Ever since college-bound Mike Wazowski (voice of Billy Crystal) was a little monster, he has dreamed of becoming a Scarer—and he knows better than anyone that the best Scarers come from Monsters University (MU). But during his first semester at MU, Mike’s plans are derailed when he crosses paths with hotshot James P. Sullivan, “Sulley” (voice of John Goodman), a natural-born Scarer. The pair’s out-of-control competitive spirit gets them both kicked out of the University’s elite Scare Program. To make matters worse, they realize they will have to work together, along with an odd bunch of misfit monsters, if they ever hope to make things right.
Screaming with laughter and oozing with heart, Disney•Pixar’s Monsters University is directed by Dan Scanlon (Cars, Mater and the Ghostlight, Tracy), produced by Kori Rae (Up, The Incredibles, Monsters, Inc.) and features music from Rock and Roll Hall of Fame inductee and award-winning composer Randy Newman (Monsters, Inc., Toy Story 3). The film opens in U.S. theaters on June 21, 2013, and will be shown in 3D in select theaters.
Mike Wazowski’s (voice of Billy Crystal) lifelong dreams of becoming a Scarer are derailed during his first semester at Monsters University when he crosses paths with hotshot James P. Sullivan, “Sulley” (voice of John Goodman), and their out-of-control competitive spirit gets them both kicked out of the University’s elite Scare Program.l 2013.
This week, the tables are turned as new pulp author Van Allen Plexico himself is interviewed by Dr Art Sippo, Ric Croxton, and Bruce Rosenberger of the Book Cave Podcast. This episode presents excerpts from that interview, discussing Van’s latest SENTINELS novel, METALGOD, as well as his new Military SF novel series, “The Shattering.”
“Yeah, danger is my assignment. I get sent to a lot of places I can’t even pronounce. They all spell the same thing, though. Trouble.”
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In this opening line heard on various episodes, Steve Mitchell, special agent for an unnamed agency charged with protecting America from foreign threats, describesÃÂÃÂÃÂÃÂ Dangerous AssignmentÃÂÃÂÃÂÃÂ perfectly. Focused on Mitchell’s adventures around the world,ÃÂÃÂÃÂÃÂ Dangerous AssignmentÃÂÃÂÃÂÃÂ capitalized on the desire of Americans at the time for patriotic, stalwart heroes to stand up for them. Mitchell, as portrayed by Brian Donlevy definitely fits that bill.
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A multitalented actor, Donlevy had a thirst in his own life for adventure and patriotism. At age 14, Donlevy lied about his age and joined the local Army National Guard in Wisconsin as they became a part of the expedition to capture Pancho Villa. Serving as a bugler then, he also later enlisted and fought in World War I in France.
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Although he had some initial success in theater and silent films, Donlevy came to prominence as a player of tough guys and villains. Such roles inÃÂÃÂÃÂÃÂ Barbary Coast, Destry Rides Again,ÃÂÃÂÃÂÃÂ andÃÂÃÂÃÂÃÂ Beau Geste,ÃÂÃÂÃÂÃÂ assured Donlevy a career in Hollywood and led to other fantastic roles, including that of Steve Mitchell inÃÂÃÂÃÂÃÂ Dangerous Assignment.
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Brian Donlevy shines as Steve Mitchell inÃÂÃÂÃÂÃÂ Dangerous Assignment,ÃÂÃÂÃÂÃÂ Volume 3. Hard boiled delivery and two fisted intensity make Mitchell a fun hero to follow and fight beside! Restored to sparkling audio quality, the episodes in this collection are a great example of 1950s radio adventure!ÃÂÃÂÃÂÃÂ ÃÂÃÂÃÂÃÂ 10ÃÂÃÂÃÂÃÂ hours $29.98 Audio CDs / $14.99 Download.
It was the largest, most ambitious, and most successfulÃÂÃÂÃÂÃÂ military operation ever attempted — and radio was there to cover it.
D-Day, the invasion ofÃÂÃÂÃÂÃÂ Normandy. It was the turning point of the war in Europe, the beginning of theÃÂÃÂÃÂÃÂ end for the Axis as the Allies started their drive towardsÃÂÃÂÃÂÃÂ Germany. It was a momentous event that would change not only the course ofÃÂÃÂÃÂÃÂ World War II, but the history of the world. Radio Archives is pleased and proud toÃÂÃÂÃÂÃÂ offer the complete andÃÂÃÂÃÂÃÂ continuous NBC network coverage of the events of June 6 and 7, 1944.
Noted inspirational author Dr. Norman Vincent Peale, King Haakon VII of Norway, Premier Gerbandy of theÃÂÃÂÃÂÃÂ Netherlands, Premier Pierlot ofÃÂÃÂÃÂÃÂ Belgium, and US Senators Clark, Barkley, White, Hill and Congresswoman Clare Boothe Luce speak, as doesÃÂÃÂÃÂÃÂ the President of the United States, Franklin Delano Roosevelt. GeneralÃÂÃÂÃÂÃÂ Eisenhower speaks from SHAEF headquarters.
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Regular NBC shows were included in the broadcast, ÃÂâÃÂÃÂÃÂÃÂThe BobÃÂÃÂÃÂàHope ShowÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂFibber McGee & MollyÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂThe Guiding LightÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂVic & SadeÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂThe Red Skelton ShowÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂThe Road of LifeÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂTodayÃÂâÃÂÃÂÃÂÃÂs ChildrenÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂMa PerkinsÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂPepper YoungÃÂâÃÂÃÂÃÂÃÂs FamilyÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂMary Noble, Backstage WifeÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂStella DallasÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂLorenzo JonesÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂYoung Widder BrownÃÂâÃÂÃÂÃÂÃÂ, ÃÂâÃÂÃÂÃÂÃÂWhen A Girl MarriesÃÂâÃÂÃÂÃÂàand ÃÂâÃÂÃÂÃÂÃÂFront Page FarrellÃÂâÃÂÃÂÃÂàamong them.
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Hear the events of the day as reported by Ben Grauer, Cesar Saerchinger, Charles F. McCarthy, David Anderson, Don Goddard, Don Hollenbeck, Ed Hocker, Edward R. Murrow, Elmer Peterson, George Wheeler, H. V. Kaltenborn, Herbert M. Clark, James Willard, John W. Vandercook, Louis P. Lockner, Lowell Thomas, Merrill Mueller, Morgan Beatty, Ralph Howard, Richard Harkness, Robert McCormick, Robert St. John, Tommy Traynor, W. W. Chaplin and Wright Bryan. Alex Dreier, in Chicago, recalled his experiences as the last western correspondent in Nazi Germany while Stanley Richardson offered an eyewitness account of the invasion fromÃÂÃÂÃÂÃÂ the Channel boats, and George Hicks reported from the beach-head itself!
These are recordings that many historians believe to beÃÂÃÂÃÂàamong the most valuable audio documents ever preserved. The NBC broadcasts ÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂàcontaining over 38 hours of continuous programming ofÃÂÃÂÃÂànews, music, drama,ÃÂÃÂÃÂàcomedy, and entertainment ÃÂâÃÂÃÂÃÂàare history as it happened, in a special collection that is sure to occupy a special place in your radio collection.ÃÂÃÂÃÂà38ÃÂÃÂÃÂàhours.ÃÂÃÂÃÂàNormally priced at $113.98 Audio CDs / $56.99 Download, D-Day isÃÂÃÂÃÂàSpecially priced through the month of June at only $99.98ÃÂÃÂÃÂàAudio CDs / $49.99 Download.
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On June 6, 2004, in remembrance of the 60th anniversary of the Normandy invasion, the ABC Radio programÃÂÃÂÃÂÃÂ PerspectiveÃÂÃÂÃÂÃÂ featured a fascinating story detailing radio’s coverage of D-Day as it happened in 1944. Written, edited, and narrated by ABC reporter Chuck Sivertsen, the feature utilized clips from the D-Day collection described above. We think this in-depth and well-presented piece provides an excellent overview of the historic content of this collection.
