









SnobA cea de hoxe. :3
If it had done nothing other than record the Sonics' "Psycho" and "The Witch," Etiquette (operating out of Tacoma, WA) would probably be esteemed as the most notable Northwest independent rock label of the mid-'60s. It did a good deal more than that, though its total output wasn't that voluminous. This well-selected CD has a good chunk of it, the 24 tracks including five cuts by the Sonics. Those are certainly the most famed inclusions on this disc, though note that the versions of "Psycho" and "The Witch" here aren't the standard ones that have shown up on many compilations. In what might be a boon for serious collectors, if a slight disappointment for the relatively few people buying this CD who don't have those songs already, the version of "Psycho" is a previously unissued full-length take, while "The Witch" is a previously unissued alternate take with strange sounds produced by dragging a piece of metal over a guitar. Otherwise, much of this collection will be unfamiliar even to most '60s garage collectors, with the exception of the Wailers' best and most powerful cut, "Out of Our Tree" (which appeared on the Nuggets box set). Much of the rest of the set has the kind of chunky, raunchy R&B-infused mid-'60s garage sound typical not just of the Sonics and the Wailers, but of much Northwest rock in general. And as one finds with many '60s Northwest comps, some of that material is quite energetic but otherwise ordinary and unmemorable. But this is one of the better '60s Northwest anthologies, both because of the power of the Sonics and Wailers' contributions, and also because it does offer some variety in some tracks that were more British Invasion-influenced than the typical Northwest garage record. Those songs include the fuzzed-out "I've Been Thinking" by Paul Bearer & the Hearsemen; the uncommonly mild (for Etiquette) quasi-Merseybeat of the Galaxies' "She Said I Do"; the competent Liverpool imitations on the two sides by the Rooks; the previously unissued suicidal folk-baroque-rock of "Mistake" by Ron Davies (later famous for writing "It Ain't Easy," covered by David Bowie); and the raw girl group-soul of Mayalta Page's "Don't Worry About Me Baby." All of the tracks date from the mid-'60s save the notable exception of Rockin' Robin Roberts & the Wailers' 1961 single "Louie, Louie," which played a key role in that song's transition from mid-'50s R&B tune to '60s garage rock standard. [AMG]
The end credits of every episode of It's Always Sunny in Philadelphia feature the title card of the show's production company RCH (an acronym for the names of stars Rob McElhenney, Charlie Day, and Glenn Howerton), accompanied by a backwards message. An internet person has gone through the trouble of playing each of the show's audio messages backards (they do a different one each season) and assembling it into the above video in case you're bored at work or something.
(via)
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See more posts by Bradford Evans
“Múltiples manifestaciones del Capitán América, Spiderman y La Patrulla-X flotan en realidades elásticas, transmitidas de un custodio temporal al siguiente, y a sus viajes heroicos se les niega eternamente el fin”
SEAN HOWE
¿Cómo se convirtió Marvel en la editorial que más cómics vende? ¿Cómo Stan Lee, Jack Kirby, Steve Ditko y tantos otros crearon un universo único? ¿Cómo se crean personajes inmortales (siempre tras alguna muerte para subir ventas) como el Capitán América, el Profesor Xavier o la Antorcha Humana? ¿Cómo antiguos amigos se convierten en encarnizados rivales? ¿Cómo se teje la mitología más poderosa del Siglo XX y comienzos del XXI? Preguntas a las que responde Sean Howe con su Marvel Comics. La Historia Jamás Contada, una joya imprescindible. Excelsior! Lo es: Marvel se ha convertido en una de las mayores mitologías modernas. Décadas y décadas de amistades, enemistades, muertes, nacimientos, hechos heroicos, hechos viles… Y no solo en los propios cómics, sino también en el bullpen (tan distinto del que Stan Lee vendía). No es raro que un fan se imagine que este libro podría ser el guion perfecto de una miniserie al estilo Mad Men, pero contando los problemas de Marvel y sus grandes momentos.
Sean Howe es nuestro guía en este fantástico viaje, desde los inicios de Marvel antes de que se llamase Marvel (cuando a Martin Goodman se le ocurrió eso de crear un universo porque jugó al golf con el presidente de DC) hasta la actualidad. Una exhaustiva obra que nos permite sumergirnos en un mar de datos, que nunca resultan confusos (lo que tiene su mérito), y donde la escritura de Howe se vuelve algo más que amena: adictiva. ¿No es genial cuando dices “voy a dejar de leer ahora” y sigues un párrafo más… y otro… y acabas terminándote un capítulo? Eso pasa con este volumen que llega a más de quinientas páginas. El reparto es gigantesco: el showman Stan Lee, Steve Ditko (y su comportamiento tan suyo), Jack Kirby (el Rey, merecidamente), Steranko (y sus problemas con la ley cuando era joven), Jim Starlin (y sus viajes por otras galaxias más allá del cómic), la gran estrella John Romita, el gran Bill Mantlo, el genial Mark Gruenwald, el siempre cumplidor Sal Buscema, el patriarca mutante Chris Claremont, el asombroso John Byrne… Grandes nombres y momentos se citan en esta página que conforma la auténtica memoria de Marvel, de cómo pasó de ser David a ser Goliat. Lejos de encontrarnos con un estilo narrativo puramente técnico, como ya mencionaba, Sean Howe utiliza las técnicas del Nuevo Periodismo (bueno, ya no tan “Nuevo”, ¡que tiene casi la misma edad que Los 4F!) para meternos dentro de este cómic sin dibujos. Eso hace que haya momentos emocionantes como la salida del primer número de Los Cuatro Fantásticos, graciosos como los contenidos de las cartas que recibía Jim Starlin o el tema de la nariz de Iron Man, tensos como los conflictos de la megaestrella por autonombramiento que es Stan Lee, el “ha muerto la bruja” que siguió a la marcha de cierto editor y algunos sucesos bastante tristes como la muerte de Mark Gruenwald o Jack Kirby. Una colección de hechos, pero también de anécdotas y vivencias que hacen que Marvel Cómics sea lo que es hoy. El periodista Sean Howe, que ha trabajado para Entertainment Weekly o Los Angeles Times entre otros, demuestra una tarea titánica a la hora de realizar más de cien entrevistas y documentarse hasta la médula (como podemos ver en el apartado de bibliografía o en los agradecimientos). ¿Lo mejor? Es joven y seguro que en un par de años puede ampliar esta obra o realizar otras (¿DC, por ejemplo?). Sin duda, todos los marvelitas tenemos un nuevo héroe representado con Howe.

