Monday, March 04, 2013

Welcome Back, with MA-01 - The Themes from U.N.C.L.E.


Here's the first in a series of compilations of versions of Jery Goldsmith's classic theme to The Man from U.N.C.L.E., along with songs ABOUT the show, and songs reflecting its popularity an influence in pop culture from the 1960s to today.

These are the tracks:

1 First Season Main Title revised Original television score 0:55
2 First Season End Title Original television score 1:14
3 Man from U.N.C.L.E. Theme Roland Shaw and His Orchestra 2:36
4 “The Deadly Decoy Affair” Main Title Original television score 1:13
5 The Man from Thrush Lalo Schifrin 2:55
6 Roulette Rhumba Lalo Schifrin 2:06
7 Man from U.N.C.L.E. Theme Dick Hyman 2:29
8 To Trap a Spy - Meet Mr. Solo-End Title Original film score 1:54
9 Man from U.N.C.L.E. Theme The Man from U.N.C.L.E. and Other TV Themes 1:43
10 Illya The Man from U.N.C.L.E. and Other TV Themes 2:30
11 Night People The Man from U.N.C.L.E. and Other TV Themes 2:37
12 Second Season Main Title (arr Lalo Schifrin) Original television score 0:36
13 Second Season End Title (arr Lalo Schifrin) Original television score 0:48
14 Man from U.N.C.L.E. Theme New Original TV Themes 3:09
15 Man from U.N.C.L.E. Theme Hugo Montenegro 1:59
16 Man from U.N.C.L.E. Theme Al Caiola 2:00
17 One of Our Spies Is Missing Main Title Original film score 3:07
18 Third Season Main Title (arr Gerald Fried) Original television score 0:30
19 Third Season End Title (arr Gerald Fried) Original television score 0:38
20 Man from U.N.C.L.E. Theme Teddy Randazzo 1:33
21 Man from U.N.C.L.E. Theme The Challengers 1:38
22 One Spy Too Many Main Title Original film score 2:49
23 “The Candidate’s Wife Affair” Main Title Original television score 0:28
24 Man from U.N.C.L.E. Theme The Jazz All-Stars 2:07
25 The Girl From U.N.C.L.E. Main Title Original television score 0:33
26 The Girl From U.N.C.L.E. End Title Original television score 0:39
27 The Spy in the Green Hat Main Title Original film score 2:08
28 “The Five Daughters Affair” Main Title Original television score 0:41
29 Man from U.N.C.L.E. Theme Billy Strange 2:28
30 Fourth Season Main Title Original television score 0:31
31 Fourth Season End Title Original television score 0:36
32 The Karate Killers Main Title Original film score 0:29
33 Man from U.N.C.L.E. Theme Swingin' Themes for Secret Agents 2:21
34 The Helicopter Spies Main Title Original film score 2:02
35 Man from U.N.C.L.E. Theme The Man from UNCLE Cult TV Classics 2:41
36 Return of the Man from U.N.C.L.E. Main Title Original film score 1:17
37 Man from U.N.C.L.E. Theme Man or Astro-Man? 1:31
38 Love Ya Illya Alma Cogan 2:27
39 Man from Uncle Moskow 3:30

This first compilation tried to collect most (if not all) of the various on-air versions of the theme. As an example, there were at least two versions of the sax riff in the third-season's opening credits.


Link September 2015

See ya!

Thursday, February 28, 2013

More Intriguing Amazon Suggestions

Amazon's "suggestions" algorithms sometimes leave me bemused.



Do you think they are trying too hard?  Maybe it makes a strange kind of sense....

You see, a year or two I added Fallout Shelter: Designing for Civil Defense in the Cold War (Architecture, Landscape and Amer Culture), by David Monteyne, to my Amazon "wish list."  This is not because I want to build a hideout, but because this volume looks like a cornucopia of Cold War and "retro" visuals.  Thes kind of graphics that I love.

I guess it's a case of misunderstood intentions.  If I truly wanted to build a shelter, then I might also be interested in buying all of these first aid supplies.  After all, a Doomsday Prepper would want his First Aid Kit stocked, yes?  With skin staples?  OUCH!

Not me, I just like to look at the pictures.

Tuesday, February 26, 2013

Book Review -- Enemy of the Truth by Sherry Fiester


Sherry Fiester is a forensics expert who has turned her attention to the known facts in the murder of President Kennedy.  I was honored and pleased when she asked me to read and review her book.  Here's that review....


