Sketch o’the Week- Shemp!
This week’s subject is Stooge Shemp Howard., done digitally on a Cintiq in PhotoShop.
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Thursday, October 31, 2013
My apology for the Bob Clark piece it worked fine then-not SKETCH O'THE WEEK SHEMP SHEMP FOREVER!!!!
This week’s subject is Stooge Shemp Howard., done digitally on a Cintiq in PhotoShop.
Wednesday, October 30, 2013
PRO-FILE: BILLIE SUE MOSIMAN EDGAR AND BRAM STOKER WINNER
BILLIE SUE MOSIMAN EDGAR AND BRAM STOKER WINNER
1. Tell us about your current novel/collection.
My newest story collection consists of 14 new stories written in 2013, several of which will be featured in anthologies and magazines. The title is SINISTER-Tales of Dread. All the stories are dark and vary from horror to detective noir.
.
2. Can you give a sense of what you're working on now?
I've just sold my latest suspense novel, THE GREY MATTER to Post Mortem Press. It's due out April/May 2014. At the moment I'm working on a book titled LOSTNESS, a sequel to my novel, BANISHED. I'm also writing a travel book while on the road traveling the USA.
3. What is the greatest pleasure of a writing career? Being free to do what I love most--write.
4. What is the greatest DISpleasure? I can't think of one.
5. If you have one piece of advice for writers just starting out?
Give it everything you've got, leave nothing out, dare to be who and what you are, which is unique and it's all you have.
6. Are there two or three forgotten mystery writers you'd like to see
in print again?
THE SALTMARSH MURDERS by Gladys Mitchell. Here's a quote from the foreword in the book: "Adultery, high jinks, horseplay, an illegitimate birth, a hidden baby, rumours of infanticide, exhibitions of lunacy, a couple of murders, a lost corpse, an illicit trade in pornography, even a spot of incest all keep things lively for Gladys Mitchell's benighted villagers before Mrs. Bradley gets to the bottom of the imbroglio."
And there's THE HOUR BEFORE THE DAWN: A NOVEL by Somerset Maugham that should be back in print. It's a wartime mystery drama and pure Maugham. I've always loved Maugham's writing and think all his works should be in print and in front of the public.
PRO-FILE: Billie Sue Mosiman
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BILLIE SUE MOSIMAN EDGAR AND BRAM STKER WINNER
1. Tell us about your current novel/collection.
My newest story collection consists of 14 new stories written in 2013, several of which will be featured in anthologies and magazines. The title is SINISTER-Tales of Dread. All the stories are dark and vary from horror to detective noir.
.
2. Can you give a sense of what you're working on now?
.
2. Can you give a sense of what you're working on now?
I've just sold my latest suspense novel, THE GREY MATTER to Post Mortem Press. It's due out April/May 2014. At the moment I'm working on a book titled LOSTNESS, a sequel to my novel, BANISHED. I'm also writing a travel book while on the road traveling the USA.
3. What is the greatest pleasure of a writing career? Being free to do what I love most--write.
4. What is the greatest DISpleasure? I can't think of one.
5. If you have one piece of advice for writers just starting out?
3. What is the greatest pleasure of a writing career? Being free to do what I love most--write.
4. What is the greatest DISpleasure? I can't think of one.
5. If you have one piece of advice for writers just starting out?
Give it everything you've got, leave nothing out, dare to be who and what you are, which is unique and it's all you have.
6. Are there two or three forgotten mystery writers you'd like to see
in print again?
6. Are there two or three forgotten mystery writers you'd like to see
in print again?
THE SALTMARSH MURDERS by Gladys Mitchell. Here's a quote from the foreword in the book: "Adultery, high jinks, horseplay, an illegitimate birth, a hidden baby, rumours of infanticide, exhibitions of lunacy, a couple of murders, a lost corpse, an illicit trade in pornography, even a spot of incest all keep things lively for Gladys Mitchell's benighted villagers before Mrs. Bradley gets to the bottom of the imbroglio."
