oliver, Esther Carlson, Alan Nelson, William Bernard Ready, Poul Anderson, Ward Moore, John D. MacDonald, Edward W. Ludwig, Arthur Porges, Manly Wade Wellman, Winona McClintic, Tom McMorrow Jr.,

4/29

FANTASY MAGAZINE/FANTASY FICTION

Published by: Future Publications Edited by: Lester Del Rey Format: Digest

Robert E. Howard (2), John Wyndham, (Philip K) Dick, Elliot, Fritch, (H.B.) Fyfe, H. Harrison, MacLean, L. Sprague de Camp, Pletcher Pratt

0/10

FUTURE SCIENCE FICTION

Published by: Standard Publications Edited by: Robert A. W. Lowndes Format: Pulp

John Wyndham, Poul Anderson, William Tenn, Gordon R. Dickson, Kriss Neville, Robert Sheckley

0/6

GALAXY SCIENCE FICTION

Published by: Galaxy Publishing Edited by: Horace L. Gold Format: Digest

Philip K. Dick, Damon Knight, H. L. Gold, Willy Ley (3)*, F, L. Wallace, J. T. McIntosh, Theodore Sturgeon, Isaac Asimov

0/10

GALAXY SCIENCE FICTION NOVELS

Published by: Galaxy Publishing Edited by: Horace L. Gold Format: Digest

This “magazine” Doesn’t really count as these are single novel publications. However, for completeness’ sake: John Taine, Isaac Asimov, J. Leslie Mitchell, James Blish (2), Lewis Padgett*, Edmond Hamilton

0/7

IF WORLDS OF SCIENCE FICTION

Published by: Digest Publications Edited by: Larry Shaw Format: Digest

Walter M. Miller Jr., Ivar Jorgenson, Arthur C. Clarke, Jack Vance, Walt Sheldon, H. B. Fyfe, James Blish, William Tenn, Mark Wolf

0/9

ORBIT SCIENCE FICTION

Published by: Hanro Corporation Edited by: Donald A. Wollheim Format: Digest

Richard English, August Derleth (2), Mack Reynolds, Charles Beaumont (2), Paul Brandts, H. B. Fyfe, John Christopher, James Causey

0/10

OTHER WORLDS

Published by: Clark Publications, later Bell Publications Edited by: Raymond A. Plamer & Bea Mahaffey Format: Digest

H. B. Fyfe, Richard S. Shaver (2), L Sprague de Camp (3), Eric Frank Russell, (William F.) Temple, (Robert Moore) Williams, Edward L. Smith, (Joe) Gibson, (Raymond A.) Palmer, S. J. Byrne, Robert Bloch, James McConne

0/15

PLANET STORIES

Published by: Love Romances Edited by: Jack O’Sullivan Format: Pulp

Bryan Berry (4*), Roger Dee, Gardner F. Fox, Robert Moore Williams, Ross Rocklynne, William Tenn, Ray Gallun, B. Curtis, Gordon R. Dickson, Hayden Howard, Stanley Mullen, Leigh Brackett, Ray Bradbury, Fox B. Holden

1/17

ROCKET STORIES

Published by: Space Publications Edited by: Lester Del Rey, Harry Harrison Format: Digest

(?) Bernard, (Henry) De Rosso, (John) Jakes, (Milton) Lesser (2), (Poul) Anderson, (Algis) Budrys, (?) Cox, (James) Gunn, (A. F. ?) Loomis, (?) Mullen

0/12

SCIENCE FICTION ADVENTURES

Published by: Space Fiction/Future Publications Edited by: Lester Del Rey, Harry Harrison Format: Digest

(William) Morrison (2, (Alan E.) Nourse, (George O.) Smith, (Erik) Van Lhin* (5), (Chad) Oliver, (Algis) Budrys, (Raymond Z.) Gallun, (Theodore R.) Cogswell, (Robert) Sheckley, (Poul) Anderson, (Irving E.) Cox (Jr.) (2), (Samuel) Moskowitz, (Richard) Snodgrass, C. M. Kornbluth