            Enemy of the Truth is a fascinating look at some of the “myths,” or perceived truths, about the assassination of President John Kennedy.  To the extent that “myths” – untruths – are held or believed by society at large, these fallacies are “Enemies of the Truth.”  The book’s subtitle tells you Sherry Fiester’s emphasis – a forensic look at the crime.
            The eight main chapters examine some of these “myths” and pretty much wipe ’em out.  Fiester’s style may come across in places as dry or dispassionate, but that’s to be expected when you’re reading about technical stuff like parts of the human skull and bullet fragmentation.  The actual subject matter will hold your attention without the need for chatty narration.
            The first chapter examines the mistaken idea that the Dallas, TX police followed correct procedures in investigating the shooting of the President.  Compared to today’s standards such as digital photography and DNA sampling, many of what the DPD should have done, according to their own rules, seems pretty basic and straightforward.  But even basic protocols were flubbed or ignored, such as a complete photographic and drawn-to-scale survey of the Book Depository’s sixth floor.  Even the so-called “sniper’s nest” and the rifle, when discovered, were not documented in situ before they were moved.
            Fiester quotes extensively from the textbook protocols that in 1963 were required for a professional and legally valid crime scene investigation.  And in nearly every way, the behavior of the investigators falls short.  Everything from the bullet casings (not photographed or marked to preserve chain-of-evidence) to boxes by the window (moved and arranged several times by ungloved hands) demonstrates a cascade of failures.
            Now, in this chapter Fiester lets pass two of the things I've always harped on.  The first report of a rifle’s discovery on the sixth floor described a Mauser, not the Mannlicher-Carcano which supposedly belonged to Oswald.  Does this mean that there was a rifle switch-out?  Also, in her discussion of the “paper bag” that Oswald supposedly used to smuggle the rifle into the building, she doesn't mention the well-documented fact that the rifle and bag were too long to have been carried between Oswald’s palm and armpit, as Warren Commissioners would have us believe. 
            Chapter Two describes the science and research behind sound localization, and demonstrates how easy it is for somebody to misplace the source of a sound.  You may honestly think that a sound came from such-and-such a place – but several factors may act, singly or in combination, to mislead your ears.  Examples are:  your location within a certain landscape; your distance from the sound; any refractive surfaces; and even the position of your head.  All can influence your perceptions.
            The next chapter discusses the controversies surrounding a single frame of the Zapruder film, Z313, which depicts a red cloud or mist in front of JFK’s forehead.  This scarlet fog appears ONLY  in this one frame, and a few researchers have held that this crimson haze appears and then vanishes much too quickly to be an actual event caught by the camera.  At least one book cites this cloud as “proof” that the Zapruder film has been altered.
            But Fiester explains the facts behind a phenomenon called “backspatter,” about which she knows as part of her expertise in forensics.  The red flicker seen on frame Z313 is an absolutely accurate depiction of backspatter, and what forensically you SHOULD EXPECT TO SEE following a shot to the front of the head.  Backspatter appears and dissipates in an amount of time much briefer than a single Zapruder frame, and that’s why we see it in mid-dissipation for only one frame.  It’s not a red blotch that was painted onto the film by forgers, as some have said.  It’s what is to be expected as the result of a front headshot.
            Chapter Four talks about some witnesses’ claims that the President’s car slowed to a crawl or stopped outright (perhaps to make it easier for an assassin to aim and fire).  This idea can be laid to rest with some of the reasons explained by Fiester in this chapter.  She explains some of the research behind the mind’s perception of time and how, in crisis situations, the passage of time can be felt to speed up or conversely “stand still,” despite the objective passing of seconds, minutes, and hours.  Furthermore, none of the extant films depicting Dealey Plaza show a car stop, or give any indication of having a car stop edited out.  There are multiple video sources for various parts of this crime.
            The next chapter dissects the myth, held by some since the day of the murder, that “Ballistics Prove One Shooter.”  Fiester lays out some of the many problems facing somebody who wants to believe such a thing – because science dispels the possibility.  Examinations of various recovered bullet fragments and casings don’t show them to have been fired from the same gun – or even the same KIND of gun.  Not even Neutron Activation Analysis can match some of the fragments with each other or with the nearly-whole bullet that supposedly passed through JFK and Governor Connally.  These inconclusive test results were withheld from the Warren Commissioners at the time.