Stan Lee, la cara de Marvel, y un personaje fascinante en sí mismo (véase sus comienzos, su obsesión con el cine…), al igual que los otros creadores que aparecen en el libro.
Si nos ponemos tiquismiquis y buscamos pegas, quizás podamos decir que sentimos que se pasa muy por encima de los cómics de los años ´90 o de lo que supuso la obra de Frank Miller, Alan Moore y demás en los ´80 (aunque no fuera, o al menos no solo, en la Casa de las Ideas). Por ejemplo, se dedica poco espacio para el Mefistazo. De todas formas, no son auténticos fallos que hagan sombra a esta auténtica delicia. El volumen se complementa con un apéndice escrito por Alejandro M. Virtutia y Julián M. Clemente, esas dos conocidas figuras de la edición de Marvel en España. En este capítulo final, añadido a la obra de Howe, se aborda cómo se ha publicado Marvel en España. Un episodio cuanto menos curioso que nos permite ver que, pese a las deficiencias que podemos tener de vez en cuando con los cómics ahora, hasta no hace mucho era aún peor. Quizás algún lector cuestione que los dos autores hablen el uno del otro en estas páginas, pero son ya parte de la historia de la edición de Marvel en España, por lo que es comprensible. Quizás se echa en falta que llegue más allá de 2005, cuando Panini empieza a editar Marvel en España tras la desaparición de Vértice, Brugera, Surco o Fórum. En cuanto a la edición ya no de los cómics, sino de este libro, pese a la tapa dura, el tamaño de letras y demás, la sobrecubierta o el papel de calidad y resistente, se echa en falta más imágenes (como suele incluirse en otros ensayos de editoriales como Dolmen, por ejemplo). Por no mencionar que la portada quizás no hace del todo justicia a lo que debería ser un libro de este calibre (en la edición original tampoco lo hace).
El desenlace de Howe es agridulce. Marvel Comics es una empresa perteneciente a Disney (y menos mal, eso la ha salvado de problemas económicos), que vive más de las películas que de sus propios cómics. Autores que la crearon han muerto sin ser reconocidos como se merecían. Otros escritores y dibujantes no volverían a la editorial ni locos… Y todo esto sigue pasando, porque Marvel está viva, puede que mejor o peor, según el fan, pero es así porque nosotros elegimos lo que queremos con nuestro dinero. Marvel Comics. La Historia Jamás Contada es una obra auténticamente imprescindible, no solo para los fans de Marvel o los cómics en general, sino para cualquiera que quiera descubrir dónde nace la mitología actual más poderosa; porque antes creíamos en dioses, ahora creemos en superhéroes y en los hombres y mujeres que los crearon. Nuff said.
***** (5/5)
DATOS DE LA EDICIÓN MARVEL COMICS: LA HISTORIA JAMÁS CONTADA Novela en tapa dura con sobrecubierta. 560 páginas. Fecha de venta: 03/2013 Precio: € 24.00 Más información
El artículo Marvel Cómics. La historia jamás contada, vida y muerte en La Casa de las Ideas apareció primero en GenComics.

Uncanny, eh?
Children’s television can be absolutely unbearable if you’re not actually a child. Luckily, the smart shows know this and throw you a bone every once in a while.
The BBC’s Horrible Histories recently decided to teach the kiddies about the life of Charles Dickens with a decidedly Smiths-vibe, and it’s an eerily accurate impression. Despite his reputation for being a bit humorless, I hope Moz would get a kick out of this one—I mean, it’s totally funny, and it’s for the kids!
Via Slate
Seamen really have a sense of humor. Ha, ha. Seamen. ( Previously. )
You come to me on this day of rest and relaxation...

