[syndicated profile] comicbookresources_feed

Posted by Brian Cronin

2017 DC/Marvel Tourney – Elite Eight, Part 2!

Welcome to the fourth round of the 9th Annual CSBG DC/Marvel Character Tournament!

This time around, we’re going to do it as a “comic book battles” tournament. The 64 characters were chosen from the top 32 DC and top 32 Marvel characters from the 2015 Top 100 DC and Marvel Character Poll that you all voted on. The selection committee then seeded those 64 characters from the most likely to win to the least likely to win and then created the tournament.

The fourth round begins now. You’re going to be voting on two regions today.

Simply choose which characters you think would win in a (non “to the death”) fight in the following match-ups. The voting concludes 48 hours from right now!

Each competitor has, let’s say, a half hour to prepare (so it’s not like Superman just walking up to Thanos and punching him – Thanos would be prepared), and can use whatever weaponry you figure would be typical for that character (so Wonder Woman can use whatever weapons you would expect her to normally use, but she can’t go get, I dunno, the Infinity Gauntlet, or whatever).


First, the results of the third round from the West Region!

Out of 1,827 votes, Thor defeated Spider-Man 72% to 28%.

Out of 1,829 votes, Darkseid defeated Doctor Strange 53% to 47%.

Now the voting for Round Four of the…


1. Thor vs. 3. Darkseid

Now the results of the third round from the South Region…

Out of 1,791 votes, Silver Surfer defeated Doctor Doom 57% to 43%

Out of 1,789 votes, Hulk defeated Loki 73% to 27%.

Now the voting for Round Four of the…


1. Silver Surfer vs. 2. Hulk

Check back in a few days for the Final Four!

The post 2017 DC/Marvel Tourney – Elite Eight, Part 2! appeared first on CBR.

15 Most Iconic Hulk Covers

Mar. 26th, 2017 11:00 pm
[syndicated profile] comicbookresources_feed

Posted by Gary Smith

15 Most Iconic Hulk Covers

Debuting in May 1962, Marvel’s newest addition to their fledgling superhero universe was a world away from the family superheroics of “The Fantastic Four.” Instead, he was big, mean and… gray. Stan Lee and Jack Kirby’s modern twist on Jekyll and Hyde fused personality conflict with contemporary concerns about radiation and communism, creating one of Marvel’s most enduring heroes.

RELATED: 15 Iconic Alex Ross Covers

While a lot has changed for the Hulk in the half-century since his debut, one thing has remained constant: as one of Marvel’s strongest heroes (perhaps even the strongest), the Hulk’s exploits have been captured on some memorable covers over the years. We at CBR have searched through hundreds of Hulk comics in order to select 15 of his most iconic covers. These are all instantly recognizable and often linked to moments of historical significance. More importantly, they highlight what a huge loss the death of Bruce Banner/Hulk was to the Marvel universe.


Todd McFarlane’s successful run on “The Incredible Hulk” established a trend for the next few years, with many artists either getting their big break through this title or using it to increase their profile. This was the case with Dale Keown, who in his first ongoing series for Marvel quickly established himself as a hot creator and one of the definitive Hulk artists. Keown’s run began with #367, at a time of some transition for the book’s characters (a hallmark of Peter David’s lengthy run). With issue #377, a new status quo was established for the title, with Keown producing a memorable cover to match.

After a long period where the Hulk had been in his smaller, gray form, this issue saw Doc Samson reconcile the warring parts of Hulk and Banner’s psyches. The Hulk returned to his green form, but the savage beast of old was gone. Instead, he combined the green Hulk’s strength with Banner’s brains — a combination that made this Hulk tremendously successful with readers. Keown’s cover perfectly captures the Hulk’s transformation, highlighting what is occurring but leaving the specifics purposefully vague. This issue was so popular that three printings were released, each with different colors on the cover.


What do you get when you combine legendary creators Peter David and George Perez on a two-issue prestige format Hulk series? If your answer was “one of the greatest Hulk stories ever told” then pat yourself on the back. “Future Imperfect” was not only a darn good story, but also it made several key contributions to the Hulk mythos. Foremost among these was the introduction of the Maestro, the evil future version of the Hulk that has seized control of the world after a devastating nuclear conflict. Much of the series revolves around the contrast between Hulk and Maestro (and the Hulk’s fear that this could be his eventual destination), and the two covers of the series continue this theme.

