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Tropico 4 October Release Date Confirmed
Written Thursday, October 06, 2011 By Richard WalkerView author's profile
Having been delayed from its mid-September release date a few weeks back, Kalypso Media has now announced a new release date for Tropico 4, and you won't have too long to wait before heading to a Caribbean paradise to impose your very own brand of leadership on the island inhabitants as El Presidente.
Will you be a benevolent or tyrannical dictator in your quest to become an global superpower? You'll need to keep your friends close and your enemies closer, as you accumulate finances in your Swiss bank account, importing and exporting, dealing with the demands of your constituents and overcoming challenges including natural disasters and adverse weather conditions that'll affect the island.
Tropico 4 will now be coming to Xbox 360 on October 18th in North America and October 21st in Europe. Viva El Presidente and all that.


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Let's Play Crusader Kings II [official site]. Or rather, let's watch Crusader Kings II play itself.
Partly inspired by the ongoing Civ V AI Battle Royale and partly by my own longstanding interest in the interplay of game mechanics without player intervention, I've decided to run a Crusader Kings II campaign, beginning at the earliest possible start date. I'll be running the game in observer mode – that is to say, there will be no human player – and I've drawn up a set of rules to govern which parts of the world I'll be observing most closely. Empires will rise, Kingdoms will fall. The mighty will end up rotting beneath carparks in Leicester.

subset: commoncrawl


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No contact information provided
Youre a true champion Jon.
MaxxDaddy, 4/24/2010
Im going to try to make it up for at least a few hours.
willblake, 4/23/2010
Everyone be sure to bring contact info for next of kin. I have a feeling someone will not survive this immense pile of beer.
j12601, 4/21/2010


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Fees – Options to pay fees online via credit card or PayPal are now available. Entry fees for all ISSMA events for the 2015-2016 school year are located on Page 81 of the Music Festivals Manual. There has been no increase in fees for this year for any participant or spectator.
Entries – Entry for all ISSMA events, EXCEPT Solo and Ensemble, will be submitted electronically via the ISSMA website. Submission must occur by the calendar designated deadline. NOTE: Calendar of ENTRY DEADLINES on Page a. There is further clarification regarding entry procedures on Pages 6 and 7.
Revised Adjudication Forms – Forms to evaluate most events have been revised this year. Pages 38-79 .
Use of Drones – Use of drones (manned or unmanned) shall not be permitted at any ISSMA event. Penalty: Disqualification. Page 8, Letter M.
Balancing of Performance Sites – ISSMA reserves the right to balance all performance sites as needed. Page 7, Letter J.
Awards and Ratings
The Junior/Middle "All-Music Award" has been implemented. The process for qualification for this award is on Page 36-37, Letter F, number 5 and 6. Please note the new deadline for submission of materials to validate the meeting of requirements is March 1st . Page 37, number 5a.
Marching Band
Enrollment Numbers – The new Enrollment Categories are listed on Page 9, Letter E, number 2, and are based upon enrollment statistics Grades 9-12. Individual school enrollment statistics may be found on the ISSMA website.
Classification System – There will be three main classifications for marching bands: Festival Class, Scholastic Class, and Open Class. Page 9, Letter E, number 1. The delineation of differences and requirements of participation in each classification is explained throughout Section VII: Marching Band Events, Pages 8-14.
Summer Showcase – This performance venue is open to any and all Indiana High School Marching Bands. This event has been established for those bands concluding a summer marching season, or for those that are looking for a performance opportunity at the beginning of the fall season. Details may be found on Page 11, Letter P.
Semi-state Draw – There is a revised draw structure for performance order. Page 14, number 8d.
Critique offered at Open Class Invitational event – An optional judges' critique session will be provided for Open Class bands at the conclusion of the Open Class Invitational. Page 13, number 6d. Commitment to attend the Critique must be made at the time of event entry.
Solo and Ensemble
New Group I Manual for Woodwind Solos and Ensembles – There is a new manual for Woodwind events. It is important that you inform your students and private teachers of the revisions. There have been NUMEROUS changes to the literature on each list. Please pay special attention to Page 3 of the Woodwind Manual for details on expansion of lists for certain instruments, and also refer to the beginning of each instrument list for clarification of acceptable selections for certain instruments.
Jazz Events
Instrumental Lab Ensemble with Improvisation and Instrumental Lab Ensemble Without Improvisation have been added as new District Jazz events. Page 32, Letters E and G.
Maximum number of Instrumental Jazz/String Jazz Ensemble Participants – The maximum number of participants has been adjusted. Page 31, Letter D, number 5. (Jr./Middle Division Jazz Ensembles will have no maximum number of members.)
State Jazz and Show Choir Finals - State Finals for Instrumental and Vocal Jazz Ensembles will be held on the Friday evening of week number 37. See Page 33, Letter A, for qualification and event details, and page 63-64 for adjudication forms to be used for qualification and performance evaluation. State Show Choir Finals will be held on the Saturday of week number 37.
State Show Choir Classification Numbers – The new classification numbers are listed on Page 34, Letter B, number 5 and are based upon enrollment statistics Grades 9-12. Individual school enrollment statistics may be found on the ISSMA website.
State Show Choir Timing and Penalties – Staging/performance/exit time block, and the penalty for not following established staging procedures, have been revised. Page 35, number 12. Any infraction of the State Show Choir rules will result in a 25 point penalty unless otherwise stated. Page 35, number 18.
Change to Adjudication Forms – "Effective Transitions" has been added to all State Show Choir Adjudication forms. Pages 65-67.
Concert Organization
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The Tradition of the Pharaohs Lives On
Lessons from Ozymandias, Horemheb and the untimely death of the boy-king Tutankhamun
The current situation in Egypt, deeply troubling to Western observers, comes as no surprise to a student of the country's long history. The power struggle being played out on the streets of Cairo has striking parallels from the time of the pharaohs, more than 3,000 years ago.
In 1322 B.C., the untimely death of the boy-king Tutankhamun (whose famous gold mask now resides in a room overlooking the violence of Tahrir Square) ushered in an equally tense time for Egypt. Then as now, the transition from one ruler to another was fraught with danger, as it presented a rare chance for opposition forces inside or outside the country to destabilize the mighty edifice of state power. Tutankhamun's demise caused more than usual disquiet, since there was no obvious heir to the throne, and the late king's policies had proved deeply controversial.