0/20

SCIENCE FICTION PLUS

Published by: Gernsback Publications Edited by: Sam Moskowitz Format: Slick

Eando Binder (2), Hugo Gernsback (2), Philip Jose Farmer (2), John Scott Campbell, Dr. Donald H. Menzel, Richard Tooker, Clifford D. Simak (2), Raymond Z. Gallun, Frank Belknap Long, F. L. Wallace, Robert Bloch, Harry Walton, Murray Leinster (2), Pierre Devaux, H. G. Viet, Gustav Albrecht, Frank R. Paul, Chad Oliver, Thomas Calvert McClary, Jack Williamson, Eric Frank Russell (2), Harry Bates, James H. Schmitz

0/29

SCIENCE FICTION QUARTERLY

Published by: Double-Action Magazines Edited by: Charles D. Hornig, Robert A. W. Lowndes Format: Pulp

Poul Anderson, Philip K. Dick, Randall Garrett, Milton Lesser

0/4

SCIENCE FICTION STORIES

Published by: Columbia Publications Edited by: Robert A. W. Lowndes Format: Digest

Poul Anderson, Raymond Z. Gallun, Robert Sheckley, Algis Budrys, Philip K. Dick, Noel Loomis, M.C. Pease

0/7

SCIENCE STORIES

Published by: Clark Publishing, Bell Publishing Edited by: Raymond A. Palmer, Bea Mahaffey Format: Digest

Jack Williamson, John Bloodstone, S. J. Byrne, T. P. Caravan, Mack Reynolds, Edward Wellen, Richard Dorot

0/7

SPACE SCIENCE FICTION

Published by: Space Publications Edited by: Lester Del Rey Format: Digest

H. Beam Piper, (John) Christopher, (William) Morrison (2), Damon Knight, T. L. Sherred, Lester Del Rey, Poul Anderson

0/8

SPACE STORIES

Published by: Standard Magazines Edited by: Samuel Mines Format: Pulp

Leigh Brackett, William Morrison, Sam Merwin Jr.

1/3

SPACEWAY STORIES OF THE FUTURE

Published by: Fantasy Publishing Co Edited by: ? Format: Digest

Only a movie title is listed.

STARTLING STORIES

Published by: Better Publications Edited by: Samuel Mines Format: Pulp

Damon Knight, Murray Leinster (2), George O. Smith, Sam Merwin Jr (3)., Chad Oliver, Kendall Foster Crossen, Willy Ley, Fletcher Pratt, Noel Loomis, Philip Jose Farmer, Theodore Sturgeon, Edmond Hamilton

0/15

THRILLING WONDER STORIES

Published by: Beacon/Better/Standard Magazines Edited by: Samuel Mines Format: Pulp

L. Sprague de Camp, Kendall Foster Crossen (3), Damon Knight, Katherine MacLean, Wallace West, R. J. McGregor, George O. Smith, Dwight V. Swain

1/10

TOPS IN SCIENCE FICTION

Published by: Love Romances Edited by: Jack O’Sullivan, Malcolm Reiss Format: Pulp

(Ray) Bradbury, Leigh Brackett (2), (Robert) Abernathy, (Hugh Frazier) Parker

TWO COMPLETE SCIENCE-ADVENTURE BOOKS

Published by:Wings Publishing Edited by: Katherine Daffron Format: Pulp

Like The Galaxy SF Novel, these “magazines” only published two full length novels, so it doesn’t really fit the standard pulp magazine cover listings thing. However –

James Blish, Vargo Statten, Killian Houston Brunner, Bryan Berry, Poul Anderson, John D. MacDonald

0/6

UNIVERSE SCIENCE FICTION

Published by: Bell Publications, Palmer Publications Edited by: Raymond A. Plamer, Bea Mahaffey Format: Digest

Theodore Sturgeon, Murray Leinster, Nelson Bond, Robert Bloch, William T. Powers (2), William Campbell Gault, Gordon R. Dickson (2), Mark Clifton, Sylvia Jacobs, Roger Flint Young, Poul Anderson, (Isaac Asimov, (L. Sprague) de Camp, (Eando) Binder, F. L. Wallace, George H. Smith

1/18

VORTEX SCIENCE FICTION

Published by: Specific Fiction Edited by: Chester Whitehorn Format: Digest

(Nobody listed on the cover, probably owing to the fact that this was a terrible magazine.)

