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forthegothicheroine · 9 months ago
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Silver Age Lois Lane: Oh dear, my feminine obsession with marriage has gotten me into humiliating danger! Golden Age Lois Lane:
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mistergaspertoons · 10 days ago
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Horace horsecollar, popeye the sailor and mickey mouse (with gloves)
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justinspoliticalcorner · 3 months ago
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Gabe Fleisher at Wake Up To Politics:
A few weeks ago, after CNN published its bombshell report about North Carolina Lt. Gov. Mark Robinson, I was texting with a friend. Rumors had been flying around the political world all day about what the report would bring. Now that it had arrived, my friend told me he was unimpressed; it wasn’t as earth-shattering as he’d been expecting. “One day, when your grandchildren ask you what American politics was like in 2024,” I responded, “you can tell them that we learned a gubernatorial candidate called himself a Nazi on a porn website, and your initial response was to shrug.” [...]
The U.S. is currently grappling with two major hurricanes at once — trying to prepare for one while still recovering from the damage of the other. The latter, Hurricane Helene, was the deadliest hurricane to hit the mainland U.S. since Katrina in 2005. More than 200 people have been killed, mostly in North Carolina, but also in Georgia and South Carolina as well. Entire towns in western North Carolina were leveled; some residents have now gone more than a week without running water.
The former, Hurricane Milton, is expected to make landfall in Florida tonight. Forecasters suggest that it could hit Tampa Bay, which was also impacted by the devastation of Helene but has not been in the direct path of a hurricane since 1921. The city is considered uniquely vulnerable to natural disaster; analysts are already predicting damage upwards of $50 billion. Local, state, and federal officials have been pleading with anyone in Milton’s path to evacuate immediately. “I can say this without any dramatization whatsoever: If you choose to stay in one of those evacuation areas, you are going to die,” Tampa Mayor Jane Castor said on CNN earlier this week.
“Several years ago I asked [the National Hurricane Center] to show me what the worst case storm hitting Florida would look like,” Sen. Marco Rubio (R-FL) posted on X. “What they showed me back then is almost identical to the #Milton forecast now.” With both storms hitting the U.S. only weeks before a heated presidential election, it is not shocking that they has quickly been sucked into the political discourse. America has a long history of election-year disasters becoming talking points on the campaign trail, from Hurricane Andrew hurting George H.W. Bush in 1992 to Hurricane Sandy boosting Barack Obama in 2012. But the responses to Helene and Milton have been marked by something new: an unprecedented flood of misinformation and conspiracy theories. Don’t take it from me. Take it from FEMA Administrator Deanne Criswell, who told reporters on a Tuesday conference call that the misinformation surrounding these two hurricanes has been “absolutely the worst I have ever seen.”
Many of the false claims have come directly from Republican presidential nominee Donald Trump, who has claimed that: the Biden administration is “going out of their way to not help people in Republican areas” (GOP governors have said otherwise); that “Kamala spent all her FEMA money, billions of dollars, on housing for illegal migrants” (FEMA’s congressionally-appropriated program to help local governments house migrants is completely separate from FEMA’s disaster relief funds); and that “we give foreign countries hundreds of billions of dollars and we’re handing North Carolina $750” (that is merely the amount of aid made available to hurricane victims immediately; over the long run, victims can receive up to tens of thousands of dollars in support). A slew of Trump allies, including X owner Elon Musk, have amplified several other conspiracy theories online. But the prize for Biggest Whopper goes to Rep. Marjorie Taylor Greene (R-GA), who posted — on her official congressional account — this week: “Yes they can control the weather.” The supposed “they” was not immediately identified, although Greene previously suggested in 2018 that California wildfires that year were caused by space lasers linked to the Rothschilds, a prominent Jewish family that has long been the subject of antisemitic conspiracy theories. (Greene posted again about “lasers controlling the weather” this week.) In recent weeks, Hurricanes Helene and Milton have sparked a flurry of antisemitic attacks against Jewish officials involved in the response, including claims that they created the disasters.
In her initial post, Greene attached a video of former CIA Director John Brennan discussing geoengineering, an umbrella term for scientific research into manipulating climate systems in order to mitigate the effects of climate change. Geoengineering remains largely theoretical; it is not possible to geoengineer a hurricane, and the technology has no connection to anything that happened with either Helene or Milton. “Climate change is the new Covid,” Greene asserted in another message. “Ask your government if the weather is manipulated or controlled. Did you ever give permission to them to do it? Are you paying for it? Of course you are.”