“Future Imperfect” #1 features a shot of the Hulk leaping towards the reader, with the cover’s background showing 20th century Earth bleeding into the future landscape of the Maestro’s time. “Future Imperfect” #2 continues this theme, with the Maestro spotlighted, and the positions of the background cityscapes reversed. In another nice touch, the blue sky of the first issue has been replaced with the radioactive glow of the apocalyptic future.


“The Incredible Hulk” #140 features a story from science-fiction author Harlan Ellison. More significantly for the Hulk, it features the first appearance of Jarella, the princess of a subatomic world who would go on to become a long-running love interest for him. The story concerned the Hulk being shrunk down to microscopic size by Psyklop. While the science may be questionable, the emotions at the heart of the story are not. The Hulk finally finds a place where he belongs, even achieving a new level of understanding with Banner.

The issue’s cover, by Herb Trimpe, perfectly captures a pivotal scene within the issue. At the moment of the Hulk’s greatest happiness, when he is about to be married to Jarella, Psyklop reappears and transports the Hulk back to Earth. It’s a typically bittersweet ending for the Hulk, being separated from his ladylove and having his memories of her fade. The difference in scale between the Hulk and the giant hand… the reference to Hulk being a ruler… the strange woman who is referred to as Hulk’s love – If a cover is designed to entice fans into purchasing the book, it’s hard to see how any Hulk fan could have resisted.


Incredible Hulk 102 Hulk transformation

The Hulk’s own title, “The Incredible Hulk,” only lasted six issues before it was cancelled, his adventures later being chronicled as part of the anthology series, “Tales to Astonish.” During his time in the book, the Hulk had to share the spotlight with first Giant Man and then the Sub-Mariner. But then, in a move that would cause great headaches for Marvel historians in years to come, the title changed its name to “The Incredible Hulk” with #102, becoming a Hulk solo title. The first story, by the team of Gary Friedrich and Marie Severin, continued plot threads from “Tales to Astonish,” but also recapped the Hulk’s origins for new readers.

This focus on attracting new readers is evident from the issue’s striking cover. It features the familiar transformation between Banner and the Hulk, but with an interesting focus. The Hulk is undoubtedly the focus of the image, being portrayed as strong as possible. Yet the familiar transformation does not see Banner turn into the Hulk. The flow of the images suggests the transformation of the Hulk into Banner, leaving him spent and exhausted on the ground.


Famously, the Hulk isn’t a great team player. His membership of the Avengers lasted only two issues before he quit, and by the next issue, he was teaming up with the Sub-Mariner to fight them. The Hulk’s association with the Defenders was more successful. A less formal organisation than the Avengers, and made up of members who were just as socially maladjusted as he was, the Hulk was a perfect fit for this “non-team.”

The Hulk had teamed up with the Sub-Mariner and Dr Strange before, as well as with the Silver Surfer. This was different and was a deliberate attempt to market these characters as a group. As the cover text humbly declares, they are “the most fabulous fighting team of all.” The story was by Roy Thomas, with Ross Andru handling the art. However, the cover to this issue was by Neal Adams, who at the time was enjoying great exposure through his work on “The Kree-Skrull war” arc in “The Avengers.” It’s a dynamic, attention grabbing show, with ol’ greenskin front and center.


“Tales to Astonish” #93 continues the depiction of the first meeting between two characters who could not be more different: the Silver Surfer and the Incredible Hulk. While the Surfer was, at heart, a peace-loving, soliloquy spouting hero, the Hulk was very much a smash first and ask questions later kind of guy. It’s therefore no great surprise that their first encounter quickly descended into a typical Marvel hero-on-hero battle.

The issue’s writer was Stan Lee, with art provided by Marie Severin. The issue’s striking cover is a classic example of less is more. There’s no speech bubbles and little Marvel hyperbole beyond the story’s title. In truth, they’re not needed. Severin’s illustration perfectly captures the serene, almost detached, determination of the Surfer, while the Hulk’s unwillingness to let his opponent leave is also plain to see. A pivotal plot point in the story is that of the Hulk attempting to gain control of the Surfer’s board. While the attempt may have been doomed to failure, the cover perfectly captures the Hulk’s stubborn determination.