WEIRD TALES

Published by: Weird Tales Inc Edited by: Dorothy McIllwraith Format: Digest

Everil Worrell, Joseph Payne Brennan, Leah Bodine Drake, August Derleth (2), (Manly Wade) Wellman, C.(lark) A.(shton) Smith

2/6

WONDER STORY ANNUAL

Published by: Best Books Edited by: ? Format: Pulp

Jack Williamson, Ray Bradbury, Robert Heinlein, Henry Kuttner, Isaac Asimov

0/5

***

Text markup key: A bolded name is an author who still resonates today (at least in my estimation); italics indicate a pseudonym – sometimes a house name, sometimes not; a number in ellipses indicated that the author was cover mentioned more than once during the year’s run.

The numbers following the names related the ration of female/male mentions for the year’s run. The best that can be said about this is that Space Stories managed to achieve 33%, while the majority of the magazines featured no female authors.

***

Thirty Eight different titles, if we include serious name changes:

Amazing Stories, Astounding Science Fiction, Avon Science Fiction and Fantasy Reader, Beyond Fantasy Fiction, Cosmos Science Fiction and Fantasy Magazine, Dynamic Science Fiction, Famous Fantastic Mysteries,Fantastic Adventures, Fantastic*, Fantastic Story, Fantastic Universe, The Magazine of Fantasy and Science Fiction, Fantasy, Fantasy Fiction*, Future Science Fiction, Galaxy Science Fiction, Galaxy Science Fiction Novels, If Worlds of Science Fiction, Orbit Science Fiction, Other Worlds, Planet Stories, Rocket Stories, Science Fiction Adventures, Science Fiction Plus, Science Fiction Quarterly, Science Fiction Stories, Science Stories*, Space Science Fiction, Space Stories, Spaceway, Startling Stories, Thrilling Wonder Stories, Tops in Science Fiction, Two Complete Science-Adventure Books, Universe Science Fiction, Vortex Science Fiction, Weird Tales, Wonder Story Annual. (*This was a title change) (and I’ve got 32 of the 38 first issues in my personal collection!)

Phew!

Incidentally, if you’d purchased all of these at the newsstand back in the day, it would have set you back a grand total of $55.80. Adjusted for inflation, it would be a bit over $500 bucks today. That’s a bit low. There are 176 issues in question and current asking price for a digest magazine on the stands these days is $7.99. At that price, these issues would have set you back about $1400.00. This suggests that things really were cheaper back then! (It’s also a lot easier to scrape up 25 cents looking for pennies on the street than it is to find $7.99….)

Beyond anything else, I simply can not imagine what it must have been like to be standing in front of the racks of a 1953 news shop. During they heyday of my purchasing magazines from news shops, I had Amazing, F&SF, Fantastic, Galaxy, If, Analog, Odyssey, Galileo, and a handful of reprint mags to choose from, as well as a number of “graphic” magazines like Heavy Metal and “media” magazines like Star Warp. I’d have been overwhelmed and terribly frustrated to find 38 different titles – I wouldn’t be able to choose which ones to spend my nickles on!

Truth be told, though, the regularity of these magazines was anything but regular. If you averaged out their production over twelve months, there’d only be 15 titles to choose from at any given time.

No doubt quality suffered to some degree, but the chances of finding good stories was also increased.

Note, interestingly, that only 45 percent of these titles include the identifier “science fiction” in their name. Among those that don’t include “science fiction”, seven consist of a descriptor and the word “stories”: Amazing, Planet, Rocket, Science, Space, Startling, Thrilling Wonder, and two a descriptor plus “story” – Fantastic and Wonder.

I think it safe to say that the majority of magazines back in 1953 still felt the need to be very specific about what they were offering readers. The cover image was apparently not quite enough, though I’m sure they worked hand-in-hand: the outre image would catch your eye and the properly worded title would confirm your suspicions: rocketships plus “Amazing” equals “science fiction”. (Anyone seeing a scantily clad “space babe” and hoping for titillation was going to be sorely disappointed, and unlikely to be interested in anything “science stories”.)

Those two elements were probably believed to be sufficient come-ons to new customers, none of whom had a computer or databases to consult. (In fact, whether or not you ever even saw a particular title on the newsstands was often hit or miss: if the magazine distributor didn’t cover a particular territory (or deliver to that territory that month), you’d never see the issue(s).

