#kevin masterson

[mostsanescarletspiderfan]

Hated the roster for young avengers (2013) so much that I searched for better candidates.

(champions 2016 #11)

Like for example these guys here! Like this is basically a young avengers team already, covering even some legacies that the original team didn't.

(fear itself: the home front #6)

This is another good one, basically being a young NEW avengers team.

[justdealingwithsomeissues]

They are hinting at domestic abuse here... but also kinda downplaying it because that is just runny makeup so I'm sure that means later on we can just smooth over all of this...

[why-i-love-comics]

Avengers Unlimited: Infinity Comic #38 - "If You Knew Uru..." (2023)

written by Tom DeFalco art by Ron Frenz, Brett Breeding, & Chris Sotomayor

[avengerphobic]

kevin he did hurt someone he hit your mother and kidnapped you. like i do think that this is such a kind reaction from Kevin like he loves his step dad so much but like..... did he just forget that bobby hit his mom.... like i think he needs to go get help and rehab but he's being talked off a cliff by a child and that shouldn't be happening and like yes eric knows this is overkill to be thunderstrike and save his son but he's genuinely scared for Kevin.... i mean especially with the other stuff that's happened in this book.

[vincentvega0721]

Thunder Strike Issues 1 - 5

[newwarriorsforever]

Adult Speedball shows up as cameos in the Avengers Next (MC2 AU) at Avengers Unlimited webcomic. 

- - Avengers Unlimited Infinity Comic #37 (2023)

[agentxthirteen]

Sharon-A-Day, Day 481 (4/26/23)

Thunderstrike V2 1. On sale 11/24/10. "Like Father"

Writer: Thomas P. DeFalco

Penciller: Ron Frenz

Inker: Sal Buscema

Letterer: David Sharpe

Colorist: Bruno Hang

Editor: Thomas Brennan

Sharon picks up Kevin Masterson. Steve owes her big time.

[elgaberino-mcoc]

COMBINED: Thunderstrike mantle

[good] dad Eric: ballpark top-300 prospective champs

[bad] son Kevin: outside top 616 non-champs

[good] Kevin has his fans, isn't ranked horribly worse

[good] the combined mantle numerically merits the list

Just another we didn't think needed two separate listings.

[kchasm]

Ryu Number: Kevin Bacon

Let's be real, this is the obvious ask. The Ryu Number is the Bacon Number for video games, so one of the first questions anyone's going to put out there is whether Kevin Bacon has a Ryu Number.

... Is what I'd like to say, but the fact is, most of the time when I try to explain the concept of a Ryu Number by saying "It's like the Bacon Number, except for Ryu—you know, six degrees of Kevin Bacon?" the response I get is, "What's 'six degrees of Kevin Bacon'?"

Hey, when was the heyday of the Bacon Number, again? Oh, thirty years ago. That doesn't feel good.

Anyway, Kevin Bacon has a Ryu Number of at most 4.

Jimmy Fallon (who I keep confusing with Jimmy Kimmel) has a cameo in Jurassic World.

This is enough to get him a place as one of the oodles of minifigs you can trot around in Lego Jurassic World. And if you think that's a kind of flimsy foundation to stick a character into a game over, please understand that this is par for the course for the Lego series of games. In Lego Jurassic World alone, you can play as Donald Gennaro, the "Unlucky Bastard" from The Lost World (here called "Unlucky Bystander"), the kid Alan Grant terrorizes at the dig site in Jurassic Park, Steven Spielberg, and Jophery Brown.

What, you don't know who Jophery Brown is? You know, the guy who gets killed in the opening scene of Jurassic Park. Muldoon goes "Jophery, raise the gate," and everything. And then he dies. Because raptor.

We didn't even know his last name was "Brown" until this game. He was named after his own actor, that's the rank of character we're dealing with here.

... Wait, does this mean we can go straight from Owen Grady to certain baseball games? I've got to think about this. Is "Scientist Phil" allowable as Phil Tippet? Is "Pilot Pat" the same person as Patrick Crowley, who produced Jurassic World and cameoed as a pilot? If Patrick Crowley has an actual pilot's license, does that change the answer?

I am entirely uninterested in answering these questions until the issue is unavoidable!