Then as now, it was the army that stepped in to maintain order. General Horemheb became Pharaoh Horemheb, without blinking an eye. To justify his coup, he tapped into the Egyptians' long-standing fear of foreign interference, pointing to the Hittites as potential aggressors if stability was not maintained. Today, Hosni Mubarak's supporters do likewise to justify their continued hold on power, spreading rumors of American interference and of Israeli agents posing as Western journalists.
Egypt's two recently appointed vice presidents are both from the armed forces, and the tradition of one military man succeeding another as head of state is also an ancient one. Thirty-three centuries ago, Horemheb, whose path to pharaoh had led through the ranks of the army, in turn nominated another general as his successor. In doing so, he inaugurated a military junta that ruled Egypt with an iron fist for 13 generations.
The greatest beneficiary of this martial regime was Ramesses II, the legendary Ozymandias and the greatest of all pharaohs, who used his friends in the army to impose Egyptian authority across the wider Middle East. In his time, the pharaoh's sphere of influence stretched from the hills of Syria to the plains of Sudan, and Egypt was recognized as the leading power in the ancient world. International prestige and military rule are deeply entwined in the Egyptian psyche.
Mr. Mubarak, a "modern-day pharaoh," as he has been called, can point to even earlier historical precedents. Two hundred years before Tutankhamun, a king named Ahmose—who also presented himself as a national hero, though he was hated by many of his subjects—faced a home-grown insurrection. His response was swift and uncompromising. In the words of a contemporary chronicler: "His Majesty killed him [the protest leader]; his gang was annihilated." It was a stark lesson in the unflinching brutality of state power, and there would not be another open rebellion against the regime for 500 years.
Down the millennia, Egypt's rulers have grown used to unquestioning obedience from their subjects. In a country with a longer history than most, there is simply no tradition of free speech or political debate. The events of the last week are unprecedented, not merely in recent times, but in the long trajectory of Egyptian civilization. It is little wonder that the president and his inner circle seem in denial of the protest outside their palace gates.
Though presidential rather than pharaonic, Egypt's modern rulers see themselves very much in the mold of their ancient royal predecessors. They have promulgated country-wide personality cults (like Ramesses II), handed government jobs to their relations and cronies (like Khufu, builder of the Great Pyramid), and grown rich from the sweat of their countrymen's labor (like all pharaohs).
In their response to opposition, too, they are merely reverting to age-old habits. If the violence of the response from Mr. Mubarak's supporters has taken the West by surprise, it is entirely in keeping with pharaonic precedent. As early as 1950 B.C., a minor uprising in the south of the country was met with a terrifying crackdown, and the ringleaders were burned alive as human torches, to light the perimeter wall of a major temple. Under the Ptolemies, captured rebels were stripped naked, beaten, yoked to carts and dragged through the streets until they died from their injuries.
But there is a final lesson from ancient Egyptian history that those urging regime change should heed. Today, tanks stand guard beside the Pyramids of Giza, the grandest symbols of authoritarian rule ever built. The pyramids sum up the unbridled confidence of ancient Egypt at the height of its power. The pyramid-builders must have assumed that the glories of pharaonic civilization would last forever. What brought the Age of the Pyramid to an end in 2175 B.C. was not war, invasion, or pestilence, but a political vacuum following the demise of a long-lived ruler. Factionalism and paralysis beset the Egyptian government, the economy collapsed and the country was plunged into a protracted civil war.
Egyptian history has a depressing habit of repeating itself. Let us all hope that, in this last respect, it does not.
—Mr. Wilkinson is an Egyptologist and a fellow of Clare College, University of Cambridge, England. His latest book, "The Rise and Fall of Ancient Egypt," will be published next month.


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Love it, love it, love it! Made well! I have been looking for this for while so happy I found it! Had one three years ago and I wore it out!! So much better than the ones made with just the two wheels and handle! The spring action makes such a difference!
My parents bought this for me when I was in highschool and I loved it! At the time, I didn't realize how great it actually was though. When I went away to college, my parents thought I wouldn't need it anymore and gave it away. I have been looking for something comparible for years and have tried all those one or two wheels with handle bars and nothing comes close! I always felt wobbly on those other ones and would often hurt my wrists. This roller does not wobble side to side at all... it's a smooth, striagh forward roll which makes it easier to get a better workout! It's more bulky than the other rollers but the handle bars do come off so it can be stored away in a smaller space. Great product, so glad I found it again!
- Did the product fit true to size? NA
- How is the quality of the product? Great
- Was the product free of any manufacturer defects? Yes
I had purchased this wheel for myself and when my son came to visit he loved it so I ordered one and had it shipped to his house. It arrived quickly and he enjoys using it daily.
Works well and provides good stabilization for beginners.
it does not feel that it adds much to helping with ab work. It is well made, but the concept itself is not worth it.
It was falling apart from the moment I opened it. Maybe mine was just defective. Returned
Overall, this roller is pretty effective, as long as it's used correctly. Good thing it comes with an instruction sheet. The little knee pad it comes with nice, too.


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DiDio & Lee Says DC Will Take the Time to Do "Watchmen"/Rebirth Story 'Right'
Comic Books
Every day this year, I will be examining the artwork on a single comic book story. Today's artist is Rob Liefeld, and the issue is X-Force #4, which was published by Marvel and is cover dated November 1991. Enjoy!
After New Mutants ended, Marvel created X-Force, a new title just for Liefeld, reflecting the bold new X-TREEEEEEM!!!!! Nineties, and although Liefeld didn't work on the book for long before taking off to form Image, his imprint remained all over it and so many other comics of the decade (and even into the new millennium). But while he did work on the book, we got some glorious stuff, including the famous (notorious?) sideways issue, which is the third part of a story crossing over with Adjectiveless Spider-Man in which the World Trade Center blows up. Yeah.