Via: andreagrover.com


Via: quicklol.com
RIP, Unsinkable I.

Via: neatorama.com
Roger Ebert (1942-2013) was the world’s most respected and celebrated film critic. I can’t possibly do justice to his legendary career in the movies. For that, I recommend this beautiful obituary from The Chicago Sun-Times, the newspaper Ebert worked for since 1967.
To be honest, up until about four years ago I only knew Ebert from seeing his name on movie posters with the famous “Two thumbs up” tagline. His television shows and film reviews never appeared in Australia (that I know of), so he was always just the ‘movie review guy’ to me.
That was until I found his blog. After Ebert was diagnosed with thyroid cancer in 2002 he underwent several surgeries which left him without a lower jaw or the ability to speak. He found solace on the internet, where he applied his Pulitzer-prize writing skills to the world of blogging. His blog, Roger Ebert’s Journal, took the place of the voice that he had tragically lost and will go down as one of the best-written blogs the internet has ever seen. I don’t remember how I stumbled upon it, but it quickly became one of my favourites. Some of his best articles include his takedown of the pro-creationist film Expelled, where Ebert beautifully argues the case for evolution, his infamous post on why video games can never be art (I strongly disagree with him on that topic) and his past battles with alcoholism (there are literally hundreds of more fantastic posts you can read in the archives). In 2010, Ebert won the Webby award for person of the year “for his contributions to the craft of online writing and journalism” and making the internet “a more thoughtful, engaging and self-aware environment.”
This quote was taken from Ebert’s autobiography Life Itself, which is being turned into a documentary produced by Martin Scorsese.
Profits from the sale of this print will be donated to the Sundance Film Festival’s Roger Ebert Scholarship For Film Criticism.
- Beyond The Valley of the Dolls was a 1970 sexploitation/cult film written by Ebert.
- A fantastic Esquire article from 2010 profiling Ebert’s cancer battle and online work.
- Ebert’s 2011 TED talk on how he lost the ability to speak and his attempt at finding the perfect computer voice (you’ll need tissues for this, I might have shed a few tears while watching).
- One of Ebert’s dreams was to win the New Yorker cartoon caption contest. After entering the contest for years, he finally won with this entry.
- Thanks to everyone who submitted this quote.




SnobOMG OMG OMG!!!
This is the first of several previews by Donald X. Vaccarino, introducing the next Dominion expansion: Guilds. The community is discussing these new cards in the Guilds Preview subforum.
Casimir III, greatest of the Polish kings, came into power in 1333. He took a country in ruins, and brought prosperity to it, while doubling its size, in part by claiming the Duchy of Halicz. Since I am previewing Dominion cards though, that’s all pretty irrelevant.
Guilds is the 8th Dominion expansion. Man. That’s a bunch of expansions. People always ask about a 9th expansion, and I always say, well who knows, but there are good reasons for stopping. You can go read them in some other thread, I am busy previewing a card here, I will get to it any second now. Guilds itself only exists because I needed a small expansion to go in-between Hinterlands and Dark Ages. Base Cards ended up showing up there instead, but I’d already made Guilds, so why not release it.
Guilds has two main mechanics, as you can see in the terse sentences that accompany the flavor paragraph. One of them is coin tokens. And here today is a card that uses them.
The coin tokens are those metal things in Seaside and Prosperity. Guilds has cards that give you some, and then they’re yours, they don’t belong to some Pirates or anything. The significance of a coin token is, in your buy phase, before buying cards, you can cash in any number of coin tokens for +$1 each. That’s it, that’s all there is to know. They’re money you can spend later. The turn you play Baker, you get a coin token; you can cash it in that turn, but you can also hold onto it.
Guilds is the most skill-based expansion, and coin tokens are a big part of that. There you are with $5 some turn; you could buy a card for $5, or maybe a cheaper one. There are a certain number of options. Coin tokens increase your options; with just one coin token, you can now consider cashing it in and getting a card for $6 instead.
Baker has another special twist, which is, it gives players a coin token at the start of the game. You only get one coin token then, not one per Baker in the pile, why is anyone even asking that. You get the coin token even though no-one has a Baker yet and possibly no-one will end up buying one. It’s a free sample.
That starting coin token drastically shakes up the opening two turns. You can get a $3 and a $5 no matter what your starting draw is. If you got $2/$5, you also have the option of $2/$6; if you got $3/$4, you have the option of $4/$4. You can also save that coin token for later and live with your draw.
That’s the preview, I’m here all week.

Os seus muros cairom tempo atrás mas as pegadas da antiga muralha de Compostela ainda som muito visíveis. Queres conhece-las?
Vem logo com a Gentalha fazer a Ronda da Muralha o vindouro Sábado 8 de Junho.
Para fazer a caminhada mais amena pararemos para hidratar-nos nalguns dos senlheiros locais de hotelaria que topemos no caminho.
Combinamos às 19.30 no C.S. O Pichel.
O nosso guia sera o Ldo. en História André Seoane.
Aqui o evento en Facebook.