The version of You Don't Know Jack available for play in The Jackbox Party Pack 5 is You Don't Know Jack: Full Stream, hosted by YDKJ longtimer Cookie Masterson. Depending on this or that, Cookie might just welcome Jimmy Fallon to guest-host one of the questions, which Jimmy is pretty hyped up about. So hyped up, in fact, that he'll refuse to leave afterward, much to Cookie's bemusement. Which makes sense: If you're gonna have Jimmy Fallon cameo in your video game, you're gonna squeeze as much Jimmy Fallon out of Jimmy Fallon as you can.

Dude really is a longtimer, by the way. He's been around since the original You Don't Know Jack, and while he doesn't host the game in You Don't Know Jack Vol. 2, he does get to rush the players through game setup. And the actual host, Buzz Lippman, has the chance to dial out to one of a number of celebrity guests—Kevin Bacon included.

That's an appearance both ways! Counts!

[theangrycomet-art]

I can't believe I never posted this- this was for the Ben 10k/TFA crossover I was playing with

COMMISSIONS OPEN

[dustedmagazine]

Slept Ons: 2023

Reverend Kristin Michael Hayter

If you write for Dusted, you listen to music all the time and you try, at least within your general area of interest, to stay current with what’s current. Ask any of our significant others, and they’ll say we listen to too much music, to which we inevitably reply “What’s that, this ‘too much’ you speak of?” We listen to music while we’re eating, while we’re working, while we’re exercising, while we’re driving from one place to another, even while we’re brushing our teeth sometimes; though, admittedly, the sound quality is not that great in the bathroom.

Even so, we miss things. Here, in what has become an annual tradition, we revisit some of the albums that slipped away in one fashion or another, the ones that we kept putting off until it was too late, the ones we somehow didn’t catch wind of until well into January, the ones we discovered tardily on other people’s lists and year-end podcasts and radio shows. So here are our late finds, a favorite or two each that we never got the chance to write about. Fortunately, unlike bread and fresh fruit and bunches of cilantro, albums don’t go bad if you let them sit for a while.

Die Enttäuschung und Alexander Von Schlippenbach — Monk’s Casino Live At Au Topsi Pohl (Two Nineteen)

This record wasn’t so much slept on as patiently sleuthed. Die Enttäuschung, the long-running German quartet (their name translates as The Disappointment, an appellation that says more about their sense of humor than the quality of their ever-buoyant reimagining of bebop and early free jazz) started selling it at gigs in the spring of 2023. I bided my time, and when I made it to Berlin last fall, scoring a copy was on my agenda. To this day, the record and the internet are near strangers; while you can buy it from Bandcamp, there’s no download, streaming or videos. So, you’ll have to just take it from me that Die Enttäuschung’s reunion with now-octogenarian pianist Alexander von Schlippenbach will take wrinkles off your brow. The first time that these musicians recorded together as Monk’s Casino, back in 2005, they performed every one of Thelonious Monk’s compositions over three CDs; pith was essential. The repertoire hasn’t changed this time, but the approach is looser. Crammed into the intimate confines of the now-shuttered Au Topsi Pohl just as Omicron started ruining parties, the five musicians goose the tempos, spike the solos with impertinence, and veer around Monk’s sharp angles with a combination of intimate familiarity and belt-busting abandon.

Bill Meyer

Reverend Kristin Michael Hayter — SAVED! (Perpetual Flame Ministries)

Not slept on so much as avoided— and why, at this point I am not entirely sure. When I saw Kristin Hayter perform under her previous Lingua Ignota moniker back in December of 2022, she opened with a set of devotional songs on piano, a variety of metallic objects set and chains draped across the instrument’s interior string works. It was extraordinary, and SAVED! features the same basic set of raw, austere elements: that prepared piano, Hayter’s remarkable voice and the problematics of faith. The avoidance may stem from my own fraught relations to the sort of grim Protestantism Hayter reimagines; I spend some time around fire-and-brimstone Baptism as a child, and it left a mark on me. She wove some of that language and those textures into the excellent Lingua Ignota record Sinner Get Ready, but there they were much more symbolic, and largely couched in specific fundamentalisms (Amish and Mennonite) that distanced them somewhat. The sounds and spiritual gestures on SAVED! are a good deal more familiar to me, and they haunt. Likely the haunting is the point. Certainly “All of My Friends Are Going to Hell” and “I Know His Blood Can Make Me Whole” smolder and then burn with varieties of hellfire I have smelled before. One can also hear those songs more metaphorically, and “I Will Be with You Always” (the best thing on the record) is replete with images and intensities that call to multiple levels of meaning, simultaneously and sublimely. SAVED! is a hard record for me to listen to, and that’s why I have come, somewhat belatedly, to prize it so highly.