            The sixth chapter really rumbled my cage when it disallowed the Grassy Knoll as the location of a shooter.  Like many folks who believe that this murder wasn’t undertaken by one man in the TSBD, I’ve agreed with the various eye- and ear-witnesses that something was going on behind the wooden fence atop the Grassy Knoll.  But Fiester first determines the location of JFK’s head in relation to the limousine and thus the street and Plaza.  Working from there, she examines the locations of JFK’s wounds – all on the right side of his head – and points out that a shot from the right would have exited on the left.  But the left side of the President’s head, according to doctors and witnesses, was undamaged.  The fence atop the knoll was almost perpendicular to the President, and therefore could not have been the origin point for the fatal headshot.  A more likely location, as indicated by the wounds, would be the triple overpass on the opposite side of Dealey Plaza from the infamous Knoll.
            Grassy-Knollers like me can always believe that a shooter was back there, but that he missed!
            Next Fiester tells me something else that I didn’t know – that the concept of deducing bullet trajectory by examining the beveling (angle of chipping) in the bone is an outdated idea that has been shown not to be accurate.  Being a ballistics expert, she should know!  Evidently there have been so many instances where the beveling angle does not match with known circumstances that the whole doctrine of trajectory-by-beveling has been discarded.  There have even been times when inner and outer beveling has been encountered in the same wound!
            In presenting her case against the Grassy Knoll and for the Triple Overpass area, Fiester jogged my memory and I flipped back to Chapter Two, in which she described the unreliability of sound location by “ear witnesses.”  However, here in Chapter Six, she quotes several people who reported hearing shots that seemed to come from the Overpass area.  The effectiveness of this testimony is somewhat diluted when you remember how in Chapter Two the author showed how unreliable “ear witness” testimony can be.
            Chapter Seven talks about the common belief that there were two headshots, based on the observation from the Zapruder film that JFK’s head moves slightly forward just before jerking rapidly backward from the final bullet strike.  Such a movement seems contrary to common sense, but our forensics expert explains once again, that such a thing is actually to be expected.  Fiester quotes several sources, ending up with the statement that “the forward movement of Kennedy’s head followed by a rearward movement is consistent with a single gunshot to the head from the front.”  So, the Zapruder film shows just what a forensic examination expects it to show:  a tiny forward motion and an almost instantly dispersing backspatter.
            The final myth, Chapter Eight, “The Single Bullet Theory,” is to me a nearly slam-dunk of a topic.  But then, I’m one of those “assassination nuts” with several dozen books in my library on the topic.  Some folks reading this book might not know the doubtful origins of the “Magic Bullet,” Commission Exhibit 399.  Or that the bullet fragments removed from John Connally’s body weigh more than the amount missing from the bullet.  Or that the bullet now known as CE399 was found in Parkland Hospital, on a stretcher known NOT to have been occupied by Connally.
            Anybody who looks even a half-inch into this matter can see the unbelievability of Senator Arlen Specter’s half-baked suggestion, “The Single Bullet Theory,” which was introduced after the Commission found that Oswald’s rifle couldn’t fire fast enough to have launched all of the bullets then known to have been fired in Dealey Plaza.  Just looking at photos of the President’s shirt and suit jacket shows that the bullet hit him in the back, towards the bottom of his right shoulder blade, and not in the back of the neck, as required by the Single-Bullet Theory.
            Fiester then proceeds to decimate the “official” autopsy report for sloppiness and the changes made to it.  Connally’s wounds are also enumerated, raising the possibility that his injuries alone might require the action of more than one bullet.
            And it’s pretty sad to realize that various FBI and other investigators could not even identify the bullet now known as CE399 as the bullet originally found at Parkland Hospital.
            Now, the final part of the book, a section called “The Witnesses,” is for me a delightful change-of-pace.  In this section Fiester tells of her meetings and interviews with various witnesses in the JFK murder case.  Unlike the rest of the book, the writing here is not scientific and clinical; it’s warm and engaging and sympathetic – a great way to balance the hard science in the earlier chapters.
            I really enjoyed this section because Fiester is able to take off the analytical scientist’s hat and talk to these folks as people.  It’s refreshing to end the book with a feeling for the personalities of the witnesses:  Marina Oswald; Bill Newman; Bobby Hargis; Robert Frazier; Beverly Oliver; and Aubrey Rike.
            Through these personal encounters we get a more intimate feel for Fiester herself, her empathy for the witnesses’ pain, and her frustration in confronting an unresolved call to justice.
            All told, Enemy of the Truth told me plenty of things I didn't know about the murder of JFK – and that surprised me!  This book is proof that not all of the questions about JFK’s death have been answered.  Some of the right questions haven’t even been asked!  But Enemy of the Truth does a fine job of shattering some of the myths that have stood in the way.