This is the first page of the comic. I love that Fabian Nicieza and Liefeld don't even care about recapping – "pick it up as you go along," they order us, as back then, readers didn't need their hand held to figure out that X-Force and Spider-Man are the good guys and the Juggernaut is the bad guy! This page, though – man. Warpath (Rob Schmidt's head just exploded), Feral, and Shatterstar are hanging out with Spidey, and Liefeld really has some fun with them. James Proudstar has a relatively normal-sized head, but when you place it in proportion to his wide, wide shoulders, it looks a lot smaller than it is. Liefeld gives him those gargantuan shoulder pads, which are absolutely ridiculous. Feral has the Bride of Frankenstein hair, but otherwise, she's drawn fairly well. Shatterstar has muscles on top of muscles, especially in his legs (what's up with that?), while Spider-Man is actually not badly drawn, even with that long, thin foot. It's the details, of course, that make this weird. Warpath's arm is wider that Feral's body, while his fist is as big as the heads of the characters. Shatterstar's face guard almost blocks his vision. Little things like that make the art odder, but the frustrating thing about this is that we can see that Liefeld, in some places, knows what he's doing. Feral is inked very well, with the tufts on her fur standing out very nicely and Liefeld using that fur to make her face look more, well, feral. But Liefeld, following other inkers, uses thin lines too much on Shatterstar's outfit, making it look baggier than it probably is – if we compare it to Warpath's more skin-tight outfit, we can see that had Liefeld eased up a bit on the inking, Shatterstar would look better. Brian Murray colored this comic, and we can see some hints of what lies farther into the issue, as he uses odd yellow, green, and blue to light Shatterstar's costume – it's a strange, almost nauseating scheme, and it sets a strange tone for the rest of the issue.
I wanted to focus on this drawing of Shatterstar, because it's such a Liefeldian treat. Let's ignore Warpath in the lower left – he's stunning, too, but let's keep our eyes on Shatterstar. The pose is very weird – Warpath is throwing him (which brings up the entire perspective thing, but we won't get into that here) in a "fastball special" kind of way, so it makes some sense that he would try to ball himself up, but once James lets him fly, wouldn't he extend his legs a bit? Plus, he's very flexible, as he manages to get his head almost between his own legs, and it appears that his torso has shortened because his knees are so far out in front of his head (again, the perspective is a bit wonky). His thighs are gigantic, which we saw when Liefeld drew Hawk a few days ago, but this is more exaggerated, which is the way his art was going as he was given more freedom. Of course, we get the famous Liefeld feet, but lots of artists draw feet poorly, and I'm not going to denigrate Liefeld all that much on this count, because it's just not a big deal in the grand scheme of things. I'm not terribly sure what's going on with the Bondian hole at the "back" of the panel with the radiating lines – if it's to provide perspective and depth, it doesn't do the job very well, because Shatterstar and Warpath still appear to be on the same plane, even though James is technically "behind" Shatterstar. What I did want to focus on is Shatterstar's hands. As we saw with Cable yesterday, Liefeld was slowly going to a weird place with his hands, as often they seemed not to be holding whatever it is Liefeld drew near the hands. I find it interesting because if Liefeld is using models for his characters, where is he finding people who look like this? If he's drawing from a model of, say, a hand, why can't he copy a hand holding something that looks like a sword hilt instead of drawing the swords around hands that don't appear to be gripping anything? If we look closely at Shatterstar's hands, it appears that he's clenching them in fists, with the thumbs clearly visible. The hilts of the swords appear to be gripped between the index fingers and the middle fingers, which doesn't make sense at all. If Liefeld was going to look at a fist and copy that, fair enough. But presumably he knows that to grip the sword, the hilt has to be between the thumb and the curled fingers, not somehow coming down between the index and middle finger. I get that he wanted Shatterstar to be pointing the swords downward to balance the drawing a bit, but couldn't he have altered the hands a little to get that effect?
Liefeld likes to exaggerate, which isn't a terrible thing, but when you put it in conjunction with everything else, odd things start to pile up. In Panel 1, he gives Cable that ridiculous armor, but it's not necessarily the armor, it's the fact that the calves of the armor are bowed outward so wildly and the fact that Cable looks uncomfortable in it and the fact that his gun looks like a tube of aluminum foil and the fact that Murray colors him purple and orange and the fact that Liefeld chooses to cross-hatch haphazardly on the front of the armor. The overall effect is strange, and it gets stranger on the right side of the page. Liefeld over-hatches, turning both Black Tom and Cable into creepy desiccated versions of people, as he etches along Cable's cheekbone so severely that the lower half of his face falls inward. The reasons behind this frenzy of inking are mysterious – Liefeld obviously knew what he was doing before this, but maybe his confidence failed him and he was trying to cover things up? Was he under a deadline crunch and needed to ink quickly and with little regard for what he was doing? It's probably just that he thought it looked good and people kept buying the book. Why change if everyone thinks you're great?
Siryn manages to get Juggernaut's helmet off, and we get this sequence. As usual, Liefeld pays extra attention to characters' hair (Liefeld's always had a good head of hair, so it's not like a bald guy expressing his sadness through his work) – Siryn's lush mane splays out from her head, almost surrounding her face, while Shatterstar's glorious 'do is always stylin' under Liefeld's pencils and inks. His inking once again is tough to look at, as he gives Siryn a face of someone who has just smelled something awful (maybe Juggernaut wears a mask because his head stinks?) and Juggernaut himself, in keeping with the theme, looks emaciated thanks to the powerful inking lines on his cheeks. Liefeld has fixed Shatterstar's grip, as we can see in Panel 3, so his drawing in the earlier example makes even less sense. Murray is still coloring the issue oddly, with the yellows and blue blazing around Shatterstar – I know they're on top of the World Trade Center so nothing is blocking the sun, but the heavenly light in Panel 2 seems a bit much.
The mystery continues, as Liefeld inks Juggernaut with so much cross-hatching that his face looks like it's about to shatter, while the thicker lines make his cheeks jut outward unhealthily. This is Liefeld dragging comics kicking and screaming into the X-TREEEEM! Age, where nothing mattered except rage and inking lines. In Panel 2, Domino is holding another aluminum foil tube, while Liefeld has given up trying to make Shatterstar's cape look like cloth and instead appends white tubes to his back. The speed lines in the back do nothing except give the reader vertigo, which was already happening thanks to Murray's psychedelic use of oranges and reds in Panel 1 and his reliance on yellow, purple, and blue in Panel 2. I don't know – there's nothing more to be said about this sequence, I guess.