Read byÃÂÃÂÃÂÃÂ Michael C. Gwynne, Joey D’Auria, Nicholas Camm, and John Doyle. Liner Notes by WillÃÂÃÂÃÂÃÂ Murray
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When we released our firstÃÂÃÂÃÂàTerror TalesÃÂÃÂÃÂàaudiobook last Autumn, we werenÃÂâÃÂÃÂÃÂÃÂt sure ifÃÂÃÂÃÂàRadio Archives customers would be enthralledÃÂâÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂor repulsed! It turned out you experiencedÃÂÃÂÃÂàbothÃÂÃÂÃÂàreactions. And in that realization, we see the appeal of stories of the supernatural and tales of bone-chilling horror. People are fascinated by the emotions of fear, horror, terror, and the like.
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Hence,ÃÂÃÂÃÂàTerror Tales, created in 1934 and lasting until 1941. Weirder thanÃÂÃÂÃÂàWeird Tales,ÃÂÃÂÃÂàmore mysterious thanÃÂÃÂÃÂàDime Mystery MagazineÃÂâÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂwhich gave it birthÃÂâÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂit pushed the boundaries of pulp fiction so far it shattered them. WhenÃÂÃÂÃÂàTerrorÃÂâÃÂÃÂÃÂÃÂs editors went too far, the censors shut them down.
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For our secondÃÂÃÂÃÂàTerror TalesÃÂÃÂÃÂàcollection we have again taken the anthology approach. Most of these stories were considered for our first release. They range from the purely supernatural to the horrifically horrible. The authors include Popular PublicationsÃÂâÃÂÃÂÃÂàstar scribes such as Norvell Page, John Knox and Carl Jacobi, sprinkled with stand-out stories penned by lesser lights.
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Here is the lineup:
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Laurence DonovanÃÂâÃÂÃÂÃÂÃÂs ÃÂâÃÂÃÂÃÂÃÂSwamp MadnessÃÂâÃÂÃÂÃÂàopens this dark carnival of doom. What is the dismal thing that emerged from a cursed swamp? And what does it want? In a tale of lunatic revenge, Norvell W. Page offers ÃÂâÃÂÃÂÃÂÃÂBlood on the Moon.ÃÂâÃÂÃÂÃÂàJohn Knox chills with ÃÂâÃÂÃÂÃÂÃÂThe Ice Maiden,ÃÂâÃÂÃÂÃÂàa story of supernatural siege. James Duncan takes us ÃÂâÃÂÃÂÃÂÃÂWhere the Black Cats RuledÃÂâÃÂÃÂÃÂàand unmasks the inner tigress hiding within one manÃÂâÃÂÃÂÃÂÃÂs lover. William Barrett explains why ÃÂâÃÂÃÂÃÂÃÂIt is Dark in My Grave!ÃÂâÃÂÃÂÃÂàin a yarn that out-creeps PoeÃÂâÃÂÃÂÃÂÃÂs ÃÂâÃÂÃÂÃÂÃÂPremature Burial.ÃÂâÃÂÃÂÃÂàCarl Jacobi invites us into ÃÂâÃÂÃÂÃÂÃÂSatanÃÂâÃÂÃÂÃÂÃÂs RoadhouseÃÂâÃÂÃÂÃÂàfor a cold repast of gore and grue. Finally, Raymond Whetstone introduces us to…ÃÂâÃÂÃÂÃÂÃÂMistress of the Damned.ÃÂâÃÂÃÂÃÂàIs she ghost, succubus, or lamia?
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We have invited back the acclaimed readers of our inauguralÃÂÃÂÃÂàTerror TalesÃÂÃÂÃÂàgorefest, Michael C. Gywnne and Joey DÃÂâÃÂÃÂÃÂÃÂAuria, as well as newcomers Nicholas Camm and John Doyle.ÃÂÃÂÃÂàLet them thrill and chill you with their sepulchral storytelling. And try to get a good nightÃÂâÃÂÃÂÃÂÃÂs sleep before you start in. YouÃÂâÃÂÃÂÃÂÃÂll need it for the wide-awake nights that follow….ÃÂÃÂÃÂàÃÂÃÂÃÂà8 hours $31.98 Audio CDs / $15.99 Download.
RadioArchives.comÃÂÃÂÃÂÃÂ and Will Murray are giving away the downloadable version of the newly releasedÃÂÃÂÃÂÃÂ Strange Detective MysteriesÃÂÃÂÃÂÃÂ audiobook for FREE.
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If you prefer the Audio CDs to play in your car or home CD player, the coupon code will subtract the $11.99 price of the download version from the Audio CDs. That makes the Audio CDs half price.
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AddÃÂÃÂÃÂÃÂ Strange Detective MysteriesÃÂÃÂÃÂÃÂ to the shopping cart and use the Coupon Code AUDIOBOOK.
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ÃÂâÃÂÃÂÃÂÃÂStrange Detective Mysteries #1 is one of my favorite pulps and I am excited to produceÃÂÃÂÃÂàit as an audiobook with my good friends at Radio Archives. It leads off with Norvell W. PageÃÂâÃÂÃÂÃÂÃÂsÃÂÃÂÃÂàbizarre novelette, ÃÂâÃÂÃÂÃÂÃÂWhen the Death-Bat Flies,ÃÂâÃÂÃÂÃÂàand includes thrilling stories by Norbert Davis,ÃÂÃÂÃÂàPaul Ernst, Arthur Leo Zagat, Wayne Rogers and others. Popular PublicationsÃÂÃÂÃÂàwent all-out to make this 1937 debut issue a winner. And they succeeded!ÃÂâÃÂÃÂÃÂÃÂ
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Happy listening,
Will Murray
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New Will Murray’s Pulp Classics eBooks
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The best of timeless Pulp now available as cutting edge eBooks!ÃÂÃÂÃÂÃÂ Will Murray’s Pulp ClassicsÃÂÃÂÃÂÃÂ brings the greatest heroes, awesome action, and two fisted thrills to your eReader! Presenting Pulp Icons such as the Spider and Operator #5 as well as wonderfully obscure characters like the Octopus and Captain Satan.ÃÂÃÂÃÂÃÂ Will Murray’s Pulp ClassicsÃÂÃÂÃÂÃÂ brings you the best of yesterday’s Pulp today!
Strange, flaming death had come to New York where screaming mortals died, burned to a charred crisp! Everywhere ran the terrified rumor that an exploring party, returned from Asia, had brought with them a stolen Hindu treasure and the curse of Genghis Khan. It was from this horror that there was born, in Chinatown, a sinister Brotherhood of Murder ÃÂâÃÂÃÂÃÂàcomposed of all the Eastern races and sworn to found an evil empire. Before such a tidal wave of terror and plundering, the metropolitan police were powerless. Only Richard Wentworth, as the Spider, dared challenge the rule of this new and fearful crime-master who had blanketed Manhattan in the human ashes of his helpless victims!ÃÂÃÂÃÂàTotal Pulp Experience. These exciting pulp adventures have been beautifully reformatted for easy reading as an eBook and features every story, every editorial, and every column of the original pulp magazine. $2.99.
In 1934 a new type of magazine was born. Known by various names ÃÂâÃÂÃÂÃÂàthe shudder pulps, mystery-terror magazines, horror-terror magazines ÃÂâÃÂÃÂÃÂàweird menace is the sub-genre term that has survived today.Dime Mystery MagazineÃÂÃÂÃÂàwas one of the most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a collection of stories from the pages ofÃÂÃÂÃÂàDime Mystery Magazine, all written by Arthur Leo Zagat, reissued for todayÃÂâÃÂÃÂÃÂÃÂs readers in electronic format.ÃÂÃÂÃÂà$2.99.
In 1934 a new type of magazine was born. Known by various names ÃÂâÃÂÃÂÃÂàthe shudder pulps, mystery-terror magazines, horror-terror magazines ÃÂâÃÂÃÂÃÂàweird menace is the sub-genre term that has survived today.ÃÂÃÂÃÂàTerror TalesÃÂÃÂÃÂàmagazine was one of the most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a collection of stories from the pages ofÃÂÃÂÃÂàTerror TalesÃÂÃÂÃÂàmagazine byÃÂÃÂÃÂàGeorge Alden Edson,ÃÂÃÂÃÂàreissued for todayÃÂâÃÂÃÂÃÂÃÂs readers in electronic format. $2.99.
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99 cent eBook Singles
Each 99 cent eBook Single contains a single short story, one of the many amazing tales selected from the pages of Terror Tales and Rangeland Romances. These short stories are not included in any of our other eBooks.