You can buy Sherry's fine book at her website.

Friday, February 22, 2013

Rorschach: The Early Years

I don't know if it's good news or bad news to inform you that this Rorschach-in-training is not my child, but MY GRANDKID.



Ordinarily Araya Sunshine is a normal little two-year-old who enjoys playing with blocks or, along with her cousin, exploting new avenues of mass transit.

But in times of trouble, the gloves go on, and a new persona takes over....


You don't want to make her angy.

Monday, February 18, 2013

Part the First



 

In 1967 I was eleven years old and a dyed-in-the-wool DC Comics kid.  One of the dozens of comics kicking around our house at the time was Action #350, with this stupendous cover by Curt Swan.

 

Looking back on this cover now, I notice that the writer of this cover’s blurb was playing a little fast and loose with history, since according to knowledge of the time cave men were around tens or hundreds of thousands of years ago, but not a megaannum (look it up) ago!   The “lived and died a million years ago” is a little bit of an exaggeration.

 Now, compare the anatomically-accurate-in-every-detail Curt Swan art on the cover to the interior art by Wayne Boring.


 
 Now, I know that Boring is considered a great Superman artist -- I personally LOVE the way he portrays the lovely ladies of DC -- but in my opinion Boring’s art is wa-a-a-y, t-o-o, cartoony.  Compare Curt Swan’s depiction of the skull to Boring’s:

 

 

 It’s like comparing a third-grader’s art to da Vinci!

 

Anyway, I remember this comic specifically because of an argument it sparked between me and my sister Sue, who would have been 17 at the time.

 
It’s one of those nerdy arguments like the one in the movie Stand By Me about who would in in a fight -- Mighty Mouse or Superman?

 
Just judging by the cover art, Sue and I argued about whether it was possible for this skeleton in the super-suit to actually BE SUPERMAN’S SKELETON.

 
I said that (theoretically) it was entirely possible that this COULD BE Superman’s bones.  On the other hand, Sue said this could not be.  He couldn’t be there twice -- alive AND dead.

 
My response was that it could easily be him, both alive and dead, sketching it out this way:  Suppose that tomorrow Superman flies into the past.  Somehow he is killed in this cave, IN THE PAST.  Now, eons later, Perry White and Superman stumble across these bones.  It would not be violating the “time travel laws,” because this skeleton is the skeleton of TOMORROW’S Superman.  This Superman, standing there looking at the bones, tomorrow will fly into the past and die, so that today’s Superman can find the body.

 
See? not a contradiction at all!

 
To which Sue responded, “It can’t happen like that?”

 
“Why not?” I demanded.

 
“Because!” she said.  This being my sweet sister Sue, this came out pronounced, “Be-cuzz -- Just be-cuzz!”

 What do YOU think?  Could Superman be there -- both alive -- AND dead?
 
 
Until next time, don't forget to watch The Rat Patrol on ABC on Monday nights!

Monday, February 11, 2013

Some Black History Month Comic-Book Notes -- Part 2

Superman: The Man of Steel # 47, August, 1995

            This story features a lengthy flashback sequence involving Daily Planet editor Perry White and  Planet owner Franklin Stern, in their younger days.  You already know what color White is (duh) — Stern is black.

            The events in the flashback take place in (probably) the 1950s, in a town called Melonville (as in watermelons?), in an unspecified Southern U.S. state.  Crosses are being burned, people are being killed and kidnapped.

            When he meets Stern for the first time, White says, “I may be a reporter from up north, but the truth is my job … and I’m telling you, the entire white race isn’t responsible for these murders!”

            To which civil-rights activist Stern replies, “The whites enslaved my people!  They denied us voting rights … schooling … equal opportunities —!”

            Soon they find that a red-hooded, red-robed group called the Aryan Brotherhood is behind it all.  White’s Planet contacts uncover an “abandoned” iron mine, where the pair find an Aryan Brotherhood training camp, along with a genetics lab with files going back to Nazi Germany — and a meat locker where the bodies of more than a dozen black and white human corpses dangle.