There are few superhero match-ups in comics more beloved than the battles between the Hulk and the Thing. They have occurred in “The Fantastic Four,” “The Incredible Hulk,” epic crossovers and were even the focus of their own miniseries, “Hulk/Thing: Hard Knocks.” The Thing and the Hulk had previously fought in “Fantastic Four” #12, but in this issue, their fight is very much the main event. What else would you expect from a story entitled “The Hulk vs The Thing”?

Jack Kirby was seemingly incapable of drawing a bad cover, with even his less-inspired ones tending to have some aspect that makes them stand out from the crowd. In this, there are countless nice touches. The Thing is deliberately portrayed as the pluck underdog, being substantially smaller than the Hulk, and the crowd of Marvel universe civilians are transfixed by what’s before them. What’s also effective is the way in which Kirby sidelines the FF but keeps them in a prominent place on the cover, making it clear that this is one battle that is down to The Thing alone.


This eye-catching cover saw Jim Steranko display his take on the Hulk to Marvelites, and “Jaunty” Jim didn’t disappoint. This Stan Lee story saw Captain America face off against the Hulk, in a battle that led to Rick Jones assuming the identity of Bucky, Cap’s long-dead sidekick (or so readers at the time thought). What’s interesting about this portrayal of the Hulk is that, due to his status as a guest star in another hero’s title, we’re seeing him as he appears to others. Accordingly, the struggle between man and brute is sidelined and replaced with an insight into what a terrifying engine of destruction the Hulk can be.

captain america 110 cover

Steranko’s cover really sells this to the reader, with the Hulk rendered in terrifying proportions. Upon closer inspection, the height of the characters don’t seem to relate to each other, with Rick appearing to be about knee-height to the Hulk. For sheer impact, though, the cover really works, convincing the reader of the threat posed by the Hulk.


It says a lot about the quality of the Hulk’s covers that a cover as iconic as “Avengers” 1 is relatively low down on the list. Part of the reason is that despite its familiarity and the fact that several titles have paid homage to it (including “Thunderstrike,” “New Avengers” and “Superhero Squad”), it’s not a particularly memorable depiction of the Hulk. This may be because the Hulk was typically portrayed as almost unmatched in strength. When sandwiched between Thor and Iron Man, both of whom were given more prominent placements on the cover, he looks somewhat diminished.

But in fairness, this is just splitting hairs. It’s undoubtedly an iconic cover of historical significance, and also works well as the cover for a first issue. It’s easy for modern readers — grown jaded by Marvel’s glut of Avengers books — to take team-ups for granted. But for readers of the time, to see their favorite solo heroes gathered together must have been a tremendous thrill.


“Secret Wars” was Marvel’s first big event book; a 12-part crossover that from humble origins as a toy tie-in grew into a universe changing event. With such a sprawling cast of heroes and villains, it would perhaps be understandable if certain characters didn’t get their time to shine. This wasn’t the case for the Hulk. He was instrumental to one of the event’s most pivotal scenes, one that was immortalized by Mike Zeck on the cover to #4. How strong is the Hulk? Strong enough to hold up 150 billion tons, if this issue’s cover is to be believed.

The sums involved are so huge as to be almost laughable, if it weren’t for the fact that Mike Zeck’s cover absolutely sells this moment to the reader. We see the other heroes in a state of distress: some unconscious, others wounded and all weak from lack of air. Even Captain America with his shield raised can, at best, only deflect chunks of falling debris. At this time the weight of the world — literally — is on the Hulk’s shoulders, and Zeck convinces the reader that it’s a burden he can bear.


Despite his lengthy run as artist on “The Incredible Hulk,” Herb Trimpe’s art is something of an acquired taste for some fans. What can’t be denied, however, is that he was responsible for some very striking covers during his time on the book. Issue #142, a story entitled “They shoot Hulks, don’t they?” marked the Hulk’s first encounter with Valkyrie, who would go on to become his friend and companion in “The Defenders.” This incarnation of the Valkyrie saw her linked with Samantha Parrington, a supporter of the Women’s lib movement. When she gains the powers of Valkyrie, it’s fair to say that Samantha is rather unimpressed by the Hulk’s old-fashioned views.