Other right-wing influencers advanced the argument. “The weather can and is being manipulated,” Georgia Republican Party official Kandiss Taylor posted to her nearly 60,000 X followers, adding: “[Georgia] voting has been compromised and don’t know if we will be able to get all our early voting days in. Now, a hurricane is coming straight for Florida. These two states are necessary for a Trump victory! No coincidence.” Taylor’s message has received more than 3 million views on X. The theories became popular enough in right-wing circles that Rep. Chuck Edwards (R-NC), who represents Asheville and most of western North Carolina (the area hit hardest by Helene), issued a press release on Tuesday to reassure his constituents of the falsity of various claims. Near the top of the list? “Nobody can control the weather,” he wrote. The statement, in its entirety, is a fascinating historical document — showing the types of claims that a Republican congressman felt he needed to fact-check in 2024, partially due to misinformation spread by his own colleagues and his party’s presidential candidate.
This piece in Wake Up To Politics by Gabe Fleisher is a must-read on the misinformation/disinformation crisis regarding Hurricanes Helene and Milton, thanks to Donald Trump and MAGA-aligned figures (especially in the right-wing media apparatus).
See Also:
MMFA: On The Victory Channel's FlashPoint, pro-Trump prophets suggest Hurricanes Helene and Milton are “spiritual” and that “God did say in the prophecies that these storms would be sent to interrupt the flow of our election process”
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newyorkthegoldenage · 1 year ago
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Around 1939 or '40 there was this lovely, ample-bosomed blonde girl who was my older brother's girlfriend. Her name was Natalie. She lived across the little side street on which we played stickball. The room that held my piano, my studio, if you will, faced her windows. We were up on the fifth floor, and Natalie was across the street on the second floor. There were a number of times in the summer when Ray, my brother, threw open the window, sat on the sill with his leg up, and Natalie would be like Juliet, except she was below, not above, at her window. The two would gaze and gesture to one another. It was quite a distance from the fifth floor to the second floor across the street, and, you know, with kids in between playing stickball, it wasn't quite the situation where they could converse. So they developed a kind of sign language. One afternoon, Ray must've been in the throes of some great wave of passion. He sat me down, literally grabbed me by the arm, and put me on the piano bench. He knew that I could play the piano version of Tchaikovsky's Romeo and Juliet. He pointed to the music and said, "Play!" Then he went and sat on the sill while I played as loudly as I could, with the appropriate feeling. I played this love music while my brother sat on the sill making these great swooping gestures as if he were sending the music out the window down across the street to Natalie's window. I was twelve or thirteen and Ray was close to eighteen at the time. I felt like Cyrano de Bergerac. A musical Cyrano de Bergerac.
     —Leon Fleisher, in Just Kids from the Bronx by Arlene Alda (ed.)
Photo: The Bronx, 1939, by Sid Grossman via MCNY
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marvelousmrm · 3 months ago
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Ghost Rider #63 (Fleisher/McDonnell, Dec 1981). The Orb sure is goofy fun.
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gerardpilled · 2 years ago
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alpharetta | 9/18/22 | pc: ryan fleisher
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nerds-yearbook · 4 months ago
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The Nemesis (Tom Tresser) first appeared in Brave and the Bold 166#, cover date September, 1980. He was created by Cary Burkett and Dan Spiegle. ("Batman and Black Canary: Requiem for 4 Canaries", and "Nemesis", Brave and the Bold 166#, DC Comic Event)
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balu8 · 9 months ago
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Adventure Comic #435: The Man Who Stalked the Spectre
by Michael Fleisher/Russell Carley; Jim Aparo; John Albano (?) (source comics.org)
DC
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the-gershomite · 2 months ago
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Conan the Barbarian Annual #9 -1984- Marvel Comics
"Wrath of the Shambling God!" (1-30 of 38)
script by Michael Fleisher
art by Ernie Chan
lettering by Rick Parker
coloring by Christie Scheele
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brevoorthistoryofcomics · 11 months ago
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GH: GHOST RIDER #80
The last regular issue of GHOST RIDER I bought was #80,–literally just one issue away from the series’ cancellation with #81. So why did I jump off here, right before the end/ Well, the honest reason is that GHOST RIDER was never a book I was all that interested in. I bought it out of habit for a very long time, only really enjoying it infrequently across that period. I had the available funds,…
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smashedpages · 5 months ago
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On this day in 1979, Marvel launched a second Man-Thing series by writer Michael Fleisher and penciller Jim Mooney. The creative team worked on the first three issues, but were then replaced by writer Chris Claremont and illustrators Don Perlin and Bob Wiacek (who drew the cover for the first issue). The short-lived title featured appearances by Jennifer Kale and Doctor Strange, and only lasted 11 issues.