            After a wild escape with the files -- proof of the nefarious goings-on --, Stern and White call in the Feds, who clean up the mess and cart the evil ones (including the town sheriff)  off to face justice.

            This incident steels Stern’s resolve to take Harvard Business School up on their grant to get his doctorate.  White, we all know, went on to become Planet editor, where he again encountered Stern.  And they both continued their quests for justice, with Stern using wealth as his road to power — the power to make a difference for the better.

 

 

 

            A final angle on this issue is that the flashback is introduced by Keith White, whom Perry and Alice White adopted when his mom was killed.  It doesn’t matter to them that Keith is black and they are — well, White.  Or to Keith, either.  Or to me.

 

Supergirl # 23, July, 1998

            The title of this tale is “Double-Edged Sword”; it’s written by Peter David (yes, the same guy who cranks out a TREK novel every other weekend) and penciled by Leonard Kirk.  It’s up to you to decide on the sword of the title.  I would say that the phrase describes truth, and freedom of expression.

            The story opens with a sign-carrying demonstration against an upcoming speech by the controversial Taylor Landers at Stanhope University.  In an interview with Cutter Sharp one of Supergirl/Linda’s friends/supporting cast, Landers says, “My research indicates that, quite simply, the black population of this country stands to be the ultimate ruination of it,” because of  “the lowering of quality in the workplace due to Affirmative Action, the rewards granted via welfare for the uncontrolled birthing of children who will be poorly educated and a drain on resources, …” and so on.

            Not surprisingly, there’s also a protest at the speech site.  Superhero Steel (a black scientist in an armored technosuit) shows up.  “I believe in the First Amendment,” he tells the crowd.  “But even the First Amendment is not absolute.  There are limits where it presents a danger to the health and well-being of the populace.

            “I know this man, this Dr. Taylor Landers, Sociologist and Anthropologist.  I know the poison he speaks.  In his words, in his actions, he slanders an entire race of people.”

 

 

 

            Talking with Linda Lee Danvers (Supergirl’s Secret Identity), Cutter tells her of a march in Skokie, Illinois, where the ACLU stood up for a Nazi group’s right to march in a Jewish neighborhood.  Cutter says (wisely, I would say), “The cost of my freedom to talk up — I dunno, Israel — is Nazis having the right to spew their attitudes.  Don’t you get it?  The moment anybody is shut up, everybody’s at risk.”  A smart guy, eh?

            When Landers shows up for his speech and Steel tries to stop it, Supergirl says that even hate speech is protected speech.  “I fight for ideas, Steel,” she says.  “Who’s going to decide which ideas get spoken?  You?  Me?  And what will happen when people  don’t say what’s on their minds?”

            They are distracted when the Student Union is bombed.  In the mêlée, Landers, “the bigot,” saves a black cop from a fiery death.

            The final page, a postscript of sorts, contains a conversation wherein we discover that a future Stanhope speaker will be Dr. Muhammad Santos — variously called “one of the foremost thinkers of the nation of Islam, a major proponent of Black Pride,” — and “a noted anti-Semite.”

            The point being, free speech must be allowed, whether you agree with it or not! 

 

            However, true pride in yourself must come from your own unique qualities and achievements — not from your membership in any group and its supposed superiority to any other group and its members! 

 

 

            Editorial time here:  It doesn’t matter if Cleopatra or Jesus or Moses were black or white.  What matters is the human achievement behind the pyramids.  What matters is that Moses led his (whatever color) people out of slavery.  What matters is that Jesus was born and died for everybody, bigots and saints alike.  As He said in the book of Mark, it’s not the healthy people who need a doctor.  It’s sickies like you and me.  (End of sermon)

 

 

            Well, this was a brief survey of a few comic-book tales concerning black-white relations and problems thereof. I only remembered these few issues off the top of my head.  Remember, the fact that we are alive, and human, is more demanding of friendship and assistance  than any imagined differences!

 

 
(All quotations and art copyright © DC Comics)

Sunday, February 03, 2013

Some Black History Month Comic-Book Notes -- Part 1

            In my collection of a thousand or so comic books, I was able to pull out a few for comment.  They are all DC, sorry.  I can’t comment on how with-it Marvel might have been.

            I can only guess, but perhaps a black comics fan might feel about DC’s attempts to treat black issues, in his most charitable moments, kind of the way a teenager thinks of his parents’ attempts to be hip:   Lame, but we can only assume their intentions were good.