The positioning of the cover really sells the scene. Valkyrie is not only able to lift the Hulk above her head, but is also willing to throw him t his death. Furthermore, he’s passive, not even putting up a fight. This was not the Hulk that readers were used to seeing and, when combined with the cover captions, will have enticed many fans to part with their cash.


With Wolverine originally debuting in the pages of “The Incredible Hulk,” encounters between the feral furball and old jade jaws have always been enjoyable grudge matches. This encounter, from the creative team of Peter David and Todd McFarlane, was a no-holds-barred encounter where both combatants were out for blood. Both the participants had changed since their first encounter. Wolverine was attempting to be more responsible and avoid needless fighting; the Hulk was now in his gray-skinned “Mister Fixit” incarnation — although he was not the strongest Hulk he was undoubtedly one of the most cunning.

This well-known cover shows a fighting-mad Wolverine with claws extended, with the angry features of the Hulk reflected there. Fittingly for two characters that would rather spar physically than verbally, there’s no text on the cover, giving the image room to breathe. Joe Quesada replicated the cover for “Wizard” magazine in 2004, while homages have also appeared on “Powerless,” “Marvel Zombies” and more.


The world’s introduction to the Hulk, cover-dated May 1962, Jack Kirby’s legendary cover perfectly captures the main elements of the series. Stan Lee has since spoken of his intent to play with expectations and make the monster the hero, and this cover plays with that Jekyll and Hyde tone. Bruce Banner is dwarfed by the gray giant looming over him, while the reaction of spectators tells its own story about how startling this transformation is. The Hulk, especially in his initial six-issue run, was an unpredictable character who could be friend or foe, articulate or savage. The cover text, “Is he man or monster?” perfectly captures this tension.

The cover has been replicated on numerous occasions, including #393, the 30th anniversary issue of “The Incredible Hulk,” and comics as diverse as “Superman” and “Swamp Thing.” It’s also notable for featuring a gray-skinned Hulk. Famously, problems with coloring the art meant that the Hulk assumed his traditional green hue from #2 onward.


Who would have thought, in the distant days of 1974, that a seemingly throwaway character (one amusingly hyped as “The world’s first and greatest Canadian superhero”) would go on to become one of Marvel’s most popular characters? Although Wolverine first appeared in the closing pages of “Incredible Hulk” #180, this — his first full appearance — has long been sought after by collectors. As a result, it’s an instantly recognizable cover for both Hulk and Wolverine.

The creative team for the comic were Len Wein and Herb Trimpe, with Trimpe also providing the cover. The Wolverine featured in this issue is slightly different from the character that would later join the “All New, All Different” line-up of the X-Men. Most noticeably, he has a set of whiskers built into his mask and has yet to develop the distinctive peaks on his mask. His costume was designed by John Romita, before Trimpe brought it to life on the issue’s cover. The Hulk looks more irritated than scared on the cover, but with Wolverine cutting through chains with his claws, it’s an effective, intriguing image.


The most iconic Hulk cover of all time is another piece by Jim Steranko, although the creators for the actual story within were Gary Friedrich and Marie Severin. The story saw the Hulk encounter the Inhumans and their hidden society of Attilan, before a misunderstanding caused the two sides to predictably come to blows. Interestingly, none of this information can be gained from Steranko’s cover illustration, yet it’s still a superbly effective cover. The Hulk is exerting all his strength to hold up his own logo, while the Inhumans’ logo provides leverage for him to stand upon.

While Steranko penciled, inked, colored and lettered the cover, the finished version was not all his own work. Marie Severin redrew the Hulk’s head after Steranko’s version (complete with sweat and bulging veins) was deemed “too fierce.” While Steranko was reportedly not pleased with this change, Severin’s work blends in well. The respect for this cover can be judged by the many times it has been replicated, including, in recent years, “Incredible Hulk” #34, “Incredible Hercules” #112 and “Cable” #9.

There you have our picks for the 15 most iconic Hulk covers. As always, let us know in the comments or on Facebook whether you agree or disagree with our choices and placings. And, if you have suggestions of your own then we’d love to hear them!

The post 15 Most Iconic Hulk Covers appeared first on CBR.

sovay: (Claude Rains)
[personal profile] sovay
It's been a long week. Have some seventy-three-year-old escapism. It worked for me.