Let's finish with this panel of Cable, which is a good indicator of everything Liefeld was doing around this time, art-wise. The armor is gigantic, with Cable's shoulder pads sticking out so far he probably can't walk through a garage door. The sloppy inking on his face not only ages him but makes him look unhealthy, and I don't know what those things sticking out from his armor underneath his chin are (I'm sure it was explained in another issue of X-Force, but I'm not going to look it up), but they almost give him a Fu Manchu mustache. His thighs are gargantuan, and he's still holding a tube of aluminum foil. The cross-hatching is out of control, as Liefeld even cross-hatches what I assume are supposed to be plumes of smoke on either side of Cable? I don't have any idea what those white spaces are, but they get inked just the same! Finally, Shatterstar is standing still, yet his beautiful, beautiful pony tail is standing upright on his head and waving in … the breeze? I mean, why give Shatterstar a pony tail if you're not going to draw it all the time, even when it makes no sense, right? To complete the picture, Murray is now using pinks with the blues, because our eyes haven't been assaulted enough.
It was about this time that I began getting off the Liefeld bandwagon – I bought some more issues of X-Force, but soon dropped the book, and I didn't follow Liefeld over to Image. Even when he returned to Marvel, I stayed away from his work. It just wasn't my cup of tea any longer. So I don't have very much of his 1990s work, and tomorrow, I'll show a story of his that I own almost by accident. But it's a good example, because it's from later in his career and he's not inking it, so we'll see if that reins him in a bit! Be sure to peruse the archives while you wait!
Just…. no.
Holski: GAZE UPON IT!!!!!
I actually own this crossover in trade, preserved as a warning to future civilizations.
Not a single background to be seen. They must be fighting in some technicolor vacuum.
why!? he got paid to do this. with money. never doesn t boggle my mind
I have fun memories of buying this is issue and the crossover Spiderman issue. I also remember that after reading this issue, I also stopped liking Liefeld's art. Part of it was comparing it to McFarland's art in Spiderman and thinking it was so much better (hindsight has also changed my mind on that). Something else always bothered me about this issue that I hadn't realized until today after reading your post and that's the sickly feeling I got after reading this, much like one gets after eating at McDonald's. As you put it, the colors are so offensive to the senses and Liefeld's attempts at perspective are so vertigo inducing that I'm surprised they didn't have to put a warning on the cover.
GAAAAHHH!!! Why do you hate us?!?
"…while Spider-Man is actually not badly drawn…"
Greg, I would've agreed with you back then. But looking over these pages, with a critical eye, Spidey's shoulder & back muscles are just bugging me out. At least Spidey's right side of the body is exaggerated (for depth, I'm sure, but it doesn't work and it gives us gluteus righteus maximus), but I cannot get over that hunch-backed look that the shoulder/back muscles give him. It's like has normal shoulders (in red webbing), then this huge muscle (in blue), then somewhat normal blue backing (with red spider) and red waist webbing waistband. What is with that huge muscle? A bad case of spider-bite? Ugh.
I bailed out after a few issues of X-Force (but I did try the first 2 issues of Youngblood and I think something in Heroes Reborn (or Return, whatever that Marvel experiment was called). And then never again.
I had a similar reaction to Whilce Portacio. I really enjoyed his art early on, but after a while, I stopped liking it, and after a few tries of this and that later on, gave up completely.
Nothing against the artists themselves – even this stuff is leaps and bounds beyond what I could even hope to dream of!
I meant to indicate that "all" of Spidey's right side is exaggerated, I managed to leave that word out. It would've been much worse if parts of his right side were exaggerated and then different parts of his left side were larger. That's where I was trying to go with that thought.
Nu-D: I warned you!
Andrei: I still think McFarlane is better than Liefeld, but he does have his own problems. If you think I'm not featuring McFarlane this year, you've got another thing coming!
turk: Come on – it's so awesome!
David: I suppose I should have put "comparatively speaking." I agree that Spider-Man has his problems, but if he's the last thing we see on the page after the first three figures, it's almost a relief!
Portacio is another interesting artist. I might have to write about him, although I'll have to check to make sure I own a good cross-section of his work.
Two things about the first Cable panel above…
1 Cable looks like he has elephantiasis in his lower body.
2 Black Tom is behind him, saying "All that I have and MORE, Cable!" while holding his large stick near his crotch.
I seriously love looking at Liefeld's art.
Honestly, I kind of like this, and wouldn't mind an issue or two or a good script drawn in this style. There is a beauty to excess, and I prefer it over the bland indistinguishable house-art of the 80s.
There's a beauty to excess.
X-Force, in retrospect, must now seem like one of the stupidest ideas ever conceived.
s!moN: Well, as I've noted, people kept buying his comics! Don't blame him for taking the money!
kdu2814: Bwah-ha-ha!
Neo-Con Professor Pyg: I think the saving grace of Liefeld, for me, is his over-the-top exuberance. So I agree with you, but only to a point.
Acer: And yet they keep reviving it!
Spider-Man's not badly drawn? I'm sorry, no; I can't accept that. I look at that panel and it is clear: Spidey's body is a giant phallus! It looks like he was channeling Basil Wolverton. It's just wrong in so many ways, except compared to the rest of those anatomical nightmares. All I can say is, "AAAAAAAAAAAUUUUUUUUGGGGGHhhhhhhhhhhh…………………………………!!!!!!!!!!!!!!!!!"
Deep breaths……
Even back then, I could not fathom how that was a popular book and things like Nexus and Grendel only had a cult following.
Now, McFarlane is/was a pretty good graphic designer; a lousy storyteller, but a great designer.
After this, Rob's work degrades into the laughable. Someone once (in the pages of the Comic Buyer's Guide) suggested a drinking game, using a typical Liefeld comic. Every time, the costume changes from panel to panel or page to page, you take a drink. If you want to really get hammered, you drink when parts of the body disappear. Even without that, you can get pretty plastered in about 5 pages.
Cable's gun shrank! and why does his armor come with a nose picking attachment?
I guess this is where the early potential Liefeld showed was forever lost, in favor of his most obnoxious tics. Sean Howe's Marvel Comics: The Untold Story talks about the rock-star like fame and fortune Liefeld rode at the time, as well as the aggravation his scripters felt over his poor storytelling and inconsistent output.
"Does anyone have any idea how tired I am of all this gratuitous fighting?"
Not as tired as the readers, Warpath.
