Tag Archives: The Beatles



PATTON (d. Franklin J. Schaffner)

M.A.S.H. (d. Robert Altman)

DODES’KA-DEN (d. Akira Kurosawa)

DOMICLE CONJUGAL aka BED AND BOARD (d. Francois Truffaut)

GIMME SHELTER (d. The Maysles Brothers)










Fantastic Four #102 – The end of Stan Lee & Jack Kirby’s 102 consecutive issue-run, a comics milestone.

Lone Wolf & Cub by Kazuo Koike & Goseki Kojima begins in the pages of Weekly Manga Action.

Barry Windsor Smith’s run on Conan The Barbarian begins.

Detective Comics #395 is published, featuring the first Batman collaboration of Dennis O’Neil & Neal Adams.

Jack Kirby leaves Marvel Comics.


70 Aspects Of Batman: 13




From Wikipedia:

Sam Kieth (born January 11, 1963 ) is an American comics writer and illustrator and film director, best known as the creator of The Maxx and Zero Girl.

Kieth first came to prominence in 1983 as the inker of Matt Wagner‘s Mage, his brushwork adding fluidity and texture to the broad strokes of Wagner’s early work at Comico Comics. In 1989, he drew the first five issues of writer Neil Gaiman‘s celebrated series The Sandman, but felt his style was unsuited to the book (specifically saying that he “felt like Jimi Hendrix in The Beatles“) and left, handing over to his former inker Mike Dringenberg.

He acted as illustrator on two volumes of writer William Messner-LoebsEpicurus the Sage and drew an Aliens miniseries for Dark Horse Comics, among other things, before creating The Maxx in 1993 for Image Comics, with, initially, writing help from Messner-Loebs. It ran for 35 issues and was adapted, with Kieth’s assistance, into an animated series for MTV. Since then, as a writer-artist, he has gone on to create Friends of Maxx, Zero Girl, Four Women and Ojo.


Sam Kieth first dipped his toe in the Bat-water like so many before him, by providing cover art. In the early 90s, Kieth contributed images to the covers of both Batman and Detective Comics. Here’s a Detective Comics annual cover he drew, a tie-in for DC’s summer crossover event from 1992, Eclipso: The Darkness Within. Notice the curly q action that was a trademark of Keith’s early stuff.


Around 10 years later Sam Kieth finally committed some of his art to the interior of a Batman comic. Batman: Secrets was a 5-issue miniseries that featured Batman and The Joker, and was both written and drawn by Kieth.



As much as I like his work from the 80s and 90s, I feel like Sam Kieth has really come into his own this decade, as can be seen from the amazing Secrets art on display here.


Also in the 2000s, Kieth wrote and drew Scratch, a miniseries that starred a new (werewolf) character, and featured Batman extensively.




That mouth is tailor made not to eat that chin…

His latest Batwork is Batman/Lobo: Deadly Serious, a two-issue miniseries that someone must have proposed in 1992 but the proposal was found in a desk drawer in 2007. Or something.  But knowing Kieth, it’s probably an entertaining read and features great art.

Next up for Kieth is another Lobo miniseries, this one written by Anthrax‘s Scott Ian. Yes, really.





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Comics/Music: When Kirby Met Macca

So, there was this one time in 1976 when ex-Beatle and then current Winger Paul McCartney met Jack Kirby, the King of Comics.


I’d read about this before once…on Wings’ follow-up to their smash hit Band On The Run album, (entitled Venus And Mars), McCartney featured a song called “Magneto And Titanium Man”. Both characters are Marvel Comics villains, and one (Magneto) was co-created by Kirby. This led to Kirby being invited to a Wings concert that was held in L.A. in 1976.


Kirby, his wife and his daughter went backstage and met McCartney and the rest of Wings, and Kirby gifted Paul and his wife Linda this picture:


So yeah, Kirby and McCartney.