But then, most of the magazines also went ahead and put two other items on their covers. Frequently a statement about the contents was made -All New Stories!- and the title and author of at least one story listed on the table of contents.

I find it interesting that they felt a need to proclaim “All Stories Complete!” “All New Fiction!” and even “A Selection of the Best Stories of Fantasy and Science Fiction, new and old.” This was of course due to the fact that there were numerous reprint magazines on the stands (Famous Fantastic Mysteries among them) and woe to the reader who spent that hard-earned quarter, only to discover contents they’d already read!

Another thing regularly stuck on the cover of these ‘zines was a sort of sub-title: Strange Adventures on Other Worlds…Preview of the Future…Stories of the Future…Science Fiction…Best in Fantasy….

If you stand back and take a look at all of the covers shown previously, you may notice that there seem to be two general format layouts – “framed” and “unframed”, and further that the unframed titles break down into two sub-groups – boxes or no boxes.

Framed layouts present the cover image, untouched, and surround it with (usually) an inverted ‘L’ shaped border (Galaxy, Space Stories), while unframed titles print a full-sized cover image and slap text directly over the image. Some of these restrict the listing of contents or highlighted story in an opaque box (which is printed over the image).

It seems that two different schools of design thought were expressing themselves. Both have advantages: unframed present a larger image, framed present one that lets you see everything, no textual interruptions, please, but are small in area.

Also note that 1953 was a year of transition for magazine format: some of the titles shown were published in “pulp” format (about 9 inches tall), such as Two Complete Science-Adventure Tales and Fantastic Adventures, while most had or were switching to the familiar digest (about 7 inches tall) format – such as Fantastic Universe and Galaxy.

The larger format almost exclusively utilized an unframed layout, while many of the digests went with the framed format, though not exclusively. Notably, Amazing Stories seems to be all over the place.

Now, with all that being said…why’d they put those names on the cover?

These magazines had three basic markets they were trying to reach – the educated fan, the fan who didn’t know they were a fan, the casual reader.

The publishers didn’t really have to worry about the educated fan too much; chances were they were a subscriber, or belonged to a club that subscribed, or had fellow fans who shared issues around. Fan readers of SF&F were always hungry for more and needed no other motivation than “the new issue is on the stands” to go and seek it out.

Further, this kind of consumer had already developed their tastes and would have been pretty familiar with the regularly published authors and those who were considered to be headliners. Any given name on the cover stood a 50-50 chance of attracting or deterring that reader. You could get a lot for a quarter and a dime back then – almost a beer, almost a movie ticket; Mark Watney would probably like to know that ten pounds of potatoes cost the same as a magazine.

I ponder the wisdom of a promotional campaign that runs the risk of turning your potential customer off, up to fifty percent of the time.

On the other hand, publishers, at least in regards to this demographic, were probably counting on a few other things as well: most fans were rabid fans by necessity. Even if every single author in a given issue was disliked, there was still the editorial and the letter column (often worth the price of admission alone), whatever other features might be included and, of course, the cover, along with the interior illustrations. (Remember those?) Having probably already been through the demise of many prior titles, the experienced fan back then probably had a well-honed sense of historical preservation. All of which would tend to encourage them to ignore front cover unpleasantness.

One thing is for sure though: this segment of the market didn’t have to be sold. They were already bought and paid for. The only competition a magazine faced with this particular buyer was whether or not a competing title was more “attractive” this month. Which suggests that one purpose of the names on the cover was to play one-ups-manship with the other titles.

This then leaves us with two segments – the unrealized fan and the casual reader.

The only difference between these two market segments is that the unrealized fan reader might have heard of an author or two. I stress might, since the novels they might have been exposed to were few and far between and no one was advertising SF magazines on television or radio, nor even in the mass-circulation magazines of the day. You weren’t going to see Isaac Asimov on a Wheaties box (though this might not be a bad idea…), Jack Parr wasn’t interviewing Ray Bradbury and the movies they might have caught rarely, if ever, mentioned the origin of their script.