Anyhoo, another common "Liefeldism" worth mentioning in that last panel: Cable's aluminum foil tube isn't even straight; it's bending inwards. That's something Rob seems to do quite a bit, which really doesn't help things when he does his Colorforms weapons…
i ve gotta blame someone! at this point in his career its like he stopped tryin or went out of his way to get worse, i can t let it go
I'm not huge on backgrounds in comics but when their completely absent. wow.
Jeff: AAAARRRRRRGGGHHHHH! Now I can't unsee that!
I'm pretty sure I heard of that drinking game before. I've never played it, which is probably for the best!
j: It's best not to ask such questions!
Neil: Yeah, this was probably it. I would peg it as when he helped create Cable and Cable inexplicably became the most popular character in creation, but yeah, when Marvel created X-Force just for him, that probably did it.
Green Luthor: The irony is astonishing, isn't it?
I hadn't noticed the bending gun, but there it is. Liefeld's disdain of traditional tools, even straight edges, is weirdly refreshing!
I promise everyone that the next artist is a good palette cleanser. I PROMISE!!!!
Neo-Con Prof: "There is a beauty to excess, and I prefer it over the bland indistinguishable house-art of the 80s."
I think that must be what us crazy kids were all thinking back then. I distinctly remember being excited by McFarlane, Lee, Portacio and Liefeld at the beginning. After getting all worked up, I am sure I bought more than one copy of New Mutants 100 and X-Force #1, and I know I bought 10 copies of Spider-Man #1 – the most extra's of any issue I'd ever bought (and have ever bought since). Whoops! It seemed like a breath of fresh air and there was a huge movement in super-star artists that you couldn't help but want to be a part of. So along with Liefeld's artistic excesses, I had spending excesses as well. Live and learn, I guess.
So much excess. What did happen in the 1990s?
Liefeld's art was still tolerable on his X-Force run despite the growing flaws, it only went overboard into absurdly bad after the image launch. You can clearly see it over the first few issues of Youngblood.
The real offender here is the color hack job, must have been some good LSD they were smoking back then.
I'm sure if someone were to recolor everything properly it wouldn't be nearly such an eyesore, and would diminish the effects of Liefeld's weaknesses along with it..
And at least Liefeld was still producing dynamic and energetic stuff back then, which all quickly faded away as the 90s went on.
In the very last panel, can someone explain to me what exactly is holding Shatterstar's sword?
It can't be his arm, because it looks like it's connected to his crotch.
He just keeps getting worse and worse.
My name is Liefeldius, Artist of Artists, look at my work ye nerdy and despair.
You know what I remember about this issue? Despite being a Spider-Man/X-Force crossover, Spidey gets knocked out of the comic around page 3 and doesn't reappear until the end of the story. Over in the Spider-Man chapter, X-Force was all over the book. Here, nothing.
Was this the dawn of the era of disproportional drawing? It seems like before the 90s, characters like the Juggernaut were still superhumanly large, but "believably" so. Once Liefeld and McFarlane came along, it seems like characters such as Juggernaut or the Hulk were suddenly 20 feet tall with muscles the size of trucks.
@Adam, I would say Juggernaut had already grown to gargantuan proportions. Look at the battle with Dazzler in Uncanny #217. He's already bigger than a Buick.
I should point out that Liefeld lasted on the X-Force about as long as McFarlane lasted on Spider-Man, ironically both title were specifically created for both artists at the same time.
Then, they both left for IMAGE along with 5 other creators, which, I think was called the MARVEL EXODUS at the time.
I'm sure T.P. and/or Mr. Burgas knows more about this.
Shoulder pads large enough to put the cast of Dynasty to shame! Perspectives that would even make a one-eyed man confused! More cross-hatchings than a knitting factory!
So much bad art, yet everyone was lining up to lick his taint and put him in Levi's commercials! I lay most of the blame on Wizard, because they hyped the shit out of Rob like he was the next George Perez. The rest of the blame goes to those who failed to see that the Emperor had no clothes on (my 13 year old self included).
I admit it. When those X-Force issues came out I was eating them up. The grittiness of it, the crazy over-the-top excitement, the X-Tremeness of it (yeah, I went there). It's only looking back at them now that I realize Marvel must have been putting something in the water because this wouldn't fly today. I also can't help but wonder how many of those pages looked awkward because Liefeld was swiping it from other sources?
Tom Fitzpatick: Todd McFarlane did 16 issues of adjective-less Spider-Man. The X-Force cross-over was his final issue before he left the title for the birth of his child (IIRC). Liefeld left X-Force as the artist with issue 9. #8 was largely drawn by Mike Mignola (and boy was that jarring). So Liefeld drew a total of eight complete issues and then plotted a handful more. It's also worth noting that Spider-Man was launched a year before X-Force.
Grum: Man, I can't believe I missed that. That's what happens when the actual panel is smaller than what you see here – you miss crotch hands and such!
Adam: Yeah, that's true. Maybe Liefeld just really didn't want to draw Spider-Man!
Nu-D: Of course, that issue was Silvestri, so maybe those Image founders just really liked things HUGE!
Is it over the top? Extreeem? Sure is, but looking at it I can't help enjoying this much more than most of the sterile art of today. Tons of artist draw digitally, using whatever programme to create detailed backgrounds and pose their figures. Problem is, it looks stiff, cold and not the least bit entertaining. I believe this is what people tend to often overlook, Liefeld and Co. were excessive, they have their weaknesses and shortcomings, but at the end of the day they delivered the goods and entertained us. They still do as we, twenty some years later, still discuss their work.
Neo-Con Prof: "There is a beauty to excess, and I prefer it over the bland indistinguishable house-art of the 80s."
Curt Swan, John Byrne, Ron Frenz, Sal Buscema, John Buscema, Mike Zeck, Paul Neary, George Perez, Frank Miller, Dave Gibbons, Keith Giffen, Paul Gulacy, Walt Simonson, Marshal Rogers, Bernie Wrightson, Jerry Ordway, Alan Davis, Howard Chaykin, David Mazzuchelli, Michael Golden, Bob Layton, Arthur Adams, Brian Bolland, Jim Starlin, John Romita Jnr,
You prefer Liefeld to these house-artists from the 80's? Really? Wow.
Even Al Milgrom is better than Liefeld and even he's an acquired taste.
@Scooby —
I think you're misinterpreting the phrase "house style". That usually refers to a company's default style. Like right now DC's house style would probably/arguably be modeled after that guy who did Green Lantern with Geoff Johns, Ivan something or other I think it was.