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aswrm · 1 year ago
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Geoff Rickly in ‘Negatives’ by Amy Fleisher Madden
Transcript below
An Introduction to the Third Wave
Geoff Rickly
Thursday / No Devotion / United Nations
Everything is hardcore. Snapcase is hardcore.
Obviously. Strife and Chain of Strength and Bad Brains are hardcore. Sick of It All is hardcore, and they're from New York, so they spell it NYHC.
Shelter is hardcore and 108 is hardcore, and they're both Krishna, which means people call them Krishnacore. Earth Crisis and SSD are hardcore, but they don't do drugs; straight-edge hardcore.
There are so many little signifiers in place to help people know what's up, but each one of these bands does actually have something in common: They are all hard as nails. They're hardcore.
It was the mid-'90s. I'd moved out of the dorms at Rutgers and into a house on Somerset Street with my old roommate, Clay, and my new housemate, Louis. We were a good twenty-minute walk from campus, but the house was weirdly small on the inside; it got bad light. But it had a big basement.
Big enough to have shows in. Hardcore shows.
Luckily, by the mid-'90s, hardcore was everything, and everything was hardcore.
Converge was hardcore-full of guitars and drums that sounded like broken glass in a blender. But so was Rainer Maria, with twinkling clean guitars and dual vocals whispering and shouting in a joyous conversation. So were Ink & Dagger, in their corpse paint, smashing Aphex Twin electronics into Black Flag riffs. Fugazi was hardcore with a rhythm section that sounded like James Brown and a no-slam-dancing policy. Texas Is the Reason had twangy vocals and the most beautiful guitar parts that anyone had ever heard, and they were fucking hardcore-with the pedigree to prove it. They were one of the groups that inspired the latest wave of bands who were all playing shows in our basement, and in other basements like ours all over America: The Get Up Kids, The Promise Ring. Jimmy Eat World. They were all catchy and sweet, and full of youthful innocence. And they were all hardcore, too. Everything was. The basement show was like an Olive Garden:
If you were there, you were family-you were hardcore.
But holy shit, did we love to tease those bands— "You guys are so emotional, you're so fucking emo." Stick a tap in them and let the tears flow. That's all emo was to us: a taunt, a ribbing, a genre label that had never really stuck. I remember seeing Fugazi in the early '90s and someone yelled at lan MacKaye, "You are so emo!" His reply was simple and seemed to shut down the label forever. He said, "Emo Philips?" —forcing the crowd to think of the awkward comedian, with his strange bob haircut.
So, years later, when we had a great young hardcore band from Princeton play in our basement, we shouted at them, "Oh my god, Saves the Day are so emo." Their singer, Chris, acknowledged it dryly: "Boo hoo." Or that time when At the Drive-In destroyed the Melody Bar in front of a crowd of five people. I told them, "That was so good, I could have cried. but I didn't want anyone to thinkI was emo."
We didn't know we were already part of it. A joke or not, we were already emo. When we started Thursday, we thought we were just another hardcore band in the wave of hardcore bands that we looked up to: Saetia, You and I, Usurp Synapse, Orchid, Reversal of Man, The Locust, Charles Bronson.
Our friends. Our heroes. We were playing the same basements and VFW halls. We were buying the same vans and using the same dialers to get free calls on pay phones. We didn't know that, even as our own band took off, we were already emo, and we were about to be part of something new.
After Full Collapse came out on Victory Records-a very hardcore label —we spent a lot of time tracing the footsteps of all those who d come before. We played to five or ten people a night, occasionally landing a festival where we'd do anything to get people to stick around. "Yeah, we have a three-way split with Joy Division and Swing Kids, but we're sold out of them right now... Still, we're playing after Dragbody if you've got the time to watch us."