Jonathan Shaw

Illusion of Safety — Pastoral (Korm Plastics)

Daniel Burke has been carefully and consistently nurturing his Illusion of Safety project for 40 years, and I’ve been embarrassingly ignorant of the output until now. Burke released multiple audio artifacts in 2023, including a 40th anniversary ten-cassette box set, so choosing a single album to write about for the Slept On column was a daunting undertaking. Pastoral is unique in that it shows off a more delicate and expansive side of the Illusion of Safety oeuvre. It’s also one of the few music-focused objects that the stalwart Korm Plastics label has released in years; the imprint focuses on the written word these days. Sonically, Burke has established a series of vignettes that follow a similar pattern. The music flows from short, sharp attacks into lengthy sustained quietude. Burke unleashes his jarring, frantic salvos both percussively and synthetically, and these brief but unsettling periods morph into slowly churning drone swarms. Given that this is just one example of Burke’s sonic vernacular, I’m excited to hear more. Thankfully, when it comes to Illusion of Safety, I’ve been a veritable Rip Van Winkle.

Bryon Hayes

Malla — Fresko (Solina)

So slept on was Malla Malmivaara’s second solo album that even the normally reliable Beehype missed it, but even if you did happen to notice its inclusion on my midyear list, overstating how well-crafted and immersive Fresko’s dance-pop tracks are is hard to do. It makes sense given she’s better known for her acting career, but Malla’s been in the Finnish music game for a long time, too — first in the short-lived mid-aughts house trio Elisabeth Underground, then as herself with 2019’s “Sabrina” single (which got a Jori Hulkkonen remix, a guy who once redid M83) that ended up paving the way for her self-titled 2021 debut full-length. Despite using similar synth arpeggios and a healthy dose of vocal reverb as she did on Malla, Fresko is a little bit darker, moodier, more down in it. Lead single “Moi” (“hi” in English) tells the tale, its perfectly crafted video full of young Rolf Ekroth models doing things like looking impossibly cool in ridiculous outfits and having fashion shows with ATVs in snowy back alley Helsinki parking lots are a perfect marriage of audio and video, images and a melody burned in my brain the moment I saw it. It is very much a dance record flush with tech-house tweaks and no grander artistic ambitions, but Malla’s barely crested 40; now that she’s pledged more time to her music career, it’s entirely possible Fresko is but a warmup for something bolder — and even if it’s not, you could do much worse than a third album full of body movers like this. Hi is right.

Patrick Masterson

Kevin Richard Martin – Black (Intercranial)

Ostensibly a eulogy to Amy Winehouse, Kevin Richard Martin’s Black is a deeply humane expression of isolation, loss and grief. Built from the ground up, the bass deep and warm, swathes of glacial arpeggiated synths and beats that hint at the club. Notes echo and ripple away to create silhouettes of solitude, a tangible manifestation of absence. Despite the deep weight of his music, Martin imbues Black with an incredible delicacy. His abstract architecture allows the mind to roam and the listener to connect with emotional truths. It’s the balance Martin finds between the particular and universal that gives Black it’s power. In the strutting bassline of “Camden Crawling” smeared with narco/alcoholic fuzz, the looming threat of “Blake’s Shadow” and the bleary saxophone in “Belgrade Meltdown” there are the faintest echoes of Winehouse’s sound which emerge from the depths of Martin’s echo chambers. A work of terrible sadness, great beauty, empathy and comfort.