And there's THE HOUR BEFORE THE DAWN: A NOVEL by Somerset Maugham that should be back in print. It's a wartime mystery drama and pure Maugham. I've always loved Maugham's writing and think all his works should be in print and in front of the public.Tuesday, October 29, 2013
What sells ebooks by Dave Zelterserman
What sells ebooks by Dave Zelterserman
There's no question we had a gold rush period with ebooks where the market was immature and both indie/self-published and mid-list authors could do well by advertising in the right places and taking advantage of certain Amazon features. As people should've expected things have changed as the market has matured. What used to work no longer does, and sales are down across the board with both professional and self-published writers I talk to. So in this ever-changing climate, what can authors do now to sell ebooks?
From my own experience, observations, as well as conversations with a number of other authors (and with a focus geared towards amazon), here's what I've seen in the area of mysteries, crime, noir, horror and thrillers (I can't comment about other genres, although my gut is fantasy & sci-fi ebooks are following along these same lines, and romance is a completely separate beast):
Advertising: Early on in the ebook era, advertising in the right places, like Kindle Nation, Pixel of Ink, and EReaderNewsToday could generate a flood of ebook sales, but their effectiveness over time has worn off. Right now Bookbub probably generates the highest number of sales, but their ads are expensive. Last year and early this year, you had a good chance of making money with a Bookbub ad, but now most authors I know who've used them over the last 6 months haven't broken even, and with the changes in Amazon's algorithms, these ads have become a losing proposition.
Free promotions: For a short time after amazon started their KDP Select program, they rigged their algorithms so that authors could generate a huge number of sales by giving away free books. After about four months of this, amazon changed their algorithms to make this less effective, and have since made further changes, both with their affiliate program and with their algorithms to make these free giveaways virtually useless. Originally they needed the free giveaways to help push kindle sales, but once they dominated the ebook reader market they needed to stop these free giveaways to keep ebook prices from moving to $0, and in effect, they've removed any value from authors now doing this. As far as free giveaways leading to future book sales by winning over new readers, forget it. Stephen Colbert recently joked on Colbert Nation how the kindle is a great device for storing 1000s of books that he'll never read, and kindle readers grabbing free ebooks are mostly hoarding 1000s of ebooks that they'll never look at.
Online book reviews: Web reviews seldom sell more than a couple of books--print or ebook the same.
Newspaper reviews: I've never been reviewed by the NY Times, so I can't comment on their effectiveness, but I have been reviewed very positively in the Washington Post, Boston Globe, LA Times, Orlando Sentinel, Newsdays, as well as others, both here and in the UK, Italy, Germany and France, and even rave reviews seldom sell more than a few hundred print books, and very few ebooks. The one place where I've been reviewed that does sell a lot of books is NPR.
While newspaper reviews might not sell a lot of books, one thing that they're very effective at is getting Hollywood to notice you.
Web short stories: I've never seen anything more than a small uptick in ebook sales from this.
Magazine & anthology short stories: I've gotten relatively small upticks in my Julius Katz ebook sales whenever Ellery Queen publishes a new Julius Katz story, but never more than 50 sales. I've gotten smaller upticks when I appear in print anthologies.
Social media: Social media might've worked early on in selling ebooks, but with 10s of thousands of authors doing it, it has long ago reached a saturation point and has no effectiveness anymore in selling ebooks, although it can still have a positive value in making more readers aware of you.
Killer cover: There was a time when a certain author was proselytizing that all self-published authors needed to be successful was a good cover and a good book description. Like any other snake oil, this sounded too good to be true, didn't it? Well, I doubt this was ever true--I think there were other factors on how Amazon could be gamed that contributed to early success of some self-published/indie writers, but to set the record straight, while an unprofessional cover might hurt you, a killer cover isn't going to sell anything.
Membership in a group to jointly market ebooks: I started Top Suspense with Ed Gorman and Harry Shannon because we thought that if we provided readers with a safe place to find high quality mysteries, thrillers, horror ebooks readers would gravitate to us. So how has that worked out? I think it has helped somewhat, but not as much as I expected. Where the greatest value with this group has been is to be part of a group of fellow pro writers for sharing information and ideas. From what I can tell, other groups that formed after Top Suspense have also had limited success.
Amazon: Bingo! Other than being a bestselling author, having Amazon promote you is the only clear way to sell ebooks now. Amazon has proven to be incredibly powerful in pushing ebooks--originally with ebooks that were triggered by their algorithms, and now the books that they're publishing and choosing to get behind. They've proven over and over again that they can sell 10s of thousands of copies through their direct marketing and recommendations.
