Please welcome our newest bastard, TreeDangler.
Tales of True Adventure for Rugged Men Not Unlike Yourself
Please welcome our newest bastard, TreeDangler.
“The Shiner,” from MAD Magazine issue 221 (March, 1981).
Art by Angelo Torres, written by Larry Siegel.
I don’t know what to think about this. They blend these songs together pretty seamlessly, and my brain can’t keep up. If you’re needing to increase your hipster credit, watch this and you’ll be headed the right direction…
Here’s a reminder from Beardbrand to keep it tidy. Mahesh is the man, this dude’s beard is EPIC, and these guys play well off each other.
And I can’t stop listening to it.
Wikipedia says “Sloan is a Toronto-based rock/power pop quartet from Halifax, Nova Scotia. Throughout their career, Sloan has released 12 full-length albums, two EPs, a live album, a greatest hits album and more than 30 singles. The band has received nine Juno Award nominations, winning one.”
And yet I’d never heard of them until this song popped up on Underground Garage.
EDIT: Bonus song!
Some of you bastards may recall my obsession last year with Nick Derington’s Cthulhu idol sculpture, of which he only cast 28. (What a bastard.) As a refresher, here’s how H.P. Lovecraft describes the idol in “The Call of Cthulhu” …
The figure, which was finally passed slowly from man to man for close and careful study, was between seven and eight inches in height, and of exquisitely artistic workmanship. It represented a monster of vaguely anthropoid outline, but with an octopus-like head whose face was a mass of feelers, a scaly, rubbery-looking body, prodigious claws on hind and fore feet, and long, narrow wings behind. This thing, which seemed instinct with a fearsome and unnatural malignancy, was of a somewhat bloated corpulence, and squatted evilly on a rectangular block or pedestal covered with undecipherable characters. The tips of the wings touched the back edge of the block, the seat occupied the centre, whilst the long, curved claws of the doubled-up, crouching hind legs gripped the front edge and extended a quarter of the way down toward the bottom of the pedestal. The cephalopod head was bent forward, so that the ends of the facial feelers brushed the backs of huge fore paws which clasped the croucher’s elevated knees. The aspect of the whole was abnormally life-like, and the more subtly fearful because its source was so totally unknown. Its vast, awesome, and incalculable age was unmistakable; yet not one link did it shew with any known type of art belonging to civilisation’s youth— or indeed to any other time. Totally separate and apart, its very material was a mystery; for the soapy, greenish-black stone with its golden or iridescent flecks and striations resembled nothing familiar to geology or mineralogy. The characters along the base were equally baffling; and no member present, despite a representation of half the world’s expert learning in this field, could form the least notion of even their remotest linguistic kinship. They, like the subject and material, belonged to something horribly remote and distinct from mankind as we know it; something frightfully suggestive of old and unhallowed cycles of life in which our world and our conceptions have no part.
Something got me looking online recently to see if any of Derington’s 28 were for sale. No dice, and even if any were available, there’s no way in hell I could afford one. There are tons of awful other interpretations out there, but I did find some substitutes that are pretty cool. In fact, I bought this one on Amazon for about $20.00.
Even better, I stumbled onto a sculptor named Joe Broers, who casts his resin sculptures on demand for about $60.00. Here’s one based on Lovecraft’s original sketches.
I LOVE EET. So much in fact, that I’ve contacted Broers and will be making a purchase in September.
John Byrne is my all-time favorite comic artist, going waaay back to his original run on The Uncanny X-Men beginning with issue 108 in December, 1977. Here’s some potentially big news as reported by Newsarama …
John Byrne has stated that Marvel has reached out to him about new work – which, if it happens, would be his first for the publisher since 2000.
During a spotlight panel at Fan Expo Boston 2018, Byrne revealed it as part of explaining how his self-published continuation of his Uncanny X-Men run, called X-Men: Elsewhen.
“There was some discussion on my website: ‘What if you went back to Marvel?’ and it planted this itch in my brain. I thought, what if I went back to Marvel? Could I go back to Marvel? Can I do that? I haven’t drawn like that in 20 years,” Byrne said (as transcribed by Adventures in Poor Taste).
Byrne has drawn over 20 pages of X-Men: Elsewhen, classifying it as a fun side project he doesn’t intend to publish. Be that as it may, it got the attention ot Marvel’s Editor-In-Chief C.B. Cebulski.
“And then I got an email from C.B. Cebulski saying, ‘Love it! Let’s talk about this!’ Oh, that’s unexpected,” continued Byrne. “So yeah, it just happened as a fun thing. It’s still just a fun thing as far as I’m concerned.”
Not sure what I love best about this cover, the Nazi’s helmet and tank top ensemble, the mummified corpses of previous victims stood up like trophies around the torture chamber, or the damsel’s totally indifferent facial expression.