Andrew Forell

Derek Monypeny — Cibola (2182 Recording Company)

Cibola eased into the world as 2022 turned into 2023, but it took me nearly a year to get to it. Monypeny is a confirmed westerner, having lived in Arizona, Oregon, and (currently) the California desert, and an awareness of both the wrongfulness and the good fortune of living in that neck of the woods infuses Cibola, which is named for one of the American southwest’s legendary cities of gold (helpful hint; if you ever encounter a conquistador looking for gold, tell them it’s somewhere else). Monypeny alternates between guitar, shahi baaja, and on electric autoharp the LP’s seven tracks, and Kevin Corcoran contributes time-stopping metal percussion to one of them. The music likewise toggles between stark evocations of space and swirling submersions into nether states. In either mode, Monypeny effectively suggests the gorgeous immensity and pitiless history of the land around him.

Bill Meyer

The Sundae Painters — S-T (Flying Nun)

One minute, The Sundae Painters are churning wild screes of noisy guitar, the next they construct airy psychedelic pop songs of a rare unstudied grace. The band is a super group of sorts — Paul Kean and Kaye Woodward of the Bats, Alex Bathgate of the Tall Dwarfs and the late Hamish Kilgour of the Clean — convening in loose-limbed, joyful mayhem in songs that glisten and shimmer and roar. “Hollow Way” roils thick, muddy textures of drone up from the bottom, the slippery bent notes of sitar (that’s Bathgate) and Woodward’s diaphanous vocals floating free of a visceral murk. “Aversion” lets unhinged guitar shards fly over the thump of grounding drums as Kilgour chants inscrutable poetry. The two HAP tracks, I and II, stretch out in locked-in, psychotropic grooves, relentless forward motion somehow dissolving into an endless ecstatic now. This full-length, sadly the only one we’ll ever have from the Sundae Painters now that Kilgour is gone, is as good as anything that its esteemed participants ever did in their more famous bands, and that’s saying a lot.

Jennifer Kelly

U SCO — Catchin’ Heat (Self Released)

Here’s the extent of what I currently know: Someone I have on Facebook posted a link to it as one of his favorite records of the year, and someone I don’t know responded that they bought a copy of the cassette before the first track even finished. U SCO are Jon Scheid (bass), Ryan Miller (guitar), and Phil Cleary (Drums) and they are from and/or based in Portland Oregon. According to Discogs and Bandcamp Catchin’ Heat is the first thing they’ve released since 2016. That’s it! I started listened to this with the same box-checking, due diligence energy I tend to have for the dozen or so records I hear about one way or another after I’ve already done my year-end writing; most of them, every year, I don’t even make it through one play (the fatigue has fully set in by this point in the process). But sure enough before the end of that first track, I knew this was going to have to be the record I slept on. It’s perfectly structured, with extra-long, absolute blowouts beginning and ending the record, the second and second-last tracks being the two shortest and the only moments of relative calm, and the middle two making up a strong core that both brings in some elements not found elsewhere on Catchin’ Heat (the vocals on “trrrem”) and is just the most straightforward version of the absolute burners U SCO can clearly summon up on command (“woe dimension”). As great and arresting as that opening track is, though, the closing “abyssal hymn” might be the real highlight here, bringing in clarinet and saxophone to add a whole new layer of skronk to what they’re cooking. I’ve listened to this record about 10 times in a couple of days, and they deserve to sell out of that run of cassettes.

Ian Mathers

[mostsanescarletspiderfan]

[justdealingwithsomeissues]

Not surprisingly both Bill and Eric are sent back just in time to solve the problems they had when they got warped away...

[melaninpov]

What happened?

All of these accusations coming out about these actors and everyone is radio silent. I thought y’all believed all women? I thought if multiple people accused you of doing something, then it was true right? I thought it was guilty until proven innocent, what happened? That abuse meter y’all have not working this month? Why are y’all so quiet on these issues?

Oh I get it, that only applies to certain celebs. I have to admit y’all had me fooled. When news broke of Jonathan Majors, y’all made me believe that you took abuse allegations seriously. I guess only when it’s a trending topic. After all, Cosby did trend more than Harvey Weinstein and Majors did trend more than Ezra Miller. Smh. If this wasn’t real life, this would be comical.

[avengerphobic]

did herc and eric masterson fuck