Given all this, and given how unlikely it's going to be moving forward for a self-published/indie author to get Amazon behind them, it seems most likely that the vast majority of self-published/indie ebooks are never going to recoup their production costs (covers, proofing, formatting, etc.). So what should new authors and midlist authors do moving forward?
Face facts. The gold rush period is long over. More and more ebook sales are going to either writers Amazon's promoting or to bestsellers. If you're a midlist author, try to stick with traditional publishing, and if you bring back your backlist as ebooks, try to either contain costs, or go with someone like Crossroad Press who is able to make deals with B&N to feature their books. If you're a newer writer who is serious about having a writing career, keep working toward being published traditionally. It's your best chance of gaining real readers and establishing a career.
There's no question we had a gold rush period with ebooks where the market was immature and both indie/self-published and mid-list authors could do well by advertising in the right places and taking advantage of certain Amazon features. As people should've expected things have changed as the market has matured. What used to work no longer does, and sales are down across the board with both professional and self-published writers I talk to. So in this ever-changing climate, what can authors do now to sell ebooks?
From my own experience, observations, as well as conversations with a number of other authors (and with a focus geared towards amazon), here's what I've seen in the area of mysteries, crime, noir, horror and thrillers (I can't comment about other genres, although my gut is fantasy & sci-fi ebooks are following along these same lines, and romance is a completely separate beast):
Advertising: Early on in the ebook era, advertising in the right places, like Kindle Nation, Pixel of Ink, and EReaderNewsToday could generate a flood of ebook sales, but their effectiveness over time has worn off. Right now Bookbub probably generates the highest number of sales, but their ads are expensive. Last year and early this year, you had a good chance of making money with a Bookbub ad, but now most authors I know who've used them over the last 6 months haven't broken even, and with the changes in Amazon's algorithms, these ads have become a losing proposition.
Free promotions: For a short time after amazon started their KDP Select program, they rigged their algorithms so that authors could generate a huge number of sales by giving away free books. After about four months of this, amazon changed their algorithms to make this less effective, and have since made further changes, both with their affiliate program and with their algorithms to make these free giveaways virtually useless. Originally they needed the free giveaways to help push kindle sales, but once they dominated the ebook reader market they needed to stop these free giveaways to keep ebook prices from moving to $0, and in effect, they've removed any value from authors now doing this. As far as free giveaways leading to future book sales by winning over new readers, forget it. Stephen Colbert recently joked on Colbert Nation how the kindle is a great device for storing 1000s of books that he'll never read, and kindle readers grabbing free ebooks are mostly hoarding 1000s of ebooks that they'll never look at.
Online book reviews: Web reviews seldom sell more than a couple of books--print or ebook the same.
Newspaper reviews: I've never been reviewed by the NY Times, so I can't comment on their effectiveness, but I have been reviewed very positively in the Washington Post, Boston Globe, LA Times, Orlando Sentinel, Newsdays, as well as others, both here and in the UK, Italy, Germany and France, and even rave reviews seldom sell more than a few hundred print books, and very few ebooks. The one place where I've been reviewed that does sell a lot of books is NPR.
While newspaper reviews might not sell a lot of books, one thing that they're very effective at is getting Hollywood to notice you.
Web short stories: I've never seen anything more than a small uptick in ebook sales from this.
Magazine & anthology short stories: I've gotten relatively small upticks in my Julius Katz ebook sales whenever Ellery Queen publishes a new Julius Katz story, but never more than 50 sales. I've gotten smaller upticks when I appear in print anthologies.
Social media: Social media might've worked early on in selling ebooks, but with 10s of thousands of authors doing it, it has long ago reached a saturation point and has no effectiveness anymore in selling ebooks, although it can still have a positive value in making more readers aware of you.
Killer cover: There was a time when a certain author was proselytizing that all self-published authors needed to be successful was a good cover and a good book description. Like any other snake oil, this sounded too good to be true, didn't it? Well, I doubt this was ever true--I think there were other factors on how Amazon could be gamed that contributed to early success of some self-published/indie writers, but to set the record straight, while an unprofessional cover might hurt you, a killer cover isn't going to sell anything.