But even this Dave Cockrum cover has Juggernaut's thighs bigger around than Storm's waist:
And how about this Art Adams cover:
What's interesting, though, is that most of the very exaggerated (pre-Liefeld) images that I found googling around on this question are from covers; most of the interior art is more subdued.
Scooby just listed all the artists of the 80s basically. Who considers Simonson's style house art?
Seems to me that there are two ways to define "house style." (1) the generic "average" art style that was predominant, or (2) the art that came from the "house artists." Scooby is using the latter definition, which is more objectively defined. I think most rely on the former definition, which is very subjective.
Of any of those I'd consider Sal Buscema and Al Milgrom to be closest to the Marvel house style (esp. Buscema) and while they may be bland a lot of the time, they at least concentrate their abilities on telling a comprehensible story first. They also turned their work in on time and by all accounts behaved like grown adults, not spoiled rockstars.
I'll take their blandness any day compared to this mess.
A lot of people seem to be really fond of stating "we hated it, but c'mon we all bought it" I think that tends to overshadow the fact that a lot of older (and not even that much older, I was only 18 when this X-Force came out) fans were turned off from this style and it's negative impact so much that they stopped reading comics or turned to the independents for relief.
I was initially excited by Liefeld's art in Hawk and Dove and found it to be a nice energetic style, obviously in the vein of Art Adams. That excitement turned to dread over the course of the next year or so, and by the time the last of the New Mutants issues were coming out I had a hard time even understanding how he was still working.
I wasn't reading comics back then, but it's hard to imagine why this style of art was so popular. It's terrible.
That being said, I admit to buying the X-Force Omnibus last year when it hit the overstock bins. It was about $25, and I was curious enough to bite. I still haven't popped the plastic seal.
The Shatterstar panels also feature what is probably my favorite Liefeldism, which is his complete inability to convincingly draw swords. The blades and the hilts never properly line up, so it always looks the two parts have been haphazardly attached at bizarre, nonsensical angles.
Someone mentioned Portacio much earlier in the comments and I have to say his stuff around the time he was on X Factor was okay if excessive, but he got dreadful soon after.
The most recent thing of his I read was the couple issues of Journey Into Mystery he did with Gillen a couple years back. I assume Portacio only did rough layouts as it was reasonably good in a story telling sense but the consistency of the art, and the attention to detail was atrocious.
Man, the earlier example of his art was so much better!
I was never a big fan of Rob Liefeld. But for some reason, when I was in high school and college, I followed his work on X-Force, as well as the first Youngblood miniseries. I think that back then as a reader I just did not have nearly enough of an understanding of the importance of anatomy, layouts, storytelling and backgrounds in artwork. Looking at these pics from X-Force #4 for the first time in almost two decades, I now am much more aware of the deficiencies in Liefeld's work.
I definitely did notice his weaknesses as an artist once he co-founded Image, though. I only bought that first Youngblood miniseries out of curiosity, and stuck with it until the final issue just so I could find out how the darn story ended. After that I was done with Liefeld. I remember that a year or two after that I did buy an issue of Youngblood volume 2, only because it had a guest appearance by Spawn. And, oh wow, Liefeld's work had just gone totally downhill by them. It was genuinely grotestque.
I'm sure you can all imagine how I felt in the mid-1990s when it was announced that he was going to be taking over Captain America, who at that time was my absolute favorite character. I must have been letting out a big "NOOOOOOOOOO!!!" a decade before Revenge of the Sith hit the big screen.
Yeah that whole Cap thing was a tremendous kick to the nuts wasn't it?
I remember hearing from someone that Captain America had actually gotten good again. I dropped the title during the second half of Gruenwald's run and was curious to see what was going on. I remember seeing an issue of the Waid/Garney run, being impressed and thinking I needed to start picking it up again. Only a month or two later they announced the "Heroes Reborn" concept and I was so bummed. It truly felt like the final nail in the coffin of mainstream comics (for me at least). I was so glad when that experiment went bust, it actually restored a bit of faith for me.
For me the worst single drawing from Liefeld was in the first issue of his Capt. America, maybe it was the splash page, anyway there's a scene of Cap in action in World War II and the airplanes look like sweet potatoes with propellers on them, it was just the laziest drawing imaginable, all the money he had to have made on that project and he couldn't even be bothered to try make them look even a little like airplanes. I'm not asking for a super precise drawing, but at least ACT like you give a damn. I saw that page when I flipped through it at the comic shop and felt so validated and reassured that this was in fact going to be a huge disaster.
I bought an near complete run of the book a few years ago and am actually a huge fan despite the awful art. Nicieza was doing a great job with his dialog, which often had some very subersive digs at the whole X-TREEEEEEEEM proto-Image style and managed to do some great character work. I was extremely happy when I got to the Greg Capullo issues.
Was really more of a McFarlane fan, but I do remember picking up New Mutants 100 and the following 9 issues of X-Force at the time, which were all Liefeld did, art wise, on the series (though only providing two pages for issue 8, comparatively, McFarlane was on Spider-Man til 16 with one fill-in, and Jim Lee was on X-Men til 11 ). I'm presently of the opinion that what Liefeld really managed to do was tap into the artistic aesthetics of the Nintendo generation. If you've ever seen the box art or promotional material for mid to late Eighties video games, they're filled with frequently bizarre illustrations of teeth gritting "badass cyborg dudes" with odd looking sci-fi guns and strange armor like attire (none of which ever seemed to match the illustrative work within the games themselves of course). Liefeld essentially managed to deliver material in that same vein on a (semi) regular basis, but with the dial turned up. I knew guys who spent hours on end playing "Bionic Commando", "Strider", or "Contra" that LOVED his stuff.
I also definitely recall taking note of the coloring of this issue back then, as it (and a good deal of the coloring in the post Image boom for that matter) reminded me of the blacklight posters you'd see adorning the walls in the back of Spencer's Gifts along with the lava lamps, bubble machines, mirror balls, magnetic toys, and various psychedelic electronic gadgetry that they carried there (back when it was only partly a cheap sex-toy shop rather than mostly a cheap sex-toy shop as it is now).