What would you do if you knew the ones you loved were doomed to die horribly in your defense?ÃÂÃÂÃÂàIn 1934 a new type of magazine was born. Known by various names ÃÂâÃÂÃÂÃÂàthe shudder pulps, mystery-terror magazines, horror-terror magazines ÃÂâÃÂÃÂÃÂàweird menace is the sub-genre term that has survived today. Terror Tales magazine was one of the most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a classic story from the pages of Terror Tales magazine, reissued for todayÃÂâÃÂÃÂÃÂÃÂs readers in electronic format.ÃÂÃÂÃÂà$0.99.
Lester Emery feared that his body remained in the laboratory, while his disembodied spirit was driven forth to murder ÃÂâÃÂÃÂÃÂàslave to the grim genius of a madman…ÃÂÃÂÃÂàIn 1934 a new type of magazine was born. Known by various names ÃÂâÃÂÃÂÃÂàthe shudder pulps, mystery-terror magazines, horror-terror magazines ÃÂâÃÂÃÂÃÂàweird me most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a classic story from the pages of Terror Tales magazine, reissued for todayÃÂâÃÂÃÂÃÂÃÂs readers in electronic format.ÃÂÃÂÃÂà$0.99.
From nowhere came the hand ÃÂâÃÂÃÂÃÂàbringing with it a lingering death…ÃÂÃÂÃÂàIn 1934 a new type of magazine was born. Known by various names ÃÂâÃÂÃÂÃÂàthe shudder pulps, mystery-terror magazines, horror-terror magazines ÃÂâÃÂÃÂÃÂàweird me most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a classic story from the pages of Terror Tales magazine, reissued for todayÃÂâÃÂÃÂÃÂÃÂs readers in electronic format.ÃÂÃÂÃÂà$0.99.
Warm and lovely was Vangie… but coolly wise. For she wanted no part of BartÃÂâÃÂÃÂÃÂÃÂs beautiful, empty dreams that might come true ÃÂâÃÂÃÂÃÂàsome day.ÃÂÃÂÃÂàOne of the most popular settings for romance stories was the old west, where men were men and women were women. As many a swooning damsel could attest, “There’s something about a cowboy.” The western romance became one of the most popular types of magazines sold during the early and mid-twentieth century.ÃÂÃÂÃÂà$0.99.
Beth didnÃÂâÃÂÃÂÃÂÃÂt mind being an empty-headed flirt ÃÂâÃÂÃÂÃÂàif her arms were full of Jimmy. JimmyÃÂâÃÂÃÂÃÂÃÂs intoxicatinÃÂâÃÂÃÂÃÂàcaressinÃÂâÃÂÃÂÃÂàhad her dizzy in the head ÃÂâÃÂÃÂÃÂàuntil she learned the luscious reason why he was practicinÃÂâÃÂÃÂÃÂàhis technique.ÃÂÃÂÃÂàOne of the most popular settings for romance stories was the old west, where men were men and women were women. As many a swooning damsel could attest, “There’s something about a cowboy.” The western romance became one of the most popular types of magazines sold during the early and mid-twentieth century.ÃÂÃÂÃÂà$0.99.
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All eBooks produced by Radio Archives are available in ePub, Mobi, and PDF formats for the ultimate in compatibility. When you upgrade to a new eReader, you can transfer your eBook to your new device without the need to purchase anything new.
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Find these legendary Pulp tales and more inÃÂÃÂÃÂÃÂ Will Murray’s Pulp Classics, now available at:
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Search forÃÂÃÂÃÂÃÂ RadioArchives.comÃÂÃÂÃÂÃÂ in iTunes.
Receive an exciting original Spider adventureÃÂÃÂÃÂÃÂ FREE!ÃÂÃÂÃÂÃÂ Part of theÃÂÃÂÃÂÃÂ Will Murray Pulp ClassicsÃÂÃÂÃÂÃÂ line, The Spider #11,ÃÂÃÂÃÂÃÂ Prince of the Red LootersÃÂÃÂÃÂÃÂ first saw print in 1934 and features his momentous battle with The Fly and his armies of crazed criminal killers.
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For those who have been unsure about digging into the wonderful world of pulps, this is a perfect chance to give one of these fantastic yarns a real test run. With a full introduction to the Spider written by famed pulp historian and author Will Murray, The Spider #11 was written by one of pulp’s most respected authors, Norvell W. Page. Writing as Grant Stockbridge, Page’s stories included some of the most bizarre and fun takes on heroes and crime fighting in the history of escapist fiction.
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Even today Page’s scenarios and his edge-of-the-seat writing style are still thrilling both new and old fans everywhere. For those who have never read one of these rollercoaster adventures, you are in for a thrill. If you already know how much fun a classic pulp is, make sure you get a copy of this classic.
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See what the Total Pulp Experience is for yourself.ÃÂÃÂÃÂÃÂ These exciting pulp adventures have been beautifully reformatted for easy reading as an eBook and features every story, every editorial, and every column of the original pulp magazine.
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Send an eMail toÃÂÃÂÃÂÃÂ eBooks@RadioArchives.comÃÂÃÂÃÂÃÂ and start reading your FREE copy of ÃÂÃÂÃÂÃÂ the Spider #11 within seconds!ÃÂÃÂÃÂÃÂ Experience The Best Pulps the Past has to offer in the most modern way possible!
The legendary Master of Men returns in two classic stories first released in 1934 and 1942. First, in “The Corpse Cargo” (1934), modern day pirates are hijacking passenger trains instead of shipa. Lead by the self-proclaimed Captain Kidd, as heartless a murderess as ever rode the seven seas, Kidd and her ruthless gang engage in robbery, murder, and mass destruction – and only The Spider dares defy them! Then, in “Slaves of the Ring” (1942), freedom teeters on the bring of extinction as a dictatorship threatens America. Richard Wentworth gathers together a ragtag assortment of men and women to wage the ultimate battle for life and liberty. With every hand against them, the tiny army risks life and limb to preserve the idea of justice and freedom – but can they alone triumph over tyranny? These two exciting pulp adventures have been beautifully reformatted for easy reading and feature both of the original full color covers as well as interior illustrations that accompany each story.ÃÂÃÂÃÂÃÂ On sale for $12.95, save $2.00
The Dark Avenger wages war on organized super-crime in two classic pulp mysteries by Walter B. Gibson writing as “Maxwell Grant.” First, a city’s financial system is threatened by the murderous machinations ofÃÂÃÂÃÂà“Intimidation, Inc.,”ÃÂÃÂÃÂàuntil The Shadow beats them at their own game! Then, the Knight of Darkness strives to unmask theÃÂÃÂÃÂà“Wizard of Crime,”ÃÂÃÂÃÂàthe hidden financial genius behind Intimidation, Inc., in a rare shadowy sequel. This instant collector’s item showcases the classic color pulp covers by George Rozen and the original interior illustrations by Tom Lovell and Paul Orban, with commentary by popular culture historian Will Murray.$14.95.
The original “Man of Steel” returns in three action-packed pulp thrillers by Paul Ernst and Emile Tepperman writing as “Kenneth Robeson.” First, The Avenger is blamed when massive power outages black out North America. Can Dick Benson locate the mastermind calledÃÂÃÂÃÂÃÂ NevloÃÂÃÂÃÂÃÂ in time to prevent a deadly final blackout? Then,ÃÂÃÂÃÂÃÂ Death in Slow MotionÃÂÃÂÃÂÃÂ cripples an American industry, and Justice, Inc. must find an antidote in time to save hundreds from the deadly paralysis plague! Finally, a defeated crook returns to plotÃÂÃÂÃÂÃÂ Vengeance on The AvengerÃÂÃÂÃÂÃÂ in an exciting novelette by Spider-wordsmith Emile Tepperman. This classic pulp reprint includes both color covers by Graves Gladney, Paul Orban’s dynamic interior illustrations and commentary by pulp historian Will Murray.ÃÂÃÂÃÂÃÂ $14.95.
80th Anniversary Commemorative Special.ÃÂÃÂÃÂàCommemorating the Man of Bronze’s anniversary with two expanded novels, restored from Lester Dent’s original manuscripts with never-before-published text! First, a Wall Street scandal sets the Man of Bronze on the golden trail ofÃÂÃÂÃÂà“The Midas Man,”who plots to control the global financial system. Then, while recovering from a serious head wound, a disoriented Doc Savage battles modern-day pirates and murderous zombies inÃÂÃÂÃÂà“The Derelict of Skull Shoal.”ÃÂÃÂÃÂàPLUS: “80 Years of Doc Savage”: a Pictorial History of the Pulps’ Greatest Superman! This landmark collector’s edition features the original color pulp covers by Walter M. Baumhofer and Modest Stein, Paul Orban’s original interior illustrations and new historical commentary by Will Murray, writer of eleven Doc Savage novels.ÃÂÃÂÃÂà$14.95.