I watched On Approval (1944) because it was on TCM and I had Clive Brook on the brain after rewatching Josef von Sternberg's Underworld (1927) last week; I am recommending it because it turned out to be one of the funniest and oddest movies I have seen of its era, Busby Berkeley and the Archers included. I can make it sound relatively normal if I describe it as an acrid comedy of misalliance in the tradition of Noël Coward and Oscar Wilde, all good lines and bad behavior—when a rich, exacting widow engages her titled but impoverished suitor for a month of platonic trial marriage in a remote cottage in the Highlands, the cross-purpose arrivals of their respective best friends throw the experiment hopelessly awry and everybody gets, if not what they wanted when they arrived, then at least what they deserve by the time they leave. You will get a much more accurate idea of the experience of actually watching this thing if I mention up front the parodic use of stock footage, the fallible, interactive narrator, the surrealist dream sequences, and the rampant fourth-wall-breaking. The film opens with a deafening montage of ripped-from-the-newsreels warfare—dogfights, depth charges, incendiaries, anti-aircraft guns, all of which the doughty newsreader's tones of Gaumont's own E.V.H. Emmett survey more in sorrow than in anger. Nostalgically, he attempts to encourage the narrative back to the halcyon tranquility of the pre-war years, only to discover a riot of jitterbugging teenagers zooming around on motorcycles, mashing in the back seats of motorcars, and littering in the parks; in order to get away from this "age of speed and noise so much like war you hardly notice the difference," he's forced to hopscotch back over World War I and the Edwardians before relaxing at last into fulsome praise of the late Victorian era, its gentility, its restraint, and especially its gender roles. "Women were women and they didn't forget it!" However much the narrator may blather on about the virtues of the shy, modest Victorian maiden as opposed to that deadly assertive creature the modern girl, however, the camera is slyly on the side of the women, showing them smiling stiffly at the fatuous attentions of their menfolk and gritting their teeth through afternoons of needlepoint and piano. The film's very premise puts the lie to the submissive myth of the angel in the house, as the narrator will discover when he follows some of the ladies to a night out at the theater. They are going to see the "terribly daring" new play On Approval; in the pages of the program a sharp-eyed viewer may discern photographs of the film's principals in character. The narrator perks up: "Perhaps we're going to find out just why they were called the Naughty Nineties." If he has a hat, you hope he's hanging on to it. He has no idea what he's in for.

On Approval was Brook's last major work in film—he would appear in a handful of TV parts in the '50's and an all-star-cast cameo in 1963—and it is a hell of a swan song as such. He not only directed but co-produced the film with Sydney Box, co-wrote the screenplay with Terence Young, and co-starred with Roland Culver, Googie Withers, and Beatrice Lillie.1 The cast are uniformly excellent and look like they are having a blast, performing their archetypes at just the right pitches of satire or relatability. Lillie's Maria Wislack is a diamond-cut distillation of imperious, icy snippiness who can give as good as she gets with acid-tongued roués like Brook's George, ninth tenth Duke of Bristol, but has perhaps a little more difficulty judging the effect on her tender-hearted intended; that's Culver's Richard Halton, who has the weak-chinned good-sportingness of a Freddy Eynsford-Hill and trims his moustache to the strains of "Ta-ra-ra-boom-de-ay" and has trouble telling whisky from soda, though he can distinguish the color of a woman's eyes. Withers doesn't bother pretending to an American accent as Helen Hale, the pickle magnate's daughter who's renting Bristol House for the duration of the London season; she starts out luminously attentive to her rakish, penniless host, who seems to her the height of British sophistication, but there's steel under her sweetness and those dewy eyes can conceal amused resolve as well as suppressed tears. Brook himself as George reminded me unexpectedly of Alan Rickman, with whom he shares a saturnine deadpan and the ability to say flamboyantly cynical things while barely opening his mouth, as if the object of his insults were hardly worth the enunciation. He could go toe-to-toe with Lord Henry Wotton for world-weary epigrams and has a habit of interesting himself unstoppably in the affairs of his friends, especially when they don't want him to. He does not get all the best lines. It is only partly his fault that everyone ends up at Maria's cottage near Kyle of Lochalsh with no servants willing to wait on them and only a dinghy to get them on or off the island, after which the Highland weather promptly goes down the drain in solidarity with the help and the quartet's interactions take on the ominous chemistry of vinegar and baking soda. I was prepared for the movie to go all sorts of places after the prologue and generally it did, but I did not expect it to give me flashforwards to Bruce Robinson's Withnail & I (1987)—as the rain plinks merrily through the fifteen different leaks in the roof and they only have fourteen pots and bowls to catch it in, George buttoned to the chin in an extraordinary plaid overcoat slumps against the kitchen wall and moans, "My stomach is cold, my head is hot, my arteries are hardening—only alcohol will get me on the train." I had just time to think "I must have some booze. I demand to have some booze!" before Richard replied briskly and unsympathetically, "Nonsense. Never again will I raise a finger. Besides, you shouldn't have drunk all the cooking sherry," and then we had to pause the film so that I could explain to [livejournal.com profile] derspatchel that I was laughing because George was just lucky they didn't have Ronsonol lying around in the 1890's. I also admit that while I watched this movie for Brook, I didn't expect to see quite as much of him as I did thanks to one scene which finds him indolently knees-up in a too-small bathtub with only some suds and a well-placed sponge to preserve the innocence of the British Board of Film Censors. God knows how this picture was even released in the U.S. Nine-tenths of the itchy, twangy tension in this film would dissolve at once if anyone just had sex, but the platonic terms of the trial—and the laws of comedy—preclude it, so everyone sublimates furiously into dialogue as fast and sharp and innuendo-riding as screwball. Or, in Helen's case, just murmurs sweetly into Richard's ear: "Tell her to go to Hell."