Space Patrol, Tom Corbett, Tales of Tomorrow (ended this year), some fans might have caught Atom Squad, some kids were maybe watching Johnny Jupiter, Rod Brown was competing with Tom, and it would be several years before Science Fiction Theater, The Twighlight Zone and Men Into Space would grace the small screen; these 1953 television shows did little to elevate the profile of the science fiction author.

Likewise, radio (still a popular medium) wasn’t producing much of serious fan interest either: Dimension X had been off the air for a couple of years, and it would be a couple more before X Minus One would air (both prominently featured stories largely drawn from Astounding Science Fiction). The radio companion for Space Patrol was airing, but, again, any author involved probably tried to keep as low a profile as possible.

The only real benefit any of the magazines might have derived from these other media might have been creating the initial interest in the subject matter. Given the right circumstances, it is entirely possible that a consumer walking past a newsstand would make the connection between a television show featuring outer space and the image of a rocketship on the cover of one of the magazines.

This works, potentially, for the unrealized fan, though it begs a question: why didn’t any of the magazines attempt to capture this television show audience with various forms of tie-in? (Tom Corbett Isn’t the ONLY Space Cadet. We’ve got space cadets in every issue! A New Short Story by the author of the latest Tales of Tomorrow episode!) It could be suggested that most of SF on television back in the day was focused on “kids”, and that the magazines were going after an older audience, but most of the magazines on sale were perceived, at least by the general public, as being kid-stuff too. I can imagine a well-meaning parent, noting their child’s interest in Space Cadets, picking up a copy of Universe, or Science Fiction Plus, or Science Fiction Adventures (check out the cover art) as an attempt to support the kid’s interest. But then again, we’re talking about an era that generally despised science fiction, so it’s more likely that mom or dad would be scheduling homework time during Corbett’s 15 minute episodes….

The casual reader…the only thing I can imagine that would attract them to an SF pulp (or digest) would be the cover art, perhaps reinforced by one of the come-ons. But certainly not the names.

This of course brings us back full circle. It’s pretty well established that the names on the cover did little to help market these titles. Existing fans knew the titles and would pick them up regardless of who was featured; unrealized fans could make no informed judgement about the content, and the casual reader would be attracted by art and possibly blurbs.

So why? Why go to the trouble to select the names, why the belief that doing so was beneficial? There’s probably only two reasons: tradition (magazines had been printing the contents on the cover from the beginning) and ego boo: ego boo for the authors (who were getting paid very little and had only two sources of fan interaction – letters and conventions. Not to mention wanting to keep valued authors on the submission hook. And ego boo for the editors and publishers who got to brag among themselves and play a game of one upsmanship.

So what have we got? Here’s the list, most cover mentions to least, in alphabetical order. There are quite a few names we still engage with these days…and quite as many we have forgotten.