I was not a Liefeld fan, but rather a huge Jim Lee fan. I was an X-Men reader, but not New Mutants (partly because New Mutants only appeared sporadically on the spinner rack at the corner store, while X-Men was consistently delivered). Anyhow, I had to buy New Mutants for its role in the X-tinction Agenda, and by then they were hyping its cancellation and relaunch as X-Force, so I bought the last couple of issues. None of it really appealed to me, but I stuck it out through the first dozen or so X-Force issues (buying a couple of extras of #1 because they were an investment in my college fund). I wanted to drop X-Force pretty quickly, but it kept having crossovers with X-Men. I think I gave it up after #19; it was the last of the X-Line I started reading, and the first one I dropped.
I stuck it out with X-Men until the beginning of the Age of Apocalypse. At the time I thought the departure of Jim Lee was why I lost interest; in retrospect, it was the departure of Chris Claremont. I did stick around a lot longer because I liked the characters, but I really wasn't that interested by then.
I followed Jim Lee over to Image, but not Rob Liefeld. I bought WildCATS, and Spawn, and CyberForce, but never bought any Youngblood. Not that I was particularly discerning about the art; I just wasn't into the same stuff Rob Liefeld was. Guns and cyborgs interested me less than Jim Lee's hot women did.
@Dalarsco: That was probably one of the key differences between X-Force and Youngblood. X-Force was scripted by Fabian Nicieza, a very talented writer in his own right, who was capable of bringing a certain amount of coherance and intelligence to Liefeld's plots & art. Youngblood, on the other hand, was scripted by Liefeld himself, who was an even worse writer than he was artist, or by his friends and studio-mates, most of whom were definitely not as skilled as Nicieza. That said, Eric Stephenson did later write a few stories that I did enjoy.
I can thank the 90's for teaching me that it's OK to have an interrupted run of a title. I had been a staunch reader of most of the Spider-Man books and most of the X-books. I think I ended up switching to reading more DC books than ever during this time – just about anything Vertigo put out, and I liked the Valiant universe just fine. It just seemed like Marvel had hit a wall – a lot of their older talent had gone, and the new talent they were hiring wasn't to my liking. I eventually made my way back after the Heroes Return/Reborn mess, with Busiek & Perez's Avengers. Now that was more like it!
Just for the record, I did not make the comment about Scooby's comment.
Probably the worst element of Liefeld's Cap was that near-Nazi Eagle he put on his forehead. I know science wasn't Rob's forte (based on the Younglblood preview interview he did with Comic Scene Magazine, back in the early 90s) but it also looks like he was asleep in history class, too.
Rob's writing and his concepts beg for a separate series of columns. I remember when Youngblood came out and he has Shaft throwing a ballpoint pen, upwards and impaling some guy in the throat. This was a character whose pin-up bio page said he was of normal human strength. However, he is able to through a blunt object with enough force, against the pull of gravity, and impale a person in the throat, piercing the windpipe! Makes Bullseye look like a sissy! Meanwhile, in the aforementioned Comic Scene interview, he remarked that his giant muscular stock character, Brahma, was based on an idea he got from friends who were triplets. He said he asked them how that happens and one of them said it was one egg that split into three (which is pretty rare beyond twins). He said he wondered what would happen if the egg didn't split? I sat there reading it, thinking, "Normal fertilization and birth, stupid!" (Ok, it was mean; but I was shocked at his ignorance). He really thought that it was a giant ovum that would then lead to a large baby, that grew into a huge man. At no point did he understand that it's not the size of the ovum, but the DNA encoding that determines the size of a person. In another paragraph he remarks how he wanted to quit school to try to break into comics; but, his parents wouldn't let him. I can see how school wasn't a priority.
Interestingly enough, a little while after that interview, I applied to the Kubert School, as I was leaving the US Navy, I already had a college degree; but was an incessant doodler, and wanted to try my hand at formal art training, with an eye towards comics, so I thought I'd start with one of the better schools available. During my interview, the instructor (not Joe Kubert), remarked that I had probably the best school transcript he had ever seen, as most applicants didn't excel in academics, as they were busy drawing. Meanwhile, I stared at a Kubert painting of Tarzan, wrestling a crocodile, that was on the wall, behind the interviewer. I just glanced at it and my samples and got really depressed. In the end, I was accepted into the school, but circumstances prevented me from attending. So, I give props to Rob for carving out a career in comics, checkered though it may be. There are hundreds of guys behind him who didn't get work, while he, right or wrong, got rich.
Jeff: That's a neat story about the Kubert School. It's interesting that kids might be drawing, which is great, but they should also pay attention in school, because you never know what you might learn! And as I've mentioned before, I don't blame Liefeld very much, because people kept buying the work!
That's the thing about the Image guys. I hated their work with a passion. I was weaned on Neal Adams, Curt Swan, John Buscema, Gene Colan, and the like. As I got older, I gravitated to guys like Jim Starlin, Howard Chaykin, Paul Gulacy, P Craig Russell, George Perez John Byrne, and the like. That circle grew to include others; but, the unifying element was clean linework and solid draftsmanship and storytelling. Most of the Image guys excelled at pin-ups but their stories were a mess. And yet, they sold like hotcakes (helped greatly by speculators, but they didn't keep those books going, after the initial launces and gimmick issues). I read the Comics Journal interview with McFarlane and expected them to tear him a new one; but, Todd admitted up front his shortcomings and accepted them and said he just did what he felt comfortable with and it seemed to pay off. I sat there stunned for moment, an just said, "Well, you can't argue with that ." I think he would have fared better in the debate with Peter David had he stuck to those lines, instead of wasting money on NFL cheerleaders.
I was bummed out about not being able to go to the Kubert School; but, it was a great experience. I worked harder than I had before to create my submission portfolio and the results were pretty satisfying (until you compared them with a nearly 6 ft panting by a pro who had been working the industry since his teen years…)and I got some positive feedback from the interviewer. The fact that I got in at least gave my ego a nice rub. It also gave me a start to very pleasant conversations with Dave Dorman and Steve Leiber, both of whom attended the school.
Looking at the picture of Warpath throwing Shatterstar and the swords are just mysterious floating there, kind of… embedded in his fists, which are clearly not in the right position to actually grip those swords, I can't help thinking that originally, Liefeld drew the hands like that so Shatterstar could hold the swords as you would expect them to fit those hands, pointed up. But then, for some reason, Liefeld changed his mind and wanted the swords pointed down, but instead of going to the trouble of fixing the hands, he just drew in the swords pointed in the direction he wanted them, and left it at that.