As with Charles Laughton and The Night of the Hunter (1955), I can't believe Brook never directed anything else. He has an incredible sense of what works on film and how far he can push the theatricality of both the action and the camerawork. I named Wilde and Coward as influences, but more than anything else On Approval made me think of movies from the 1960's when Richard Lester was throwing every cinematographic absurdity at the screen that would stick. It's not enough to reflect the increasing claustrophobia and dissatisfaction of the passing weeks in the characters' dialogue or manner; we get a hectic montage of creaking oarlocks, clattering dishes, and Maria striking over and over the opening chords of a song that goes "I'm just seventeen and I've never been—" until we're afraid to find out just what she's never. All two-person conversations are cross-cut with their opposite numbers, breaking down apparent lines of alliance or showing up supposed matches to devastating contrast. A pair of intercut nightmares include a talking moose head and a balletic passage in hilariously pretentious slo-mo which then undercranks itself à la Benny Hill to catch up. The narrator is behind the eight-ball to the last, mixing up the details of his characters' lives and receiving from them the amusement he deserves:

"Tell me, Duke, how did you lose your money?"
"Yes, I know; I mean your big money."
"Big women!"

Brook and Young adapted the screenplay from Frederick Lonsdale's 1926 stage hit of the same name; TCM tells me it was Brook's idea to translate the action from the Roaring Twenties to the Victorian era, on the theory that the racy premise would be even funnier in a more famously repressed age. I think not only was he right in terms of immediate payoff, the spoofing effect of a lavish period setting—costumes by Cecil Beaton—with a satirically modern sensibility is one of the reasons On Approval hasn't dated at all, because not many people were pulling that kind of stunt in 1944. You could double-feature it with Bryan Forbes' The Wrong Box (1966), is what I think I'm saying. I applauded the ending gag at home, in my own office, because I had never seen anything like it outside of the photography of Angus McBean. Plus the story remains both funny and clever about its battle-of-the-sexes tropes in ways that hold up in the era of third- and fourth-wave feminism, which I suspect is even more unusual than being visually ahead of its time. I regret that I cannot point everyone toward instant gratification on YouTube, but it looks as though On Approval may be available on Blu-Ray and has streamed on Amazon in the past. Grab it if you see it in a library sale. This social experiment brought to you by my not at all straitlaced backers at Patreon.

1. Despite a five-decade career on stage, Lillie made only seven feature films, of which the best are considered the silent Exit Smiling (1926) and On Approval. One of the others is Thoroughly Modern Millie (1967), which is where I turned out to have seen her and about which I feel very awkward.