80th Anniversary Commemorative Special. Commemorating the Man of Bronze’s anniversary with two expanded novels, restored from Lester Dent’s original manuscripts with never-before-published text! First, a Wall Street scandal sets the Man of Bronze on the golden trail ofÃÂÃÂÃÂà“The Midas Man,”ÃÂÃÂÃÂàwho plots to control the global financial system. Then, while recovering from a serious head wound, a disoriented Doc Savage battles modern-day pirates and murderous zombies inÃÂÃÂÃÂà“The Derelict of Skull Shoal.”ÃÂÃÂÃÂàPLUS: “80 Years of Doc Savage”: a Pictorial History of the Pulps’ Greatest Superman! This landmark collector’s edition features the original color pulp covers by Walter M. Baumhofer and Modest Stein, Paul Orban’s original interior illustrations and new historical commentary by Will Murray, writer of eleven Doc Savage novels.ÃÂÃÂÃÂà$14.95.
This is an authentic replica of an original pulp magazine published by Girasol Collectables. This edition is designed to give the reader an authentic taste of what a typical pulp magazine was like when it was first issued – but without the frailty or expense of trying to find a decades-old collectable to enjoy. The outer covers, the interior pages, and the advertisements are reprinted just as they appeared in the original magazine, left intact to give the reader the true feel of the original as well as an appreciation for the way in which these publications were first offered to their avid readers.ÃÂÃÂÃÂàTo further enhance the ÃÂâÃÂÃÂÃÂÃÂpulp experienceÃÂâÃÂÃÂÃÂÃÂ, this edition is printed on off-white bond paper intended to simulate the original look while, at the same time, assuring that this edition will last far longer than the original upon which it is based. The overall construction and appearance of this reprint is designed to be as faithful to the original magazine as is reasonably possible, given the unavoidable changes in production methods and materials. $35.00
Eighty years ago in February, 1933 the Street & Smith company released theÃÂÃÂÃÂàfirst issue ofÃÂÃÂÃÂàDoc Savage Magazine, introducing one of the most popular and influential pulp superheroes ever to hit the American scene. Doc Savage was the greatest adventurer and scientist of his era, and while his magazine ended in 1949, he influenced the creators of Superman, Batman, Star Trek, The Man from UNCLE and the Marvel UniverseÃÂâÃÂÃÂÃÂÃÂto name only a few.
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While that first issue ofÃÂÃÂÃÂàDoc SavageÃÂÃÂÃÂàwas fresh on Depression newsstands, RKO Radio Pictures released one of the most important fantasy films of all time. Everyone knows the story of how King Kong was discovered on Skull Island and hauled back to New York in chains, only to perish tragically atop the worldÃÂâÃÂÃÂÃÂÃÂs tallest skyscraper, the Empire State Building.
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As it happened, that was where Doc Savage had his world headquarters. For decades, fans have wondered: Where was Doc the day Kong fell?
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On the eightieth anniversary of these fictional giants, Altus Press is proud to release the first authorized clash between The Man of Bronze and the Eighth Wonder of the WorldÃÂâÃÂÃÂÃÂÃÂDoc Savage: Skull Island. Written by Will Murray in collaboration with Joe DeVito, creator ofÃÂÃÂÃÂàKONG: King of Skull Island,ÃÂÃÂÃÂàDoc Savage: Skull IslandÃÂÃÂÃÂàis a new pulp epic.
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The story opens when Doc returns from his secret retreat in the NorthÃÂÃÂÃÂÃÂ Pole to discover the cold corpse of Kong lying on his doorstep.
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ÃÂâÃÂÃÂÃÂÃÂI know this creature,ÃÂâÃÂÃÂÃÂàDoc tells his dumbfounded men.
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Tasked to dispose of the remains, the Man of Bronze then relates the untold story of his epic encounter with Kong back in 1920, after Doc returns from service in World War I, long before Kong became known to the civilized world as ÃÂâÃÂÃÂÃÂÃÂKingÃÂâÃÂÃÂÃÂàKong.
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Doc Savage: Skull IslandÃÂÃÂÃÂàis a multi-generational story in which Doc and his fatherÃÂâÃÂÃÂÃÂÃÂthe man who placed him in the hands of scientists who made him into a supermanÃÂâÃÂÃÂÃÂÃÂsail to the Indian Ocean in search of DocÃÂâÃÂÃÂÃÂÃÂs grandfather, the legendary Stormalong Savage, whose famous clipper ship has been discovered floating, deserted, her masts snapped by some incredible force.
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The quest for Stormalong Savage leads to the fog-shrouded Indian OceanÃÂÃÂÃÂàandÃÂâÃÂÃÂÃÂÃÂSkull Island! There, Doc Savage faces his first great test as he encounters its prehistoric dangers and tangles with the towering, unstoppable Kong.
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ÃÂâÃÂÃÂÃÂÃÂWhen Joe DeVito brought this idea to me,ÃÂâÃÂÃÂÃÂàsays Will Murray, ÃÂâÃÂÃÂÃÂÃÂI knew it had to be written with reverence for both of these immortal characters. So I used the locale of Skull Island to tell a larger story, an untold origin for Doc Savage. It all started back on Skull IslandÃÂâÃÂÃÂÃÂæ.ÃÂâÃÂÃÂÃÂÃÂ
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ÃÂâÃÂÃÂÃÂÃÂPulling off the first ever face-off between Doc Savage and King KongÃÂÃÂÃÂàwas both challenging and exhilarating,ÃÂâÃÂÃÂÃÂàadds DeVito. ÃÂâÃÂÃÂÃÂÃÂWillÃÂâÃÂÃÂÃÂÃÂs unique take on the taleÃÂÃÂÃÂàscatters the primordial mists surrounding Skull Island long enough to reveal secrets of both classic characters hidden since their creation.ÃÂâÃÂÃÂÃÂÃÂ
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Doc Savage: Skull IslandÃÂÃÂÃÂàhas already been hailed as ÃÂâÃÂÃÂÃÂÃÂThe Doc Savage novel that Doc fans have been waiting on for 80 years!ÃÂâÃÂÃÂÃÂÃÂ
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Doc Savage: Skull IslandÃÂÃÂÃÂàis the fifth entry in Altus PressÃÂâÃÂÃÂÃÂàpopular Wild Adventures of Doc Savage series. Cover by Joe DeVito.ÃÂÃÂÃÂà$24.95.
“The Red Blot” was originally published in the June 1, 1933 issue of The Shadow Magazine. Crime has struck New York. Strange, unexplainable crime. All orchestrated by the master criminal who leaves behind a red blot. The Shadow must uncover his hidden hoard of mobsters before he can confront the mastermind known as the Red Blot!
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The Shadow is on the case. As our story opens, The Shadow is in his sanctum, reviewing the crimes that have left men of wealth in terror. A bank messenger had been shot down in broad daylight. The assailants mysteriously disappeared after a police chase. Upon the sidewalk where the man had been slain was a huge blot of crimson. That was how it all began. But it didn’t stop there.
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A gambling club was the next target of the strange band. Police had arrived at the club as the crooks were escaping with a large amount of cash. Again, the perpetrators escaped by some strange unknown method. And on the green felt of the central card table in the club was a huge dab of dulled crimson. The Red Blot had struck again.
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Then there was the theft of a painting valued at many thousands. Left behind, a large red blot. Once again the criminals departed with impunity, disappearing before the police could gather them up. And most recently, a big-time fight promoter was strangled in his apartment. His bankroll of a hundred thousand dollars was stolen; on his white starched shirt front was the familiar dread sign of spattered crimson.
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The police were baffled. They had not gathered a single clue. As we view The Shadow in his sanctum, he begins piecing together what few meager clues his agents have accumulated. The report sheets and clippings seem to point The Shadow in the right direction: old Timothy Baruch’s pawnshop.
