Wally Wood is one of the most celebrated comic artists of
all time. His legendary career runs from the glory days of EC Comics
extraordinary line of science fiction titles to the brilliantly
subversive Mad Comics (and, later, Magazine). He produced extraordinary
illustrations for magazines like Galaxy after EC folded, and worked on
the some of the most fondly remembered stories published by Marvel
Comics in the mid 1960s. He also co-created the T.H.U.N.D.E.R. Agents
and was a pioneer in self-publishing. This massive tome is the American
edition of a museum catalogue that accompanied a gigantic career
retrospective on display in De Palma Spain in 2010, the largest such
exhibit ever devoted to this incredible artist.
Tuesday, May 15, 2012
Love and Rockets: The Covers
Out November 21, 2012
This oversized art book collects the comics series’ iconic covers sans title or logo.
Five women stand in a police lineup; four of them are garishly dressed, impressively endowed superwomen — perfectly normal, because this is, after all, the cover of a comic book. A closer look, however, reveals a fifth woman who seems thoroughly out of place — mousy, in bathrobe and curlers, smoking a cigarette, she appears to have been suddenly yanked from her breakfast table. Surely, this diminutive, dowdy woman is here by mistake — or is she?
From the very first cover of the very first issue of Love and Rockets in 1982, Gilbert and Jaime Hernandez have created artwork that has subverted, contradicted and celebrated the history of the comic book medium, inverting familiar tropes and creating some of the most iconic images in comics over the past three and a half decades, inviting fans and readers into their world.
Amazingly, many of the covers created by Gilbert and Jaime Hernandez for the various iterations of Love and Rockets over the past 35 years have never been collected or have only been reprinted in black-and-white. Love and Rockets: The Covers will not only rectify this problem, but present them without trade dress (logos, marketing hype, etc.), allowing the original cover illustrations to communicate on their own. This will be a gorgeous, oversized art book and the perfect gift for fans of the series that virtually defines alternative comics.
This oversized art book collects the comics series’ iconic covers sans title or logo.
Five women stand in a police lineup; four of them are garishly dressed, impressively endowed superwomen — perfectly normal, because this is, after all, the cover of a comic book. A closer look, however, reveals a fifth woman who seems thoroughly out of place — mousy, in bathrobe and curlers, smoking a cigarette, she appears to have been suddenly yanked from her breakfast table. Surely, this diminutive, dowdy woman is here by mistake — or is she?
From the very first cover of the very first issue of Love and Rockets in 1982, Gilbert and Jaime Hernandez have created artwork that has subverted, contradicted and celebrated the history of the comic book medium, inverting familiar tropes and creating some of the most iconic images in comics over the past three and a half decades, inviting fans and readers into their world.
Amazingly, many of the covers created by Gilbert and Jaime Hernandez for the various iterations of Love and Rockets over the past 35 years have never been collected or have only been reprinted in black-and-white. Love and Rockets: The Covers will not only rectify this problem, but present them without trade dress (logos, marketing hype, etc.), allowing the original cover illustrations to communicate on their own. This will be a gorgeous, oversized art book and the perfect gift for fans of the series that virtually defines alternative comics.
Man-Thing Omnibus
October 17, 2012
Neither wholly plant nor animal, neither entirely
self-aware nor totally non-sentient, the creature called the Man-Thing
is unique, unchanging and alone - but none who encounter him can ever be
the same again. Empathic by nature and drawn to fi ght evil, his
shambling visage inspires fear - and whatever knows fear burns at the
Man-Thing's touch.