14 Anderson Poul 11 de Camp L. Sprague 8 Leinster Murray 7 Dick Philip K., 7 Sheckley Robert 6 Asimov Isaac, Budrys Algis, Matheson Richard, Morrison William, Sturgeon Theodore, Wyndham John 5 Berry Bryan, Blish James, Bloch Robert, Brackett Leigh, Bradbury Ray, Crossen Kendall Foster, Gallun Raymond Z., Knight Damon, Lesser Milton, Lhin Erik Van, 4 Chandler A. Bertram, Clarke Arthur C., Derleth August, Dickson Gordon R., Gold Horace L., Hunter Evan, Jakes John, Ley Willy, McGivern William P., Merwin Jr Sam, Oliver Chad, Russell Eric Frank 3 Binder Eando, Christopher John, Clifton Mark, Cox Irving, Farmer Philip Jose, Fyfe H. B., Hamilton Edmond, Jacobi Carl, Kuttner Henry, Miller Jr. Walter M., Neville Kris, Robin Ralph, Simak Clifford D., Smith George O., Tenn William, Vance Jack, Wallace F L., Wellman Manly Wade, West Wallace, Williams Robert Moore, Williamson Jack, 2 Apostildes Alex, Beaumont Charles, Bixby Jerome, Boucher Anthony, Bretnor R., Byrne S. J., Carlson Esther, Cogswell Theodore R., Dee Roger, Gault William Campbell, Gernsback Hugo, Heinlein Robert, Howard Robert E., Jarvis E. K., Jorgensen Ivar, Kornbluth C. M., Lohrman Paul, Long Frank Belknap, Loomis Noel, MacDonald John D., McIntosh J. T., Mullen Stanley, Piper H. Beam, Powers William T., Pratt Fletcher, Reynolds Mack, Richardson Robert S., Robinson Frank M., Rocklynne Ross, Seabright Idris, Shaver Richard S., Sheldon Walt, Sherred T. L., Storm Mallory, Temple William F., Traven B., 1 Abernathy Robert, Adams Samuel Hopkins, Albrecht Gustav, Archette Guy, Arnold John E., Bates Harry, Benet Stephen Vincent, Bernard (?), Bester Alfred, Blade Alexander, Bloodstone John, Bond Nelson, Brandts Paul, Brennan Joseph Payne, Brown Frederic, Brunner Killian Houston, Campbell John Scott, Caravan T. P., Cartmill Cleve, Causey James, Clark Roscoe, Clement, Hal, Collier John, Coppel Jr. Alfred J., Correy Lee, Cox (?), Creighton Charles, Curtis B., Dakin Peter, De Rosso Henry, Dean Joe E., Deeming Richard, Del Rey Lester, Devaux Pierre, Dorot Richard, Drake Leah Bodine, English Richard, Fearing Vern, Ferrat Jean Jaques, Fox Gardner F., Frank Harriet, Fritch Elliot, Fyfe H.B., Garrett Randall, Geier Chester, Gibson Joe, Godwin Tom, Gregory Franklin, Guin Wyman, Gunn James, Haggard H. Rider, Harrison H., Henderson Zenna, Holden Fox B., Howard Hayden, Jacobs Sylvia, Jones Raymond F., Judd Cyril, Kafka , Kent Kevin, Kline Otis Adelbert, Krepps R. W., la Farge Oliver, Lait Jack, Leiber Fritz, Loomis (A. F. ?), Loxmith John, Ludwig Edward W., MacLean Katherine, MacLean Mabel Seeley, McClary Thomas Calvert, McClary Thomas L., McClintic Winona, McConne James, McConnell James, McGiver Frank, McGregor R. J., McMorrow Jr. Tom, McGuire John J, Menzel Donald H., Mitchell J. Leslie, Moore Ward, Mortimer Lee, Moskowitz Samuel, Mundy Talbot, Nelson Alan, Nourse Alan E., Padgett Lewis, Palmer Raymond A., Parker Hugh Frazier, Paul Frank R., Pease M.C., Phillips Rog, Poe Edgar Allan, Porges Arthur, Pratt Pletcher, Price E. Hoffman, R. N., Rand Ayn, Ready William Bernard, Reynolds Ted, Rogers Jack Townsley, Rose Billy, Schmitz James H., Shallit Joseph, Shelton Jerry, Sherman Michael, Smith Clark Ashton, Smith Evelyn E., Smith George H., Smith Edward L., Snodgrass Richard, Statten Vargo, Stevenson Robert Louis, Swain Dwight V., Taine John, Tooker Richard, Tucker Wilson, Viet H. G., Walton Harry, Waugh Evelyn, Wellen Edward, Weston Ed, Wolf Mark, Worrell Everil, Young Roger Flint

Resources for this article were obtained from Galactic Central and the Internet Science Fiction Database.

On Cover Mentions The other day I got into a brief discussion of cover mentions throughout the history of the science fiction magazine.

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swipestream · 6 years ago

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Sensor Sweep: David Lindsay, Robots, Hollow City, H. Beam Piper, Jonah Hex

Lit-Crit (Jewish Review of Books): It’s a bit surprising to come across Harold Bloom’s confession that the literary work that has been his greatest obsession is not, say, Hamlet or Henry IV, but a relatively little-known 1920 fantasy novel. After all, Bloom is our most famous bardolater. When I took an undergraduate class with him at Yale, he announced his trembling bafflement before Shakespeare’s greatness in almost every lecture. In the course of his career, Bloom has named a handful of other literary eminences who compel from him a similar obeisance—Emerson, Milton, Blake, Kafka, and Freud are members in this select club—but one does not find David Lindsay on this list.