2. I've seen this kind of imploding narrator in one other movie from the '40's, Leslie Howard's The Gentle Sex (1943). If anyone knows of other examples, I'd love to hear about them.

Madam Destiny reads!

Mar. 26th, 2017 08:15 pm
wonder_city: (Default)
[personal profile] wonder_city
First reading from Madame Destiny is a 10-card full reading for Jen:
Read more... )
[syndicated profile] associatedpress_usa_feed
NEW YORK (AP) -- Forty-six dogs were flown to New York from South Korea after being rescued at a farm where they were to be slaughtered for human consumption, animal advocates said Sunday....
[syndicated profile] associatedpress_usa_feed
DENVER (AP) -- Two teenage girls were barred by a gate agent from boarding a United Airlines flight from Denver to Minneapolis on Sunday because they were wearing leggings, according to a spokesman for the airline....
balsamandash: (misc] to track me down)
[personal profile] balsamandash
I have a sudden, sharp desire to get back into regular spellwork, and I am just. not set up for that right now. Not mentally or physically; I have no tool, no altar setup, nothing physical to work with, and my space is just... not clean and orderly enough to get into even a lightly ritual-esque headspace in. And this is my own fault, I've been trying to fix it for months, but it's really upsetting me for no good reason right now.

Ugh. On an only semi-related note, though, my mother and I are going to be vending at the Pagan Unity Festival in May. I'm going to be doing in-person Tarot readings for part of the time, which... I am currently not touching my cards often at all, and I've been really doubtful of myself lately. So! Would anyone like a one-card draw as I try to get my head in the game?

(I may do this a couple more times in the lead-up to PUF, too.)

Only three decks on offer this time; if you have a preference, let me know, otherwise I'll pick at random:
* Tarot Draconis
* Omegaland
* Linestrider
[syndicated profile] theflashtv2014_feed

Posted by <a href="/users/kitkatt0430/pseuds/kitkatt0430" rel="author">kitkatt0430</a>


It should have been Hartley’s moment of triumph. The perfect day where nothing can go wrong. The ‘dementor’ returned and Hartley banished it again, sashaying away as the hero of the hour off to have dinner reconciling him with his parents. Instead his parents manage to somehow double down on their prejudices while claiming they’re trying to be open minded and his failed plans that, as it turns out, didn’t totally fail in the timeline Barry now remembers have come back to bite him on the ass. Because now Barry doesn’t remember that they’re friends. (Lucky for him, Barry might be enough like a friendly puppy for that not to matter.)

Words: 3185, Chapters: 1/?, Language: English

[syndicated profile] neatorama_feed

Posted by Miss Cellania

Between 1816 and 1836, the border between Missouri and Iowa was surveyed several times, because the first survey was done so badly, and there were four possible borders, all slightly different. The nine-mile-wide band of disputed territory was fertile and popular with settlers. But what governing body the residents belonged to was a problem. Things came to a head in 1839 when Sheriff Uriah S. Gregory tried to collect Missouri state taxes from the farmers of the disputed territory.   

But Gregory knew he was heading into an area where he was not welcome. Missouri claimed this land all the way to the Booth line, another survey line drawn in 1836 about nine miles north, but the people who lived here considered themselves part of Iowa. The last time Gregory had crossed the Sullivan line, back in October, he had met a group of locals at a house raising, and when he had explained, carefully, that he had come to collect their taxes on behalf of the state of Missouri, they told him that it would be in his best interest—best for his personal safety—if he went back over the border.

Since then, the border conflict between Missouri and Iowa had tensed into what historians would call “the Honey War,” after some unknown Missourian went over the border and cut down three bee trees filled with honey. It was about to escalate even further.

The honey theft appears to be incidental to the real dispute over taxes. Sheriff Greggory was arrested and both sides raised a militia. Read how the confusion came about and how the Honey War ended at Atlas Obscura.

(Image credit: Americasroof)

What Went Right - 27 MAR 2017

Mar. 27th, 2017 07:39 am
megpie71: Simplified bishie Rufus Shinra says "Heee!" (Hee)
[personal profile] megpie71
Bit rushed today, but still able to fit in three things which went right from my newsfeeds.