            Amazing Heroes #159 (February, 1989) featured a guest editorial, “Growing Up Black Reading Comics,” by writer and artist Keith Brown.  In his reminiscences he talks about buying issues featuring the Black Panther, later called the Panther, after the radical civil-rights group added unwelcome connotations to the original name.

            And then came Luke Cage, Hero for Hire.  To Brown, Cage seemed not very heroic (since when do heroes get paid to do the right thing?) — plus, he had the same origin as every other black character Brown remembers:  He was a street punk from the Hood.

            Brown’s favorite black character seemed to be the X-Men’s Storm.  A big part of this is that she is an interesting character, “with dignity and intelligence, femininity and strength.”  In other words, her race is not made a big deal of either way — it is simply a facet of her total being.

            (And I have no idea if this is true of Storm today.)

 

Green Arrow #76, April, 1970

            In 1992, DC reprinted a series of “Silver Age Classics.”  One of them, the April 1970 issue of Green Lantern (co-starring Green Arrow), contained the tale “No Evil Shall Escape My Sight,” written by Denny O’Neil, with art by Neal Adams.  In it, Green Lantern Hal Jordan is prodded by his JLA partner Green Arrow (Oliver Queen) to bring his quest for justice out of space and down to Earth.  A famous sequence features a black man asking Jordan, “I been readin’ about you ... how you work for the BLUE SKINS ... and how on a planet someplace you helped out the ORANGE SKINS ... And you done considerable for the PURPLE SKINS!  Only there’s skins you never bothered with — !  ... The BLACK SKINS!  I want to know ... How come?”

 

 

            This confrontation takes place on the roof of a rundown tenement-type of building.  The superheroes had become involved when GL (Green Lantern) stopped a bunch of neighborhood  residents from beating up on a rich fat white guy.  After being prodded by the more with-it Green Arrow to investigate, GL finds out the fat white guy is a slumlord looking to sell the rat-infested, falling-apart building out from under its tenants to build a parking lot or something.  Together, GA & GL get the goods on the guy, and the mostly black residents get to keep their homes, which are better than being turned out onto the street (though maybe not by much!).

            To investigate the dirty tycoon Slade, GL had neglected an assignment in outer space given him by the Guardians, the galactic wise men, the “blue skins” mentioned above.  When they call him onto the carpet, his friend GA takes the stage and accuses them of lofty-minded complacency.  “How dare you presume to meddle in the affairs of humanity,” he demands, “when human beings are no more that statistics to you and your crew! … Come off your perch!  Touch … taste … laugh and cry!  Learn where we’re at … and why!”

            So, our story ends with a member of the Guardians, disguised as an Earthman, hitting the road in a beat-up pick-up truck with Hal Jordan (GA) and Ollie Queen (GA).  Just as Dennis Hopper and Peter Fonda went in search of the real America in Easy Rider, Ollie tells his two compadres, “There’s a fine country out there someplace! Let’s go find it!”

            Of course, I tend to agree with the great philosopher Dorothy Gale, who said that if you can’t find your heart’s desire in your own backyard, then you never really lost it anyway.  Were GL, GA, and the Guardian looking for America, or running from themselves?

 

Superman’s Girl Friend Lois Lane #106, November, 1970

            “I Am Curious (Black)!” was written by Bob Kanigher and penciled by Werner Roth.  It’s a strange mix of the embarrassing and the genuinely thought-provoking.  (Please note that all comments about the characters and their behavior are made by me and not the storytellers.)

 

 

            Vapid, flighty Lois Lane gets it into  her empty, trendy head “to get the inside story of Metropolis’ Little Africa!”  In other words, she’s like the travelogue movie producers who shot newsreels of those weird people from that Other Part of the World.  It’s only interesting to learn about Little Africa, because it’s so different from her own (obviously much better) way of life.  Of course, this is only my opinion, mind.

            Anyway, when she gets to Little Africa (could you figure out this is the “black part of town”?), no one will talk to her.  After a page or two of this, she figures out that it’s because she is white.  Even a blind lady on a park bench gets up and leaves — “When she heard me speak — she knew I was white!” Lois muses.