Writing (McSweeneys): I had a whole gaggle of 100-point bucks in my sights, sleeping peacefully on their feet, like cows. The way they were lined up, I could take down the whole clan in a single shot of gun, clean through their magnificent oversized brains. That’d be enough (deer) meat to last Nora and the baby through the harsh Amarillo winter. I shifted my weight in my hidey spot, snapping a twig and pouring more pepper on the fire by muttering, “God dammit all to hell.”

Gaming (Modiphius): Conan the Brigand is the complete guide to the nomadic brigands of the Hyborian Age, providing the gamemaster and player characters with all the resources to run campaigns that embrace the path of the brigand, or are affected by it. Here within these pages are all the resources needed to bring to life this outlaw world!

New material to expand your Conan campaign, with brigand-themed castes, stories, backgrounds, and equipment, allowing you to create your own unique brigands, nomads, and raiders.

Science Fiction (Brian Niemeier): The Unz Review shows how the Right all too often rushes to enshrine earlier Leftist subversion simply because it precedes current Leftist subversion.

This time, the subject of misguided right wing hagiography is John W. Campbell, Jr.

Alec Nevala-Lee, an Asian-American science fiction writer, has here written something remarkable: an intentionally PC multi-biography that nevertheless manages to be well-informed and informative, well-written and compulsively readable.

Science Fiction (Unz.com): Alec Nevala-Lee, an Asian-American science fiction writer,[2] has here written something remarkable: an intentionally PC multi-biography that nevertheless manages to be well-informed and informative, well-written and compulsively readable. It’s the first substantive biography of John W. Campbell, Jr., the man – or, as we’ll see, some would insist on “the white male” – who basically invented modern science fiction; and that last point means that to do so properly, we have to take into account the three men – yes, again, white males – whose writing careers he promoted in order to do it.

Fiction (DMR Books): The Ivory Trail was Talbot Mundy’s fifth novel and his most widely reviewed book up until that time. It was serialized in Adventure magazine in early 1919 under the title On the Trail of Tipoo Tib and then published in book form by Bobbs-Merrill later that year. It received a largely positive reception but was quite different from his previous books in that it was set entirely in East Africa, amid Mundy’s old hunting grounds.

Tolkien (Pages Unbound): I first picked up Tolkien when I was very young (sometime in elementary school). Some fantasy had come into my hands—some book or another, or perhaps the original Final Fantasy game on the NES. My mom said, “You know, if you like that, there is a book you would like . . .” I’m not even sure if my mom has ever read The Hobbit, which is a testament to its cultural cache. I did not immediately acquiesce. I was a pretentious child—before I became a man and put away childish things like the fear of seeming childish—and I initially rebuffed my mom’s efforts. But a book is a book, and I didn’t have so many laying around in those days, so I didn’t wait long before reading it.

Science Fiction (G. Scott Huggins): Robots. I have never really understood why there is an obsession with stories about robots. As with fae, I understand the attraction of having robots exist in a story. What I don’t really get is stories about robots. Robots as the reason for the story. Yet many, many people love stories about robots. Isaac Asimov, arguably, built his career on an obsession with robots. I can’t think of any other piece of future technology — with the possible exception of spaceships — that has inspired such a wealth of stories about them. Can you imagine a whole subgenre of SF devoted to, say, laser guns?

Fiction (Wasteland and Sky): Super powered cop Adam Song has dedicated his life to the law. In the military and the police force, Adam ruthlessly protects the innocent.

But this time he’s killed the wrong bad guy. Now the local drug lord’s son is dead, and the boss is out for Adam’s blood. Even his secret identity won’t keep him safe. The police department hangs him out to dry, his years of exemplary service forgotten. Adam must take justice into his own hands to keep his family safe.

Fiction (Fiction Fan Blog): When a young lady comes to Sherlock Holmes for advice, what at first seems like an intriguing mystery soon turns into a tale of murderous revenge. Mary Morstan’s father disappeared some years ago, just after he had returned from colonial service. He had been in the Andaman Islands, one of the officers charged with guarding the prisoners held there. A few years after his disappearance, Miss Morstan received a large pearl in the mail, and every year for the six years since then, she has received another.

