"Terrific. While I’m off battling the Hulk in Montreal—my roommate drops acid and cracks up."
This happened to me once in college, never try to explain to someone on a bad trip that you had to battle the Hulk. (from Amazing Spider-Man #121)
”. . My liberated sisters back on Earth would have kittens, but I find him absolutely irresistible. His power. His almost omniscient aloofness…”
Frankie Raye (aka Nova - Herald of Galactus) going on about her master, and reinforcing the fantasies of male comics readers.
From Fantastic Four #257 (August 1983 - Art & Words by John Byrne)
Through the shortbox handle hole…
A No-Prize to the person who can guess the title and issue # visible through the handle hole one up from the bottom. Hint: It is NOT a blank cover variant and IS from the era that coincides with my collecting comics as a kid.
Tomorrow I am putting up a post on The Middle Spaces “On Collecting Comics & Critical Nostalgia.”
Sam’s right, Steve.
And for the love of America, stop being the voice of the establishment! Tone police aren’t welcome here.
[Credit: Captain America and the Falcon #144, Gray Morrow]
And in case you thought it was a coincidence… “What if Power Man were White?” (from What If? #34 - 1982) - Essentially, Luke Cage’s race makes him a joke - at least in the eyes of Marvel writers in the early 80s.
"What If Luke Cage Had Found the Hammer of Thor?" (What If? #34 - 1982)
Pretty clear what they thought of Luke Cage back in 1982 when this came out. The joke is he’s black and talks funny! :/ (as opposed to Thor who is white and talks funny, I guess), Also, why is his costume all tattered?
This is some obvious shit.
Issue #216 of DC comics’ Superboy, Starring the Legion of Superheroes enlightens readers not only on the state of race relations in the idealized 30th century of its stories, but captures the arc of most black superheroes in the comic book world, whether it be in 1976 (when issue #216 came out), or the 2000s when Luke Cage joined Brian Michael Bendis’s New Avengers.
You can see related images from the comics discussed in this article, here.
From the moment that machine gun-like distorted electric guitar comes in on the right channel and John Lennon lets out that now iconic scream (at least it sounds like John), the song grabs hold of the listener, speaking directly to us with a sense of angry immediacy through its use of the first-person singular tense. Its message, however, not only belies the affect of the musical delivery, but it uses rock n’ roll’s rebellious energy to sell bourgeois support of the status quo in the guise of the 1960s counter-culture movement with which the Beatles became synonymous.