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Timothy Baruch is one of the oddest characters on the East Side. He’s been a pawnbroker for years and rumor has it that his safe contains jewels and other wealth of great enough value to tempt the Red Blot. The Shadow decides a visit to the pawnshop is in order. Word from the underworld, via his secret agents, is that the pawnshop will be struck at 11 PM. The Shadow decides to show up early.
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With plenty of time to spare, The Shadow appears at Baruch’s pawnshop
Rodger Johnson writes: Just finished listening to “KONG King of Skull Island” You outdid yourself on this one, best audio book I have ever heard…Perfect story.
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Christopher Southworth writes: Thank you once again for providing quality downloads of classic pulps. I’m very interested in acquiring eBooks of some of the various “G-man” series, if they are available.
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If you’d like to share a comment with us or if you have a question or a suggestion send an email toÃÂÃÂÃÂÃÂ Service@RadioArchives.com. We’d love to hear from you!
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The products you’ve read about in this newsletter are just a small fraction of what you’ll find waiting for you atÃÂÃÂÃÂÃÂ RadioArchives.com. Whether it’s the sparkling audio fidelity of our classic radio collections, the excitement of our new line of audiobooks, or the timeless novels of the pulp heroes, you’ll find hundreds of intriguing items atÃÂÃÂÃÂÃÂ RadioArchives.com.
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Maybe you’ve been on a vision quest in the Himalayas, or maybe you’ve just been in a coma, so I’ll try too negotiate the next few hundred words without dropping any spoilers. The subject is the movie that looks like it will be the summer’s monster, Iron Man 3, and by now, most of you have seen it, or are planning to see it, or have at least read reviews. As a lowly scribe who once wrote the Iron Man comic book – yes, kids, it was a comic book first – I might be expected to have an opinion about it and I do. But I did promise no spoilers and to state what I liked about it would probably constitute a spoiler…
What’s a fellow to do?
Go at the problem from another angle? Okay: What I did not like about the movie was all the kabooms. Lots and lots of fireworks. Big explosions. Then more big explosions. Hey, no elitism here: I understand the entertainment value of pyrotechnics and to complain about explosions in a film designed to be a summer blockbuster is kind of like attending the opera and bitching about all the screechy singing. But maybe a little moderation? I wearied of all the noise and shrapnel and flame coming at my 3D glasses. Enough was enough. Less might have been more. Anything stuffed down your throat will eventually make you gag.
There you have my major kvetch: the explosions.
I guess I could complain that the villain’s motivations could have been more thoroughly explained, but you might not agree. And if we got rid of a few explosions, the movie would have been been a tad shorter and that might have benefitted it. But none of this constitutes major inadequacy. You pay for your ticket and you get what you paid for, that special kind of summer respite that only happens in cool theaters on hot days. It has been significant pleasure in my life for some 40 years and it still is. (You think I’m not going to see The Man of Steel and The Wolverine and even The Lone Ranger when they grace the multiplex in a month or two? Ha!)
But superhero movies are maturing, as did westerns and badge operas and science fiction before them. While still delivering the spectacle and fantastic heroics that characterize the genre, they’re being put to other uses, too. They’re telling the kind of stories that help us define ourselves, which is something stories have always done. First, there was The Batman trilogy, which was, beneath all the swashbuckling, a tale of redemption. Now, we have the Iron Man movies, which, if you squint a little, also constitute a trilogy and use the character of Tony Stark to…
Whoa! I promised no spoilers. So, if you haven’t already seen it, watch for the scene in which Tony mentions a cocoon and the shot of Tony standing on a cliff. They’ll tell you what I think the movie is really about.
Raymond “Ray” Harryhausen (June 29, 1920 – May 7, 2013) died today at age 92, leaving behind a legacy of pioneering special effects work and a filmography that has deeply influenced writers, artists, and filmmakers for generations.
Dubbed by Starlog as “The Man Who Work Miracles”, he was one of the most influential movie makers who was himself inspired by Willis O’Brien’s stop-motion animation in King Kong. He took O’Brien’s efforts and improved upon them, branding it as Dynamation.
Although he resided in England for the majority of his adult life, Harryhausen was born in Los Angeles. King Kong was the spark that set him on a course towards a career in film, meticulously creating miniatures that could be photographed a few frames at a time followed by the tiniest of movements, followed by more frames, until the model appeared to move across the screen. This was done with artistry and engineering know-how long before Industrial Light and Magic brought computer-aided technology to the process.
When the legend met the student, they bonded quickly and Harryhausen was given pointers to improve his work through trial, error and art classes. Along the way, he befriended fellow Angelino Ray Bradbury, just at the beginning of his fantastic career. Little wonder they both belonged to Forrest J. Ackerman’s Science Fiction League, linking the trio until their deaths.
Like O’Brien, Harryhausen strove for realistic creatures to confront the live-action performers, drawing inspiration from the myths and legends familiar to people the world over. He began his professional career with George Pal, contributing to his series of Puppetoon shorts. World War II intervened and Harryhausen was assigned to the Special Services Division, continuing to make movies. This proved an invaluable tutorial and lab for experimenting with his animation techniques.
Soon after leaving the service, he embarked on the first of several dream projects that would dot his career. He did some demo footage based on H. G. Wells’ The War of the Worlds but the project never materialized. Instead, he was hired to work on Mighty Joe Young, letting the master and student work together and earning them earning them the Academy Award in 1949 for best Special Effects. Harryhausen was hired solo to provide the effects to The Monster from Beneath the Sea. When a connection was made to Bradbury’s story “The Fog Horn”, the film was renamed The Beast from 20,000 Fathoms, the story’s original title and was released to acclaim and box office success in 1953.
By this point, Harryhausen had developed the technique that saw him shoot the actors then animate the creatures, splitting the image between foreground and background, the latter becoming a rear projection with the models before it. With mattes, the images were combined and Dynamation was born, although it was named later.
Harryhausen continued to evolve his work and then made the leap to color with The 7th Voyage of Sinbad in 1958. By now, he was partnered with producer Charles H. Schneer – beginning with It Came from Beneath the Sea (1955) — who helped him perfect the shift to color, experimenting with different stocks until the look was right. Given the requirements of the models, Harryhausen became far more intimately involved in the story than most effects men ever did, ultimately co-directing many features although Director’s Guild rules denied him his proper credits.
The Sinbad series of films found an eager audience in the later 1950s and early 1960s as all things fantastic played well on screen. It offered adults, and their children, a wholesome escape from the Cold War tensions. It wasn’t all fantasy and monsters as Harryhausen and Schneer also produced several science fiction tales, such as 20 Million Miles to Earth (1957).
They continued to produce works that stretched the imagination until 1963 and what is considered by many his finest outing, Jason and the Argonauts. Here, there was the amazing complex battle with the skeletons and the multi-armed gorgon. Little wonder that Tom Hanks, who first saw it as a kid, proclaimed years later, “Some people say Casablanca or Citizen Kane…I say Jason and the Argonauts is the greatest film ever made!”
Despite this pinnacle of technological achievement, tastes were changing and he endured a series of box office failures. After losing his contract with Columbia Pictures, he wound up in England working for Hammer Films’ One Million Years B.C. (1967). That film’s success allowed him to on to make The Valley of Gwangi (1969),a labor of love considering it was O’Brien’s unrealized dream project.
Harryhausen endured a lean 1970s, kept in the minds of readers thanks to Ackerman’s devoted retrospectives in the pages of Famous Monsters of Filmland. Finally, thanks to Star Wars, inspired in part by Harryhausen’s work, the appetite for fantasy was back and he revived Sinbad beginning with The Golden Voyage of Sinbad. This and its sequel Sinbad and the Eye of the Tiger were suddenly feeling dated and jokey, not at all what modern day audiences found palatable.
He put everything he had into his Greek myth opus Clash of the Titans (1981), working with protégés Steve Archer Jim Danforth, much as O’Brien mentored him. With a star-studded cast and the addition of the impressive Kraken, the film was a last hurrah but for audiences now used to computer-generated effects, it looked and felt dated. Harryhausen was effectively retired, like it or not.
Thankfully, his work was rediscovered with h advent of magazines like Starlog, the rise of cable television, and a new generation of fans enchanted by his creations. As a result, he released several lovely books about his career: Film Fantasy Scrapbook, An Animated Life, The Art of Ray Harryhausen, and A Century of Model Animation. With the arrival of home video, Harryhausen personally oversaw the restoration and transfer of his films, from VHS to Blu-ray.