Membership in a group to jointly market ebooks: I started Top Suspense with Ed Gorman and Harry Shannon because we thought that if we provided readers with a safe place to find high quality mysteries, thrillers, horror ebooks readers would gravitate to us. So how has that worked out? I think it has helped somewhat, but not as much as I expected. Where the greatest value with this group has been is to be part of a group of fellow pro writers for sharing information and ideas. From what I can tell, other groups that formed after Top Suspense have also had limited success.
Amazon: Bingo! Other than being a bestselling author, having Amazon promote you is the only clear way to sell ebooks now. Amazon has proven to be incredibly powerful in pushing ebooks--originally with ebooks that were triggered by their algorithms, and now the books that they're publishing and choosing to get behind. They've proven over and over again that they can sell 10s of thousands of copies through their direct marketing and recommendations.
Given all this, and given how unlikely it's going to be moving forward for a self-published/indie author to get Amazon behind them, it seems most likely that the vast majority of self-published/indie ebooks are never going to recoup their production costs (covers, proofing, formatting, etc.). So what should new authors and midlist authors do moving forward?
Face facts. The gold rush period is long over. More and more ebook sales are going to either writers Amazon's promoting or to bestsellers. If you're a midlist author, try to stick with traditional publishing, and if you bring back your backlist as ebooks, try to either contain costs, or go with someone like Crossroad Press who is able to make deals with B&N to feature their books. If you're a newer writer who is serious about having a writing career, keep working toward being published traditionally. It's your best chance of gaining real readers and establishing a career.
Monday, October 28, 2013
'The Counselor': 5 Things That Went Wrong
'The Counselor': 5 Things That Went Wrong
But the cinematic tale about the seedy power players of the drug-trafficking underworld failed miserably as it opened over the weekend, making only $9 million during its very wide release — playing in more than 3,000 theaters (that amounts to just less than $3 thousand per theater, mere pocket change for a film that cost more than $25 million to make).
Here is the breakdown of what went wrong.
1. Audiences Don't Like Dark.
Cameron Diaz — whose career has been built on being sunny and funny in the "Shrek" series and in romantic comedies dating all the way back to "There's Something About Mary" (1998) — was very much the opposite of that in "The Counselor." And yeah, everyone else — including Penélope Cruz, Javier Bardem, Michael Fassbender, and Pitt weren't at all redeeming, either. "It's clear that moviegoers just weren't interested in a bleak drama about the drug trade," says BoxOffice.com editor-in-chief Phil Contrino, who contends that filmgoers make their movie selections based on their respective premises. (Remember how everyone booed at Ryan Gosling as street fighter-slash-drug smuggler in "Only God Forgives" at Cannes?) "'The Counselor' proves yet again that A-list stars cannot guarantee strong box office receipts," Contrino adds.
Cameron Diaz — whose career has been built on being sunny and funny in the "Shrek" series and in romantic comedies dating all the way back to "There's Something About Mary" (1998) — was very much the opposite of that in "The Counselor." And yeah, everyone else — including Penélope Cruz, Javier Bardem, Michael Fassbender, and Pitt weren't at all redeeming, either. "It's clear that moviegoers just weren't interested in a bleak drama about the drug trade," says BoxOffice.com editor-in-chief Phil Contrino, who contends that filmgoers make their movie selections based on their respective premises. (Remember how everyone booed at Ryan Gosling as street fighter-slash-drug smuggler in "Only God Forgives" at Cannes?) "'The Counselor' proves yet again that A-list stars cannot guarantee strong box office receipts," Contrino adds.
2. But Was It the Worst Movie Ever Made?
Andrew O'Hehir of Salon.com thinks so, calling it "a self-referential commentary on its own terribleness." O'Hehir's opinion aside, "The Counselor" received a litany of bad reviews amounting to a paltry 21 percent score among top critics surveyed on Rotten Tomatoes. "Novelists don't always make good screenwriters — this is the first film for which [Cormac] McCarthy has written the screenplay himself," points out Slate's Forrest Wickman, who adds that the film's "nihilism soon becomes tedious." Incidentally, O'Hehir's lengthy denunciation of the film included the observation that it seemed like it was "made by coked-up rich people for 100 bajillion dollars."
Andrew O'Hehir of Salon.com thinks so, calling it "a self-referential commentary on its own terribleness." O'Hehir's opinion aside, "The Counselor" received a litany of bad reviews amounting to a paltry 21 percent score among top critics surveyed on Rotten Tomatoes. "Novelists don't always make good screenwriters — this is the first film for which [Cormac] McCarthy has written the screenplay himself," points out Slate's Forrest Wickman, who adds that the film's "nihilism soon becomes tedious." Incidentally, O'Hehir's lengthy denunciation of the film included the observation that it seemed like it was "made by coked-up rich people for 100 bajillion dollars."