Gaming (Walker’s Retreat): Following the whinefest by Fake Game Journalists over Sekiro: Shadows Die Twice, Oliver Campbell of the Metro City Boys put together a supercut of how he prevailed over the game. As the saying goes, “The master failed more times than the amateur ever attempts.” That’s what it takes to beat this game: persistence.

Every game of this sort has similar requirements of persistence to succeed. Oliver here goes over how he did that. Skip to 14:10 for the lesson, taken from Rocky Balboa.

Acting (Chris Lansdown): Thanks to frequent commenter Mary, I recently learned about the existence of William Gillette, the first man to play Sherlock Holmes, mostly on the stage but also in a silent film.

Born in 1853, in Connecticut, William Gillette was a stage director, writer, and actor in America. In 1897, his play, Secret Service, was sufficiently successful in America that his producer took it to England.

Gaming (Rampant Games): I played over 70 hours of No Man’s Sky when it was originally released. Unlike others, I wasn’t disappointed. Yeah, it got repetitive and lonely at times. There was a starkness to it that no amount of lush procedural visuals could overcome. It’s changed a lot since then, graphically, in gameplay, and it has true multiplayer. Sadly, I haven’t had the time to devote to it. Yet.

Fiction (Razored Zen): This is a collection of stories selected by Joe Lansdale, and including in introduction by Lansdale. Before I talk about the individual stories, I’ll give my overall viewpoint. I’d generally say I enjoyed most of the tales but the title is very misleading. A better title might have been, “Tales of a New West,” or something along those lines. Most of these tales are nowhere near traditional westerns. Lansdale is clear in the introduction that that was what he was looking for but the title certainly would have led me to expect a different sort of collection.

Writing (Rawle Nyanzi): Larry Correia, the Mountain Who Writes, is a personal hero of mine. His advice to writers is to be prolific: write lots of stuff, then release that stuff, then write some more, release some more, and so on. I am often in awe of how much he writes and publishes, and I wish that I could reach even one-tenth of his yearly output. To him, “writer’s block” simply isn’t a thing — he presses on, no matter what.

Fiction (Adventures Fantastic): Henry Beam Piper was born on this day, March 23, in 1904. He died of a self-inflicted gunshot wound in 1964.

Piper is not well known today, and that’s a shame. In his lifetime, he was best known for two series, The Paratime Police and the Terro-Human Future History, as well as the stand-alone short story “Omnilingual”. His best known novels include the Little Fuzzy subseries of his future series and Space Viking, which was a major influence on Jerry Pournelle.

Fiction (John C. Wright): Abraham Merrit is one of the foundational authors of speculative fiction, and it is a shame that he is not well remembered. I blame a deliberate effort of John W Cambell Jr and his protegees to undermine the fame of pulp authors in order to glolrify the more nuts-and-bolts fiction following the model of Jules Verne or Buck Rogers.

Now, I like Hard SF or Tech SF as much as the next fan of Asimov, Clarke, Heinlein, Niven, Pournelle, Baxter, &c., but I also like the pulps and their freedom from strict genre restraints, and I hate snobbery in all its forms.

There is no wrong way to have fun.

Fiction (Rich Horton): Today would have been H. Beam Piper’s 115th birthday. His first novels were the two serials discussed below, published in books form as Crisis in 2140 and Uller Uprising. (A version of “Uller Uprising” had actually appeared as part of the Twayne Triplet The Petrified Planet a year earlier.) In addition to those novels, I append a short look at perhaps his most famous story, “Omnilingual”.

Comic Books (Broadswords and Blasters): In 1993, editor Karen Berger at DC Comics forged a new imprint that focused on stories geared at a more mature audience and creator owned works as well. The end result was the creation of Vertigo Comics. Such early titles included, naturally enough, a transfer of already established titles such as Shade the Changing Man, The Sandman,[1] Swamp Thing, Hellblazer,[2] Animal Man and Doom Patrol. Soon after, new titles, both ongoing and limited premiered under this imprint including Neil Gaiman’s Death: the High Cost of Living, the Matt Wagner-helmed Sandman: Mystery Theatre and Peter Milligan’s Enigma.

Sensor Sweep: David Lindsay, Robots, Hollow City, H. Beam Piper, Jonah Hex published first on https://medium.com/@ReloadedPCGames

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writerkingdom · 6 years ago

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