COLLECTING: SAVAGE TALES 1; ASTONISHING TALES 12-13; FEAR 10-19; MAN-THING (1974) 1-22; GIANTSIZE MAN-THING 1-5; MONSTERS UNLEASHED 5, 8-9; INCREDIBLE HULK 197-198; RAMPAGING HULK 7; MARVEL TEAM-UP 68; MARVEL TWO-IN-ONE 43; MAN-THING (1979) 1-11; DR. STRANGE 41
COLLECTING: SAVAGE TALES 1; ASTONISHING TALES 12-13; FEAR 10-19; MAN-THING (1974) 1-22; GIANTSIZE MAN-THING 1-5; MONSTERS UNLEASHED 5, 8-9; INCREDIBLE HULK 197-198; RAMPAGING HULK 7; MARVEL TEAM-UP 68; MARVEL TWO-IN-ONE 43; MAN-THING (1979) 1-11; DR. STRANGE 41
Wednesday, May 2, 2012
That's Why God Made the Radio by The Beach Boys
Out June 5.
Track list:
Track list:
| 1. Think About The Days | |||||
| 2. That's Why God Made The Radio | |||||
| 3. Isn't It Time | |||||
| 4. Spring Vacation | |||||
| 5. The Private Life Of Bill And Sue | |||||
| 6. Shelter | |||||
| 7. Daybreak Over The Ocean | |||||
| 8. Beaches In Mind | |||||
| 9. Strange World | |||||
| 10. From There To Back Again | |||||
| 11. Pacific Coast Highway | |||||
| 12. Summer's Gone |
Americana by Neil Young & Crazy Horse
Out June 5, 2012.
AMERICANA is the first album from Neil Young & Crazy Horse in nearly nine years. Crazy Horse is: Billy Talbot, Ralph Molina, Poncho Sampedro, and Neil Young. As you’ll see from the track-listing, AMERICANA is collection of classic, American folk songs. In their day, some of these may have been referred to as “protest songs,” “murder ballads,” or campfire-type songs passed down with universal, relatable tales for everyman. Some of these compositions which, like “Tom Dooley” and “Oh Susannah,” were written in the 1800s, while others, like “This Land Is Your Land” (utilizing the original, widely misinterpreted “deleted verses”) and “Get A Job,” are mid-20th-century folk classics. It’s also interesting to note that “God Save The Queen,” Britain’s national anthem, also became the de facto national anthem of sorts before the establishment of The Union as we know it until we came to adopt our very own “The Star Spangled Banner,” which has been recognized for use as early as 1889 and made our official national anthem in 1931. Each of these compositions is very much part of the fabric of our American heritage; the roots of what we think of as “Americana” in cultural terms, using songs as a way of passing along information and documenting our past. What ties these songs together is the fact that while they may represent an America that may no longer exist, the emotions and scenarios behind these songs still resonate with what’s going on in the country today with equal, if not greater impact nearly 200 years later. The lyrics reflect the same concerns and are still remarkably meaningful to a society going through economic and cultural upheaval, especially during an election year. They are just as poignant and powerful today as the day they were written.
AMERICANA is the first album from Neil Young & Crazy Horse in nearly nine years. Crazy Horse is: Billy Talbot, Ralph Molina, Poncho Sampedro, and Neil Young. As you’ll see from the track-listing, AMERICANA is collection of classic, American folk songs. In their day, some of these may have been referred to as “protest songs,” “murder ballads,” or campfire-type songs passed down with universal, relatable tales for everyman. Some of these compositions which, like “Tom Dooley” and “Oh Susannah,” were written in the 1800s, while others, like “This Land Is Your Land” (utilizing the original, widely misinterpreted “deleted verses”) and “Get A Job,” are mid-20th-century folk classics. It’s also interesting to note that “God Save The Queen,” Britain’s national anthem, also became the de facto national anthem of sorts before the establishment of The Union as we know it until we came to adopt our very own “The Star Spangled Banner,” which has been recognized for use as early as 1889 and made our official national anthem in 1931. Each of these compositions is very much part of the fabric of our American heritage; the roots of what we think of as “Americana” in cultural terms, using songs as a way of passing along information and documenting our past. What ties these songs together is the fact that while they may represent an America that may no longer exist, the emotions and scenarios behind these songs still resonate with what’s going on in the country today with equal, if not greater impact nearly 200 years later. The lyrics reflect the same concerns and are still remarkably meaningful to a society going through economic and cultural upheaval, especially during an election year. They are just as poignant and powerful today as the day they were written.
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