Then Saves the Day offered us a spot opening for them on a national tour. Our friend Dan from the band Joshua explained to us that Saves the Day was the biggest band in hardcore. They'd hit the indie glass ceiling-they'd sold 100,000 records without being on a major label. We took the tour - first of four in front of 1,000 people every night-and something clicked. The very next tour we went out on, we were the headliner, and it was entirely sold out before we even left home. Something was happening. We broke through the 100,000 record glass ceiling, shooting to 400,000 records. All our friends were right behind us, in the next couple years, hitting a million records sold and more.
The press has always been a little tone deaf, and they'd already been using the term emo for years, so they tried to find something new and catchy for this rapidly developing phenomenon. They tried screamo, except not everyone was screaming- and the bands hated it. Emocore, except that term somehow sounded even wimpier than just emo-and the bands hated it. They even tried the term xtremo, and tried to line us up to play X Games-type events, with cans of Mountain Dew stacked on our amps, but the sponsors weren't sure about the crossover appeal-and the bands hated it.
[photo id: geoff leaning back into the crowd. he is shouting, with one arm raised above/behind his head and crowd members’ arms round his torso]
In the middle of all this, I had the chance to produce the first album from a scrappy bunch of hard. core kids who loved Placebo and Queen and comic books. They were called My Chemical Romance, and by their second record, they would solidify something that had been becoming apparent for the last couple of years: The 2000s were the decade of emo. It was everywhere. It was fashion and TV and billboards. It was celebrity. It was gossip.
And when money gets involved, things can quickly go to shit. Emo got increasingly commercial. It was codified. It was slick. It had songwriters and mega producers. It had A-listers directing music videos.
The only thing it lacked was sincere emotion. The feeling was gone. A pretty tough break for a genre called emo.
By the 2010s, being emo was about the uncoolest thing in the world. The heavy hitters started breaking up. Not just the early torchbearers like us or our West Coast buds, Thrice, but the big guns, too.
My Chemical Romance called it quits, and suddenly bands started dropping likeflies. Pop singers dropped the emo haircuts. Things cooled off.
But then, half a decade later, something strange started to happen. The young kids began to go back to the roots of the genre, appreciating the earnest sincerity and adventurous musicality that made emo break out in the first place. The Hotelier, Teen Suicide, The World Is a Beautiful Place & I Am No Longer Afraid to Die, Joyce Manor, Hop Along-these bands brought emo out of the boardroom and back into the basement, bashing away at a glorious noise until the world started to notice. This
"emo revival" was actually the birth of something new. It inspired Thursday to start playing again, and it inspired so many of our peers to do the same.
We've gotten the opportunity to see this thing that we gave our hearts to through newer, purer eyes.
Watching Pianos Become the Teeth and Title Fight and Touché Amoré burn with passionate intensity has reignited our fire. Seeing these photos, through Amy's eyes- seeing the vitality that has always been there-is much the same. It's changed everything, allowing us to restore a true relationship to our past work.
Recently, I had the opportunity to stand on stage with Thursday and watch a sea of kids scream along to these words from "War All The Time":
All those nights in the basement,
The kids are still screaming
On and on and on and on and ...
And it was pretty hardcore-emotionally speaking.
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mistergaspertoons · 3 days ago
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A sailor and a plumber
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theamandacollection67 · 1 year ago
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Fleisher’s Sweater Book 1961
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all-action-all-picture · 1 year ago
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Because you demanded it! It doesn't get bigger than this! The ultimate clash of the Titans!
The Seal Men's War on Santa Claus. This was originally intended for an issue of The Sandman (no, not that one) in 1976 but that title got cancelled before this epic tale could be unleashed on an unsuspecting world. It did later show up in Best of DC Digest No. 22 - Christmas with the Superheroes (1981).
**SPOILER ALERT** If you're thinking Seals are a controversial choice for villains then you're not alone. However it turns out the reason our heroes are fighting each other is because there has been "some sort of accidental mix-up" and the Seal Men have inexcusably been getting the wrong Christmas presents for years!
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marvelousmrm · 6 months ago
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Ghost Rider #55 (Fleisher/Perlin, Apr 1981). Jack’s back! I like that lately the Ghost Rider’s developing a vengeful personality of its own, heightening Blaze’s dread of the power he carries.
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