Harryhausen relocated to England in 1960 and in 2005, donated his archive, some 50,000 pieces, to the National Media Museum in Bradford, England. His efforts have not gone unrewarded such as being given the Gordon E. Sawyer Award for “technological contributions [which] have brought credit to the industry” in 1992, handed to him by Bradbury, and a special BAFTA award, delivered by director Peter Jackson.
Hollywood didn’t forget Harryhausen either, with Columbia’s parent, Sony, naming their main screening theater after him and his receipt of a star on the Hollywood Walk of Fame.
His influence and spirit will live on for generations to come thanks to his films being available to enjoy and the generations of filmmakers he inspired.
We’ve got more with David Giuntoli, star of NBC’s GRIMM, on what is the big reveal for season two and what we can expect in Season 3, plus Free Comic Book Day fun & profits, Image’s big sales and comics in general with another good month in the shops, except for DC.
Looks like it is just Interview Central around here these days, folks. Because following up on last week’s column, in which I briefly recapped my Awesome Con DC experience and posted my interview with the fantastic Phil LaMarr (go read/listen if you missed it last week! Good stuff!), I now get to share with you my Awesome Con DC interview with the excellent Billy West! Hooray!
Even if you somehow haven’t heard the name Billy West, before, I almost guarantee you’ve heard his voice. Voicing everything from classic cartoon characters like Bugs Bunny, Porky Pig, Elmer Fudd, Woody Woodpecker, and Popeye to four of the main characters on Futurama (Philip J. Fry, Professor Farnsworth, Dr. Zoidberg, and Zapp Brannigan), Billy has voiced characters on a myriad of other shows as well, including title characters for Nickelodeon’s Doug and TheRen & Stimpy Show; and is also the current voice of product mascots Red the M&M and Buzz the Honey Nut Cheerios bee. Billy was also one of the voices of The Howard Stern Show from 1989 to 1995, where he did astonishing impressions of everyone from Johnny Carson and Al Michaels to an ailing Lucille Ball. (His Jay Leno is uncanny.) As a voice actor, Billy has an amazing range – going seamlessly from one character and reaction to another; and you can see some fun examples of that <a href=”
here. For a good time, I also recommend the <a href=”
Star Wars Trilogy: The Radio Play video, shot at ECCC last year and featuring Billy and a number of other talented voice actors doing the script of Star Wars in some of their iconic voices (including, for Billy, Stimpy, Fry, Farnsworth, and Zoidberg). My absolute favorite bit is when he does Porky Pig at about 45 minutes in. Seriously. You must watch it.
But quickly! Before I get lost in YouTube again: let’s get to the interview! If you want to listen to the interview (listen to it! He does Richard Nixon’s head in a jar!) you can do so <a href=”
here. Or, you can read the (slightly edited) transcript below!
Hello, this is Emily Whitten for ComicMix, here with Billy West at Awesome Con in DC. Billy, thank you for being here with us – and Billy is busy, so we’re doing this while he eats.
I ain’t that busy; I can talk with a mouth full of vegan sandwich.
That’s fair! So you are such an amazingly storied voice actor, etcetera…
Aww, thank you.
There’s a lot to talk about, but I’m going to try to distill it down a little bit. Let’s start with the earlier things; so – how did you decide to get into voice acting? Because I know you also are and were a musician; so what was the career path there?
Well, I remember I was like a little freak, you know? I was always running around making noises, and doing voices. Every time I wanted to play the piano – we didn’t have one, but if we were at somebody’s house – to me that was a golden opportunity. I just wanted to hear it, touch it, and make it do something; because the sonic world that I had going on in my head would dictate that I would go over there; but the thing was: I couldn’t play. And down comes the lid: “Can you not do that?” I heard that more than any other kid, probably, in the world, “Can you not do that?” And I was always trying stuff; it was peripheral and surreal; abstract stuff, but, you know.
I had a weird childhood. My house was a horror-house, and my dad was just, like, certifiable, and a drunk and a crazy; so I was growing up kind of terrified. And I was very hyper-vigilant. I could tune in to things – like I could tell you what kind of a night I was going to have by the way the car pulled up in the driveway, or the way the key went in the door. I was so in tune with people’s behaviors – you know, out of survival mode. But it also trained me, like a cop. I was becoming an observer; an extreme observer.
So from your experiences, you were able to be observant about people and how they acted and how they behaved, and so that would help you later on?
And I loved radio. Oh, I loved radio so much, because of the voices. And there were still some radio plays going on when I was a kid. There was a radio guy named Stan Frebergthat had a radio show; and he had one of my favorite voice guys on it, whose name was Daws Butler, and he did a lot of the Hanna-Barbera stuff. He was a little ball of fire, this Daws Butler; and I just came to know these people. But there was no way you could know anything about show business in those days; because there was no emphasis on it. That was for “other people.” You know, “Well who?” It was like: nobody in my town. I was such a geek, I had to hunt down the only other kid who had comic books, and he lived on the other side of town. I just set my inner GPS and found him. I just walked and walked until I found him somewhere.
So what kind of comics did you read, when you and this kid were growing up?
Silly stuff; we read the Marvel stuff – I didn’t mean that that was silly – [Marvel and] DC comics were not silly, they were exciting. But, like, Gold Key Comics were silly; there was The Fly, which was Archie Comics, and he was their superhero – and he fell by the wayside because the other machines were a little more happening and powerful. But I had the original issues of some really important comic books. I had secret origins of like, Batman and all of those. They came out around 1960; 1959, maybe 1961.
Do you still have them?
No. No, it went up my nose, heh.
Back in the day?
Yeah.
Well, do you still follow comics these days?
I try to. I like the revamps of stuff they’re doing. Because there’s so much time that has gone by, that these characters have been around, and eventually they’ve got to morph. You know, they’re not going to get older on us, even though they can dance in and out of timeframes, to show old Superman, like where he wound up.
Yeah; they did that, of course.
Yeah! And there are so many comic books that it’s tough to keep track of them.
Do you watch the movies?
I try to go to movies, yeah, when I can. I’m writing a lot, and I stay up late, late into the evening.
Oh, okay, what are you writing right now?
There are a couple of projects that I’ve got going with my partner that I worked with on Ren & Stimpy. His name is Jim Gomez; and we’ve put together five fully developed shows, most of them animated. We’re pitching them around town, and we’ll see what happens. I love doing what I’m doing – you know, I can be an objective fulfillment machine for the rest of my life – but at some point I do want to create or own something, and give myself the objective.
I think all creators feel that way – it just makes sense.
Yeah – I mean, but I will still always go and work for somebody else, probably doing voice-over.
Now you said that you love radio, and you’ve been on the radio – and I know when I was growing up, I heard you on K-Rock; so tell me, what was that experience like? I mean, I used to listen to that in the morning, when I was getting ready for school…
Didn’t you feel like there was subterfuge involved with that? Like you couldn’t just let everybody hear that.
Yeeeaaah; don’t tell my parents, okay? They didn’t like that show; they didn’t like Howard Stern. I had to be subtle about it.
Of course not. Of course not; but the people who listened to it got it. They understood that everything was silly. It was all about being totally silly in the face of the most horrific subjects.
And pushing boundaries.
Yes, pushing boundaries. It was very organic. We didn’t play records. And Howard was a great ringmaster; he knew, okay, when something’s enough. We’d beat it so far, that’s fine, let’s go to commercial and we’ll start something else. He’d always keep things moving.
And how did you end up working there? I know you’d worked in radio before that.
I was in radio in Boston, and I wasn’t a disc jockey. I was very creative, and showcasing the works of others for a living didn’t turn me on; because I would always feel like a curator in a museum. But these disc jockeys were really pompous about playing records, and it’s like, “Dude, you didn’t create the statues; you just dust them.” And I used to get reamed for having that type of attitude. It’s like, “You’re not allowed to unmask these icons,” and it’s like, “Screw you. You don’t do anything.” I was always surly because there was so much phoniness that used to drive me crazy. My heroes were the artists, not people who were famous for some cottage industry reason – like disc jockeys or TV show hosts. They’re not creating anything. So my heroes were never celebrities. It was always artists. And if they happened to be a celebrity that was a byproduct of their great artistic talent.
Right. So being on a show like The Howard Stern Show, where you got to interact and do your own thing, that was what you were looking for.
That was very appealing to me. And you had to be ready for anything.