Earthquake rattles Darwin after striking 600km away in Banda Sea by Xavier La Canna (ABC Radio Darwin, Northern Territory)

A magnitude 5.3 earthquake in the Banda Sea rattled Darwin at about 4.44am (ACST), but isn't likely to have caused much damage.

Is Australia on the brink of becoming a completely cashless society? by Michael Edwards (ABC AM, Australia)

It's rumoured Australia could become a cashless society as early as 2020, with the Reserve Bank's roll-out of the NPP (New Payment Platform) happening today looking to be a big step in the process.

Study shows fibre supplements could be used as asthma treatment by Justine Kearney (ABC Australia)

A small preliminary study (with a sample group of 17 asthmatics) has had encouraging results with the use of soluble fibre supplements as a way of treating or controlling asthma. The researchers involved are now looking to broaden their study to a much wider sample group.

So there's my three for the day. If you've found an article in your news feed about what went right, why not share it in the comments to boost the signal?

Medical stuff

Mar. 26th, 2017 07:13 pm
mildred_of_midgard: Johanna Mason head shot (Johanna)
[personal profile] mildred_of_midgard
1. A couple of years ago, I developed a shrimp allergy exactly like my mother's: we eat the shrimp, the shrimp comes back up that night. Okay, fine, I won't eat shrimp. Similar to pistachios: 6 years ago, I was happily eating pistachios, until one day I ended up with a couple hives on my tongue, so no more pistachios. Annoying, but fine.

Then, twice this month, I've eaten at restaurants that serve shrimp, and ended up with a milder version of my shrimp symptoms. Once was when I was in Nashville. I can only figure I consumed trace amounts of shrimp. Probably not food poisoning: I've had food poisoning, twice, and it was waaay worse than my shrimp symptoms. And my 'ate at restaurants' symptoms were in turn milder than my shrimp symptoms. So I'm guessing that's what it was. Also, getting mild food poisoned at two different restaurants (one Mexican, one Indian) in one month has got to be pretty unlikely.

So now I can't eat at restaurants?! Or rather, I can, but it's Russian roulette with my digestive system. It's not like the pistachios, where if I keep eating them I expect it will get worse and worse until my throat swells up and I die. And I haven't had *any* issues with pistachio cross-contamination in 6 years, so until further notice, I'm not carrying an epipen or anything.

But now this shrimp allergy is starting to affect my ability to eat other things! It's one of those situation where I could probably tell the server I had food allergies, but they can't promise there'll be no cross-contamination (the first restaurant at which this happened actually had a sign saying they do their best but they can't make guarantees).

Anyway, I have a doctor's appointment on Thursday, and I may mention it, although I doubt they can do anything but test me and get confirmation.

The good news is that I have experimented with other shellfish and seem to be fine. It's just the shrimp.

2) I have a doctor's appointment on Thursday because my back has plateaued, and my attempts to compensate have been leading to problems with other muscles: shoulder, neck, upper arm, side, upper chest. I would like a referral to an orthopedist.

3) The most important medical news is, 6 months after I last took birth control, I can safely say I have had exactly zero migraines. Hallelujah, they were a side effect and not some random new form of torture my body decided to inflict on me once a month! I have been holding out on saying this with any kind of confidence in case my body decided we were going to go a couple months without one, as it often did. But I think we're safe.

No more migraines! Hysterectomies rule!

Check-In – Day 26

Mar. 26th, 2017 07:05 pm
samuraiter: (Default)
[personal profile] samuraiter posting in [community profile] writethisfanfic
In the beginning, there was —

Well, this isn't the beginning, really. We've been at this for a while. Hello, hello! Good to be back as your host again for the last week of the month. What have you been doing?

— Thinking. Maybe a little, maybe a lot.
— Writing.
— Planning and / or researching.
— Editing.
— Sending things to the beta.
— Posting!
— Relaxing, taking a break, etc.
— Other stuff-ing. Look at the comment.

And a good question for a Sunday: What are you gearing up to do with your writing as the new week begins (and the end of the month approaches)? How are those goals looking at this point?


st_aurafina: Rainbow DNA (Default)

February 2017

   123 4
5678910 11

Most Popular Tags

Page Summary

Style Credit

Expand Cut Tags

No cut tags
Page generated Mar. 27th, 2017 12:42 am
Powered by Dreamwidth Studios