3. Cameron Diaz's Love Scene … With a Car.
It's that part of the film you can't un-see. Without getting too graphic, Diaz goes at it with the windshield of a Ferrari. And most reviews have warned moviegoers of its overall awfulness. Lisa Kennedy of the Denver Post was vocal in her opposition to the scene, calling Diaz's casting "a spectacular blunder." Some writers have taken to poking fun at the unfortunate snippet of celluloid while others discussed its shock value. "'The Counselor' Features the Year's Most Outrageous Sex Scene," blurted IGN's headline. Peter Travers also found the film to be quite unsexy. When it came to Fassbender and Cruz in between the sheets, the RollingStone critic wrote, "As eroticism, it's, um, unconvincing."
It's that part of the film you can't un-see. Without getting too graphic, Diaz goes at it with the windshield of a Ferrari. And most reviews have warned moviegoers of its overall awfulness. Lisa Kennedy of the Denver Post was vocal in her opposition to the scene, calling Diaz's casting "a spectacular blunder." Some writers have taken to poking fun at the unfortunate snippet of celluloid while others discussed its shock value. "'The Counselor' Features the Year's Most Outrageous Sex Scene," blurted IGN's headline. Peter Travers also found the film to be quite unsexy. When it came to Fassbender and Cruz in between the sheets, the RollingStone critic wrote, "As eroticism, it's, um, unconvincing."
4. If It's Not Oscar Bait, Why Bother?
There are just too many stellar movies out right now to let "The Counselor" skate by. "It has become difficult for many films to distinguish themselves and become breakout hits in this virtual traffic jam at the multiplex," says Rentrak box-office analyst Paul Dergarabedian, who names "Captain Phillips," "12 Years a Slave" (also with Pitt), and "Gravity" as just part of the film's "intense competition." "New and notable films being released week after week have made this a harsh environment for some titles," he notes. Still, Dergarabedian predicts the film will eventually recoup its $25 million once it has opened across the globe.
There are just too many stellar movies out right now to let "The Counselor" skate by. "It has become difficult for many films to distinguish themselves and become breakout hits in this virtual traffic jam at the multiplex," says Rentrak box-office analyst Paul Dergarabedian, who names "Captain Phillips," "12 Years a Slave" (also with Pitt), and "Gravity" as just part of the film's "intense competition." "New and notable films being released week after week have made this a harsh environment for some titles," he notes. Still, Dergarabedian predicts the film will eventually recoup its $25 million once it has opened across the globe.
5. Brad, Where Were You?
Fassbender and Bardem did a small amount of press ahead of the film's opening (including an interview with our partners at omg! Insider). Cruz was a little less than quiet, discussing the film with an Australian outlet. But overall, the cast kept tight-lipped leading up to this past weekend's release. Diaz and Pitt were nowhere to be seen last week when it came to peddling their wares. Even when movies are poorly received, stars typically come out in full force — as did John Travolta and the rest of the cast for Oliver Stone's similarly-themed 2012 drug-cartel film "Savages." Heck, even the normally vocal director Ridley Scott did very little press for the film — and we know poor reviews don't typically deter him (see the criticism for last year's "Prometheus"). Of course, Fassbender and Pitt have the much more acclaimed "12 Years a Slave" also out now, so it makes sense they'd put their promotional efforts into the stronger film.
Fassbender and Bardem did a small amount of press ahead of the film's opening (including an interview with our partners at omg! Insider). Cruz was a little less than quiet, discussing the film with an Australian outlet. But overall, the cast kept tight-lipped leading up to this past weekend's release. Diaz and Pitt were nowhere to be seen last week when it came to peddling their wares. Even when movies are poorly received, stars typically come out in full force — as did John Travolta and the rest of the cast for Oliver Stone's similarly-themed 2012 drug-cartel film "Savages." Heck, even the normally vocal director Ridley Scott did very little press for the film — and we know poor reviews don't typically deter him (see the criticism for last year's "Prometheus"). Of course, Fassbender and Pitt have the much more acclaimed "12 Years a Slave" also out now, so it makes sense they'd put their promotional efforts into the stronger film.