So did that help you prepare in large part for the voice acting? And were you also doing voice acting some when you were on the show, or did that come later?
Well I’d already been doing voice acting in Boston, on the radio, and then when I went to New York there was just more of an opportunity to open up and to push myself to see what I was capable of. Plus, I had one of the funniest people in the universe lobbing in little lines here and there for me. But people said, “Ah, Jackie wrote everything for you.” Hey, yeah, sure: let me just talk straight, in a character, for seven minutes. A guy can’t write every bit of dialogue that you say for seven minutes. He can put in ideas, and you integrate them into your conversation. I mean, he did it for Howard all the time. But Howard was very generous; I mean, that’s like loaning somebody a nuclear weapon, that he would let Jackie Martling facilitate me.
And now when you were doing all of this, I know you also played guitar and had a band, and you’ve played guitar with Roy Orbison, Brian Wilson…
Oh, I opened up for a lot of famous guys that I knew growing up, like Roy Orbison, Chuck Berry, The Four Seasons, and Jan and Dean… And later on in life I actually got to play with Brian Wilson.
When was that happening, in comparison to the radio and the voice acting?
Radio just started happening as I was phasing out of playing music.
Okay, so that came a little bit before?
Yes, and then after a moratorium, when I did pick up again, in the future, as the years went by, I wound up playing with one of my idols, which was Brian Wilson.
So what was it like playing with Brian Wilson?
It was so strange; because the first time I played with him, we were at a little hall in Santa Monica, by the beach; and it was me and The Cars guitar player – Elliot Easton – and we were playing with Brian, and then a friend of mine was playing bass. We put together a little band; but I mean, I knew every note of the whole catalogue, I knew every harmony, I knew every chord change, because I was so into The Beach Boys. The Beatles and Jeff Beck; the English stuff was good. But The Beach Boys were our band. And it was like a dream, you know, just playing with Brian Wilson.
And then next thing, we’re at Lincoln Center. And then we played David Letterman. And it was crazy, I mean I’m playing these songs with Brian Wilson; and I still can’t get over it. You know, he did all those hot rod songs – girls, and cars, and fun – and we did 409 onstage, and he was singing 409, which is the old hot rod song, and in the chorus, “Nothing can catch her, nothing can touch my 409, 409,” I started going (hot rod revving noises), and he looked over with this happy, astonished smile, like a little child. He’s like: “What’s going on? But I love this, whatever you’re doing over there.”
Oh, that’s fantastic. So now obviously your voice acting is a large part of your career, and Futurama is a huge part of that – and you developed Philip Fry, well Philip J. Fry, if I’m doing the whole name —
— Well that’s because most cartoon characters’ middle initial is J. Rocket J. Squirrel; Homer J. Simpson; Stimpson J. Cat.
Yes. So when you were developing that character; you’ve said that Fry is similar to you at twenty-five; so when they had you in auditioning for Futurama, did they ask you to develop that character; did you come in saying “this is something I have,” or what?
They showed me the pictures when I went in, and there was some dialogue they wanted me to read; and…you know what it’s like – something, you look at it and it just gives you an impression, and depending on your experience, or your talent, or your intuition, you’re hoping that you’ll come up with what they’re looking for. And all of them were pretty much very close to what I gave them. They described Fry, and I said, “You know what? I don’t do this very often, but I’m going to just use my own voice, like when I was twenty-five.” I remember, I was very whinyyy, and complainyyy, and I just know I had a plain vanilla voice. I had no idea I had this wild animal in my throat somewhere; this big clumsy beast that could do anything. You know, I really didn’t know back in those days. Because I was singing and playing. But I would go in and do voices on stage like when we blew up an amp, or a string snapped, or whatever. Out of embarrassment, I would just keep going and entertaining. Might not have been the music or anything, but people loved it. Launching into characters that I would make up, and imitate, or whatever.
Right. And now, on Futurama, you do a lot of the voices. How did that come about?
They would just keep showing me pictures, and I auditioned for everybody, including Bender. I played him as a construction worker, and John DiMaggio came in and mopped the floor with that audition. He played him as kind of a punch-drunk fighter.
Yes, Bender is a great voice.
Oh, it’s beautiful. And it developed into what it is. In the beginning, none of us sounded like who we were. I mean, that’s who we thought we were, at the time, but voices morph. You listen to an episode #10 from The Simpsons, and you listen to the 200th episode, and it’s like, “Huh?” Well, Homer Simpson was like (voice impression), and then later on he developed all of these other facets that make the character so interesting and believable.
Yes. Now in Futurama, or your other roles, what are your favorite characters to play or have played? And what were the most difficult?
I love doing all the characters, and I love them equally; so I can’t pick out a favorite. Because I just try to bring so much imagination to it. I was always trying to do something nobody had done, and that served me well. I didn’t want to mimic people. I could do it – I’ve held up franchises. I did four years of Woody Woodpecker; and Popeye…the works, you know? But you only make your mark for real if you start creating and it catches on. And you have faith that you’re just as good as those impressions that you relied on; that were your little power base.
Right, well because they were starting out once, and they made up those voices, and so why not you? And so what was the most difficult voice to do?
I don’t know; I know that I had become fearless; totally fearless. I’m not afraid of anything, and I’m willing to try anything. I’m willing to fail. I was like that in comedy clubs. Because it didn’t make sense to me – why should I memorize twelve minutes worth of material and then go out and pretend every night that I’d just thought of it? I needed stakes. I needed real things at stake like dying or bombing [on stage]. I really did, and I wasn’t afraid to.
Did you do a lot of stand-up?
Not a lot. A little bit, and then I got into radio, and that was it. Stand-up is very, very hard. There are guys that are just so, so amazing at it and everything. But my forte was not stage performance, doing stand-up. My forte was radio; and that was a bigger playground. You could dodge in and out of characters, and you didn’t even have to have written material; you could ad-lib while you’ve got these crazy voices going back and forth.
In your voice work, how much do they want you to or let you ad-lib?
They want to get what they want to get; ideally, what they had in mind. And then after you do that and they’re happy with it, they ask you if you thought of anything, or you want to add or bring something; and a lot of times I would, and a lot of times it made it in. A lot of it just winds up – they want more rather than less. Because that way they have options; they can play with stuff they didn’t think would work and all of a sudden, oh my God, it works beautifully.
Right. Because sometimes improvisation is the best part of life.
Yeah; but it’s also this constant wonderment of discovery – whether something’s going to work or not. That’s exploration. It’s like, you try to control every aspect of everything as much as you can, but when serendipitous things happen, like, “What was that thing you just did?” “Oh, you mean this?” and they’d say, “Yeah, what if he just goes right into that?”
Like when I did Nixon – I’m old enough to remember when Nixon was running for President, and John F. Kennedy, and they did the debate on TV. And I was astonished at how perfect Kennedy looked – like a game show host, with his perfect teeth, and his buttered-toast hair. He was made for TV. Nixon was made for wanted posters. He looked like a stolen car. And he was (in character) “shifty-eyed, and he was nervous and…ar-rar-rar.” And he was sweating. While the interview was continuing, he was getting worse, and his beard was coming in; you could practically see the bottom half of his face get darker and darker. And I said to my mom, “Mom, he’s going to turn into a werewolf!” Because I loved horror movies, like with Lon Chaneyslowly turning into the werewolf. Nixon was kind of almost there – lycanthropic. So he was just doing his thing, and I said, “That’s awful; he’s almost unwatchable.”
And then years later, I get the chance to do Nixon, as a head in a jar, and I would say something like, (in character) “You filthy hippies, get off the grass outside this White House,” and then all of a sudden I would go: (werewolf noises). Like I was changing. You know, just replacing words with noises and stuff.
Hah, wow. I know it’s hard work, but it just sounds like so much fun.
Well, you gotta keep coming up with new bags of tricks, and keep expanding them and everything. That’s how you keep working.
Now you were saying earlier that you have essentially had conversations with yourself. Some examples of that are Farnsworth introducing Fry to Zoidberg [in Futurama], and then Doug and his arch-nemesis. How do you deal with that; how does that work in your head? Because that seems to be even a double challenge over consistently trying to sound a certain way.
It’s like I had my boot camp training in Boston doing consecutive voices. Because I got a job as a producer; and there’s no producer school you can go to. I had to learn how to splice tape, and I had to learn how to write and create my own characters and bits; and then put it together so it could be air-able; with sound effects, and music, and everything. I didn’t quite know what I was doing, but I just did it.