Well, it’s just about a week until Christmas. Excited yet? No? Oops. I put together this collection of Christmas songs/videos that hopefully will get you into the spirit of things. Merry Christmas and check it:

Asobi Seksu – “Merry Christmas (I Don’t Wan’t To Fight Tonight)” (Ramones Cover)

Oasis – “Merry X-Mas Everybody” (Slade Cover)

The Beatles – “Christmas Time Is Here Again”

Weezer – “O Holy Night”

Joel & The Bots – “Patrick Swayze Christmas”

Mike & The Bots – “Merry Christmas…If That’s Ok”

Manic Street Preachers – “The Ghost of Christmas”

Wham! – “Last Christmas”

Belle & Sebastian – “O Come, O Come Emmaneul”

The Flaming Lips – “Christmas At The Zoo”

Morning Musume – “Rudolph The Red-Nosed Reindeer”


related post:

-AM- Brief history of recordz

Phonograph Cylinder

Thomas Edison created his first phonograph in 1877 but sat on it for more than a decade before finally releasing it to the public in 1888. Edison’s phonographs used cylinders to record and play back music. Consumers could even buy blank cylinders and record themselves at home! For the first several years, the cylinders were not very durable and only lasted for about 100 plays. The customers could then trade them back in for credit. Improvements were made over the years that might be compared advancements made recently in optical discs, from CD to DVD to Blu-Ray. The first cylinders could only handle TWO MINUTES. Later they went up to a whopping FOUR MINUTES. Cylinders were manufactured all the way up until 1929.

Gramophone disc – early years

The flat disc record that we’re all familiar with was introduced by Berliner in 1894. Other companies started to make disc players, as well. The various companies’ products were often incompatible across platforms. Originally, someone realized that music could be recorded on BOTH sides of the disc and suddenly the disc had a true advantage over the cylinder – it could hold twice as much music.

78rpm records

Eventually, the disc became the format of choice and companies finally settled on a uniform speed of 78 revolutions per minute. These records were 10″ or 12″ only held about 4 minutes on each side.

33rpm (12″) and 45rpm (7″)

In the 1940s, it became possible to make the grooves much smaller than ever before. This resulted in two separate approaches. First, there was the 45rpm, 7″ disc. This format was basically the same as the old 78’s but on a much smaller and more convenient disc. The other approach was the 33rpm, 12″ disc, which could hold a whopping 40 minutes of music! In the end, the 33 became the standard for full-length releases and the 45 became the standard for singles.



Early, Hilarious production techniques:

For the first decade or so, molding techniques for reproduction hadn’t been discovered. Instead, artists recorded the same song over and over again. 10-20 cylinders could be produced from each performance, thanks to tubes leading from the recording bell. The disc manufacturers were the first to create molding techniques for mass reproduction, giving them a temporary advantage.

The early days of recording industry were like today’s video game industry:

Each manufacturer decided who and what could appear on their machines. Various formats were not cross-compatible until the 78rpm became the standard. Will video games follow this route?

The birth of the ALBUM:

Before the birth of the 12″ 33rpm record, the max playing time of records was about 8 minutes so, as you might have guessed, EVERY record was a single. The only way around this was to release a collection of several records. The first such releases were symphonies and longer classical works, released in collections of up to 20 separate records. These collections were often sold in, or at least stored in, album books much like photo albums. Practically every 33rpm record contained as much music as the old album collections, so the term ‘album’ carried over. For the first couple of decades of 33’s, most albums were compilations of various singles and hits. Classical and jazz were the first genres to widely record long programs specifically to be released as albums. Rock and country were really slow to pick up on this concept and the non-compilation albums didn’t become widespread until the late 50s, right before the Beatles and Beach Boys came along.



The most overrated hip-hop album

Pauls Boutique by Beastie Boys

I personally love this album but it gets way too much love and attention from music critics and writers.  The greatest offense is that these writers repeatedly claim that the beats on PB are more dense, layered, and/or sophisticated than any previous hip-hop album.  UGH.  Not so.  Remember, critics/writers, the 2 Public Enemy albums that came out before PB?  Those albums have beats that are much thicker and sophisticated than those on PB.  And the whole layered beats thing was an emerging trend, anyway.  Other 1989 albums from groups like De La Soul and 3rd Bass had them.

I think the real reason these dumbass writers overpraise PB is because there are so many recognizable samples from people like THE BEATLES and CURTIS MAYFIELD and my mom.


list of songs deemed inappropriate by clear channel following 9/11

oh man! i had forgotten all about this list! micah refreshed my memory earlier today.

check it out: “list of songs deemed inappropriate by clear channel following the septermber 11, 2001 attacks”

it’s so good. clear channel is cool. i cannot wait till they finally take over ALL the world’s airwaves!

some of my favorites:

safe in new york city

we gotta get out of this place

burnin’ for you

in the air tonight

bits and pieces

crash into me

learn to fly

great balls of fire

devil with a blue dress on






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