So why did you skip "The Counselor" at the theater this weekend? Or if you were one of the few to actually buy a ticket, what did you think of it? Tell us in the comments.
Sunday, October 27, 2013
They’re ... They’re Still Alive! EC Comics, Vilified in the 1950s, Thrive 60 Years Later
They’re ... They’re Still Alive!
EC Comics, Vilified in the 1950s, Thrive 60 Years Later
By DANA JENNINGS
Published: October 24, 2013
This is a chilling and improbable tale of the living dead: Even though they were savaged by the politeness police and left lifeless some 60 years ago, EC comic books, which spawned notorious titles like Tales From the Crypt, Shock SuspenStories and Mad, have become the comics that refused to die.
A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics.
Just last month, Fantagraphicsreleased two more albums in its EC Comics Library, started last year, and will soon publish its first volume of illustrator interviews in “The EC Artists.” Dark Horse Comics has revived the EC Archives, and will continue the series with “Tales From the Crypt: Volume 4,” next month.IDW Publishing is producing stunning, portfolio-size Artist’s Editions, with work by EC all-stars like Wally Wood, Jack Davis and Harvey Kurtzman (who created Mad magazine) and others. IDW also put out biographies this year of Wood and EC’s indispensable editor-writer-artist, Al Feldstein.
So why, decades after its death, is EC still alive — and even thriving?
Gary Groth, Fantagraphics president and editor of its EC Library, thinks he knows. “The EC line represents a high-water mark in the history of commercial comics,” he wrote in an e-mail. “They were arguably the best commercial comics company in the history of the medium, and their list of artists and writers between 1950 and 1955 represents a Who’s Who of the most accomplished craftsmen working in comics at that time.”
And in an essay this year, he wrote: “EC came as close as a mainstream comics publisher could to being the comics equivalent of Barney Rosset’s Grove Press. What other comics publisher would even think of adapting stories from The Saturday Evening Post, use stories by Guy de Maupassant or steal from the best — Ray Bradbury?”
The best-selling horror novelist Joe Hill, who also writes the comics series Locke & Key, has a slightly different take. “Tales From the Crypt was the most famous of the horror and crime comics that were destroyed by the 1950s-era show trial put on by Congressman Estes Kefauver,” Mr. Hill wrote in an e-mail. “And I think that in the very act of making a thing forbidden, you make it seductive. Congressmen and respected psychologists didn’t want you to have it ... therefore it had to be great.”
EC’s pulpy cultural DNA, which pulses in comics like Crypt and Weird Science, has proved hardier than anyone could have imagined. Those gruesome, fantastical and slapstick chromosomes course through the films of Joe Dante and George Lucas, of Steven Spielberg and Quentin Tarantino, and in the novels of Stephen King and Mr. Hill, Mr. King’s son. And don’t forget that Mad was born as a 10-cent EC comic in 1952 before becoming a 25-cent magazine with its 24th issue. (The first 24 issues of Mad can be read in DC Comics’ “Mad Archives,” Volumes 1 to 4.)
“You start with Mad and wind up mainlining Vonnegut and calling yourself a conscientious objector,” wrote Mr. Hill, whose latest novel is “NOS4A2.” “Mad magazine has had its finger up the nose of pop culture since 1952 and has never stopped unearthing fresh glistening gems. Their sense of humor informed National Lampoon, ‘Saturday Night Live,’ ‘Jackass,’ Eminem’s music, one out of every seven tweets on Twitter, and every gross joke in every comic ever.”
EC’s glory (and gory) years were 1950-1955, when it mutated from Educational Comics to Entertaining Comics, stopped printing tame titles like Saddle Romances and Tiny Tot and shifted to Two-Fisted Tales and The Vault of Horror. In this new, skewed world, axes were rarely used to chop wood, and meat grinders weren’t for shredding beef. Buxom bombshells lounged on distant planets, cannibalism was a hobby, and the dead just didn’t know how to stay dead.
for the rest go here:
http://www.nytimes.com/2013/10/27/arts/design/ec-comics-vilified-in-the-
1950s-thrive-60-years-later.html
http://www.nytimes.com/2013/10/27/arts/design/ec-comics-vilified-in-the-
1950s-thrive-60-years-later.html
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