And it works for you!
Yeah, I mean, I’m very strange in that way; like I still, to this day, can’t tie my shoes properly, I just can’t. And a necktie, I have problems with. I can’t do anything practical; but if you ask me to do something only like, four or five other people in the world can do, I have no problem.
So now as a voice actor, what’s the experience of celebrity? How do you experience that as someone who’s mostly known by different voices, so someone might not actually know, talking to you, that yours was the voice they’ve heard on shows?
Well, celebrities were never my heroes. Never. To this day, I don’t give a dismal damn, really, whether Kim’s having problems with her pregnancy, or whatever. It’s like, “Fuck you.” You know what? Anybody who can fart the national anthem can become a celebrity. Any stupid-looking bald guy can throw on an earring and a goatee and a leather jacket, and now he’s Pawn Stars. And they pose these guys like rappers, like album covers; they’re all big, bad, and bald – and they’re basically lucky imbeciles, because show business ain’t what it was anymore, now it’s supposed to be “reality.” These guys just have to be who and what they are. And then they learn how to act; because they go, “I like this ride very much;” and they know it’s going to be over, and they want to stay in that business. They don’t want to go back to oblivion.
Yes. So how do you interact with fans? And do some people just know your whole oeuvre? What is that experience like?
There’s people that know more about me than I do. Because I can’t remember every little fiddle-faddle, you know? But I’m just grateful; I’m so grateful – I mean, what are the odds that there would be people in this world that would put aside time in their life to know what you do, and to follow it? It’s mind-blowing to me; it’s surreal – and it still is, to this day.
Well that’s a great and very humble attitude.
Well, I mean, I know. I know the drill, I know the deal. You have to somehow connect in one way or another with people who admire you; and hopefully you’ll keep up the same standard of work that turned them on in the first place. So I always try to – whatever new thing comes along, I just try to come in like gangbusters; you know, get some attention. Like, I like to turn tables over, bash chairs. You know, when I first went to New York I was like a Terminator. I got all skinny because I knew I was going to be walking everywhere, and auditioning; and I used to listen to bagpipe music.
Bagpipe music?
Yeah, because I’m half Irish; and when I hear bagpipe music, it makes this Celtic side of me boil, and prepares you to go into battle. I’d be galvanized, like I was marching into a glen with my compatriots, and we’re all going to get stabbed and shot; but it’s okay, because we’re doing it for the right reason. And I used to listen to all these bagpipes, going up 2nd Avenue, 3rd Avenue, to work, and I would get to the audition, and I’d feel like a Terminator.
Like you were ready. That’s fantastic. Speaking of getting ready for new things; what are you working on currently that we should be looking forward to?
I’m doing some kids’ stuff. I never used to get hired by Disney; because I wasn’t their kind of guy, you know what I mean? The stuff I did was very Gothic and dark-ish, like screaming and yelling and very dramatic. But I got this show called The 7D; and I’m playing Bashful, because the 7D are the seven dwarves. (Singing) “We’re The Seven D,” and they get a beautiful, cute song and everything. And I love it; I love it to pieces.
And is that out now, or coming out?
It’s coming out. And I was doing some voice work for Avengers Assemble. There’s a character called Rocket Raccoon. So I’m doing him. (In character) “Yeah, he’s got kind of like a Joe Pesci. And like, Steve Buscemi.” “Blood has been spilled, Jerry. I’m through fuckin’ around wit’ you, Jerry.” But somehow he has that voice. I thought it would be perfect to just tweak it; and it’s not a dead-on impression – I could care less about that. What it is, is: “Is it funny? Is it interesting? Does it fit?” I did a bunch of hours of recording the other day. And then I have my projects going. That keeps me busy because I’m always writing. I stay up all hours and stuff, but it’s a labor of love, so you feel energized somehow.
Yeah! Well I hope that we see some of that from you soon.
I hope you do, too.
And thank you so much for this interview.
My pleasure.
• • • • •
Nope, it was totally my pleasure, Billy. You’re delightful.
Big thanks to Billy West for the interview, and big thanks to the ever-helpful Kevin O’Shea, producer for Made of Fail Productions, for cleaning up the audio file for me. (And as ever, check out the Made of Fail podcasts for fun geek-tastic discussions, in which I have actually appeared a couple of times.)
That’s all for now, and until next week, when I’ll be sharing my interview with the talented cartoonist Nick Galifianakis, Servo Lectio!
If you are a comics creator, you are eligible to nominate works and vote for the Harvey Awards. And this year, you can nominate online! The deadline for nominations is midnight tonight. If you think there is a piece of work, including yours, that deserves the votes of others, please spread the word– e-mail, blog, tweet, and otherwise promote works that deserve recognition.
Not sure what was published in 2012 and want ideas? Google “best comics 2012”.
Use Twitter to show your support for a given work!
Use hashtag #harveys2013 on your tweet.
Blog about the work you want to promote.
Please spread word to your peers that they can vote!
Nominate now, and we’ll see you here when the final ballot is announced– and we’ll see you in Baltimore in September for the awards ceremony!
The Grind Pulp Podcast is a new review podcast that has released their first episode. In addition to discussing New Pulp, the podcast also reviews New Pulp stories and movies, including Samaritan by Pulp Ark Award Winning Author, Bobby Nash.
About Grind Pulp Podcast:
Grind Pulp Podcast was created for the discussion of film and speculative fiction selections related to Grind Pulp. What is Grind Pulp? We’re so glad you asked. Imagine you’ve woken up beneath and overpass surrounded by bottles of rotgut with a mirror shard in your hand. Your clothes are soaked in neon green blood, and your pants are down around your ankles. You pull them up and begin to wonder what wild ride brought you here. That wild ride is Grind Pulp.
The Grind Pulp Podcast is hosted by Andrew Crevier, Jeronimo Brown, and James Malone. Listen to episode 1 here.
As well as her triumphant (and briefly interrupted) run on Batgirl, Gail has introduced a new Superhero…perhaps “team” isn’t the right term. The title describes it best; The Movement. Too easily waved off as a play on the Occupy folks, The Movement is also equal parts urban watchdog group, police oversight committee and street gang, with a bit of Anonymous and Teen Titans thrown in.
It’s set in new fictional DC town Coral City, a town high in crime and police corruption. As a pair of dirty cops offer to let a pair of young people go if the female offers them a free show, they are quickly surrounded by members of The Movement, clad in masks (which had BETTER be getting handed out at cons this summer, thank you very much) and cell phones, recording and disseminating the cops’ indecent proposal.
The part of town known as “The Tweens” is under the protection of The Movement, which seems to have both powered and non-powered members. Incursions by the police, even the precinct’s honest captain, are not welcome, and are met with force. The Movement has the might to
There’s the hint of a theme first touched on by Mark Waid in his last (and sadly underappreciated) take on Legion of Superheroes, in which the Legion was more of a youth movement than simply a superhero team. As here, they represent the idea that since they are not being watched over by anyone, they will watch over themselves. The Movement has organization and the power to make sure their part of town is not threatened from without, and protected from those within.
Freddie Williams’ art has a very loose line, , far better suited for a more character-oriented book like this. The panel layout is very interesting, often a large splash image hiding under numerous smaller panels – the storytelling is dense, and fast-paced. It’s a unique look, very well used in this very unique book.
This is far from standard DC fare, and Gail fills it with very interesting characters, about whom you immediately want to know more. I expect the tale of how these people got their powers, and how they found each other, will all entertain and interest readers for some time. Being a unusual title, I’m hoping it finds an audience, maybe even one outside of the normal clientele of comic shops.
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Ever since college-bound Mike Wazowski (voice of Billy Crystal) was a little monster, he has dreamed of becoming a Scarer—and he knows better than anyone that the best Scarers come from Monsters University (MU). But during his first semester at MU, Mike’s plans are derailed when he crosses paths with hotshot James P. Sullivan, “Sulley” (voice of John Goodman), a natural-born Scarer. The pair’s out-of-control competitive spirit gets them both kicked out of the University’s elite Scare Program. To make matters worse, they realize they will have to work together, along with an odd bunch of misfit monsters, if they ever hope to make things right.
Featured Girasol Replica:ÃÂÃÂÃÂÃÂ Operator #5 #25 April 1936 [Pulp Replica]