            Sounds like prejudice runs both ways so far, eh, kiddies?  Next, she runs upon a street corner, where a nice-looking young fellow is haranguing a crowd.  He points at Lois and shouts, “She’s young and sweet and pretty!  But never forget … she’s whitey!  She’ll let us shine her shoes and sweep her floors! and baby-sit for her kids!    But she doesn’t want to let our kids into her lily-white schools!”

            Soon Lois asks for Superman’s help to get the real skinny (hardy-har-har) on Little Africa.  Using a Kryptonian machine called the Plastimold, it performs a makeover, turning Lois black for 24 hours.

 

 

            Then Lois finds out her favorite taxi driver won’t pick her up, presumably because of her new look, and she learns about the rats and the leaky roofs of Little Africa.  Dave Stevens, the same guy who called her the enemy because she was Whitey, now comes on to her.  Then he’s shot when he tries to stop some (white) thugs from pushing drugs to some (black) kids.  At the hospital, Lois is the only available blood donor, and Stevens pulls through thanks to a transfusion from her to him.

            After the 24-hour transformation has ended, Lois visits Stevens in the hospital, where he learns that she was the one who provided his transfusion.  Then the guy who called her his enemy smiles, and they hold hands.  Fade out.

            Another interesting section of the story is where Lois confronts Superman with the question, would he still love her if she were black.  He responds with a logical observation, and … well, see for yourself.

 

 

            Sure, in ways this might be a cop-out -- she changes back at a convenient time -- but it’s no more a cop-out than any other story of the Silver Age -- you couldn’t make permanent changes to the set-up.  I mean they couldn’t marry.

 
            Think a little more about the first panel.  As somebody (probably Larry Niven) said, Superman is another species, from another planet.  What are the odds that he would want to mate with ANYTHING ON EARTH?  Surely skin color wouldn’t matter at all.


(See you next Monday with the rest of this ripped-from-the-comic-books- article.)

Thursday, December 27, 2012

Monday, December 24, 2012

So Much for the End!

On the silly-season-sounding Day of Doom, December 21, 2012, God found a new way to say YES to life amidst the sounding clamor of Chicken Littles.


Andrew Lee came to us (through our younger daughter) on 12-21-12.

Unto us a child is born, unto us a son is given!

Merry Christmas!

Monday, December 17, 2012

Musical Monday: MA-42 - Happy Christmas Time

I set out to find all of my favorite Christmas songs or versions of them and boil it all down.


This comes pretty close I hope you can enjoy it. Lots of these tracks are available on various albums, such as Ultra-Lounge and God with Us and Joan Baez's Noel. You can't go wrong with them!

In the case of "A Charlie Brown Christmas," I edited together the song from the soundtrack CD with a clip from the TV show.

Here are the songs:


1 - Hark! the Herald Angels Sing The Philadelphia Orchestra
2 - Joy to the World The O.C. Supertones
3 - Exotic Night Martin Denny
4 - Little Drummer Boy Georgia Kelly
5 - Sweet Little Jesus Boy Chris Willis
6 - Happy Birthday Jesus Sparklepop
7 - Cha-Cha All the Way Capitol Studio Orchestra
8 - Carol of the Bells Teja Bell
9 - O Come, O Come, Emmanuel Joan Baez
10 - Heaven's Got a Baby Sarah Masen
11 - Away in a Manger The Philadelphia Orchestra
12 - I Need Christmas Erin O'Donnell
13 - We Three Kings Bop Claymation Christmas Celebration
14 - Here Comes Santa Claus Elvis Presley
15 - Jingle Bells Johnny Mercer
16 - Silent Night Twila Paris
17 - Christmas Time Is Here Again The Beatles (VM)
18 - White Christmas The Drifters
19 - Winter Wonderland Fleming and John
20 - Rudolph, the Red-Nosed Reindeer Mambo Billy May
21 - Rockin' Around the Christmas Tree Xmas! The Beatmas
22 - You Gotta Get Up Five Iron Frenzy
23 - Hark, the Herald Angels Sing A Charlie Brown Christmas
24 - Christmastime Is Here Seranova
25 - I Wonder as I Wander Joan Baez
26 - Silent Night, Holy Night The Philadelphia Orchestra

It's a deliberately eclectic mix, but the basic idea is --well, celebration! The idea that God loves us enough to become one of us to try and romance us back onto the path to Him! Why, that's worth changing your calendar for!

Now get out there and be joyful!

Whoops! Forgot the link!

Here it is: http://www.mediafire.com/?mjhg8kcg6xrcmgi

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© by Mark Alfred