At least he's very consistent in his choices.
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Brothers INKTOBER by imaginismWatch
©2013-2016 imaginism
done in Sketchbook Pro
done in Sketchbook Pro
only a little disturbing. trying to imagine their voices and the conversations they'd have.
Quaid... open your miiiind to meee... Ah ha ha, couldn't resist. You draw some scary stuff sometimes. Great work!
smooth and raw !
... and mean !!!! very good
mmm...they remember me the vg "Binding of Isaac"...
The small one is so cute *-*
nice, reminds me a bit of Mike Mignola
Oh my gosh, this... Is beautiful! :,)
Reverse Quato! Love the inks.


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IIB Studio maps the data of Your Life on BBC Earth
Your Life on Earth represents the BBC's first personalised and shareable dashboard of info-rich data visualisations
Your Life on Earth represents the BBC's first personalised and shareable dashboard of info-rich data visualisations
Hidden Armada's kickstarter campaign aims to bring multiplayer pirate co-op game Mutiny! and innovative second-screen controller app to life
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Google+ is surprisingly popular with communities connected by a common interest such as a hobby.
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Georgia Tech scientists have created an app that creates captions on Google Glass for partially or fully deaf users.
Konica Minolta thinks it has something unique to add to the emerging smart glasses field: holographic know-how.
Can a paper bag give you the ultimate selfie?
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Japanese parents who want to keep close tabs on their kids will soon be able to wrap sensor-laden 3G watches on their wrists.
Discover what should be inspiring you this month from the wider creative world. In the second in a new monthly series of features, Laura Snoad identifies the hottest and most pervasive creative trends. She brings together the best new work, projects and exhibitions from around the UK and beyond – across art, design, photography, music, film and more.
Why yesterday's much-shared article claiming to explain why 'sites have similar designs' has a blinkered sense of what web design is.
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Check out some of the most stunning illustrations from the new book, including artworks from Jonathan Bartless, Rafael Alvarez and Thomas Ehretsmann.
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Months after redesigning your web profile pages, Twitter has a new look for profiles in iOS. It's major, at least according to Twitter.


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Mullins lands Novices Hurdle in Clonmel again
Arkwrisht benefitted from an enterprising Ruby Walsh ride to continue Willie Mullins' domination of the Surehaul Mercedes-Benz Novice Hurdle at Clonmel.
Arkwrisht benefitted from an enterprising Ruby Walsh ride to continue Willie Mullins' domination of the Surehaul Mercedes-Benz Novice Hurdle at Clonmel.
USA Boxing has heralded the arrival of Billy Walsh as he takes over as coach of US women's team.
The Irish Amateur Boxing Association has told an Oireachtas committee that its board had concerns over the costs associated with retaining the services of coach Billy Walsh.
Representatives from the Irish Amateur Boxing Association and Sport Ireland will appear before the Joint Committee on Transport and Communications to discuss the recent controversy around the departure of Billy Walsh.
Former Irish amateur boxing head coach Billy Walsh has contradicted the IABA's account of their failed contract negotiations and insisted he resigned because he "could not work for someone who clearly did not want me" rather than the financial benefits of coaching in the US.
The IABA has claimed that it did everything "within reason" to retain the services of Billy Walsh as Irish boxing head coach.
Billy Walsh flew to the US this morning and looks set to sign a contract with the country's boxing association after his resignation from the IABA earlier this week.
Irish Sports Council supremo John Treacy has called for a "cultural change" within the beleaguered Irish Amateur Boxing Association in the wake of the controversy stemming from Billy Walsh's failed contract negotiations.
Irish Sporting Council chairman Kieran Mulvey has again reiterated his support for the departing Billy Walsh and warned that major changes are needed at the IABA.
Chief executive of the Irish Sports Council John Treacy has laid the blame for Billy Walsh's resignation firmly at the feet of the IABA, insisting it backed out a deal to keep the celebrated coach.
Irish Olympian Darren O'Neill and newly crowned world champion Michael Conlan have both shared their devastation at Billy Walsh's departure from Irish boxing - but insisted he's left behind a team capable of delivering more success.
Irish boxing has been thrown in crisis with the news that head coach Billy Walsh has resigned, with Olympic champion Katie Taylor calling it "a sad day for Irish boxing".
Billy Walsh speaks to RTÉ Sport about why he chose to step down as Head Coach of the Irish Boxing High Performance Unit.
Billy Walsh's decision to step down as head coach of Ireland's boxing team reduced him to tears but he said he was not prepared to "stoop any lower" in his dealings with the IABA.
Billy Walsh claims that a tough draw was inevitable as a seven-man Irish team prepare to head into World Championship action in Doha.
The Irish Sports Council has criticised the Irish Amateur Boxing Association over what it believes is a failure to ratify a previously agreed deal to keep Billy Walsh as high-performance coach to the country's elite boxers.
There are doubts over the future of Irish High Performance boxing coach Billy Walsh, who is reported to be considering a move to America.
Team Ireland boxing coach Billy Walsh has earmarked Brendan Irvine for a gold medal in tomorrow's light flyweight European Games final.
Convergence saw off all rivals from the front to land the Ballycorus Stakes at Leopardstown.
Two-time Olympic bronze medallist Paddy Barnes is aiming to become the first Irish boxer in the 104-year history of the Irish Amateur Boxing Association to qualify for three successive Olympics tonight.


text:
|Tennessee Ernie Ford
|Himself - Host / ... (125 episodes, 1956-1961)
Series Directed by
|Bud Yorkin
|(55 episodes, 1956-1961)
|Selwyn Touber
|(7 episodes, 1958-1960)
Series Writing credits
|Howard Leeds
|(7 episodes, 1958-1960)
|Danny Arnold
|(5 episodes, 1958-1960)
|Norman Paul
|(5 episodes, 1958-1960)
|Norman Lear
|(4 episodes, 1957-1958)
|Roland Kibbee
|(3 episodes, 1957-1958)
|William Yagemann
|(2 episodes, 1957-1958)
|Tom Adair
|(1 episode, 1956)
|James B. Allardice
|(1 episode, 1956)
Series Produced by
|Bud Yorkin
|producer (53 episodes, 1956-1961)
|Cliffie Stone
|executive producer / producer (9 episodes, 1957-1960)
|Jim Loakes
|associate producer (2 episodes, 1958-1960)
|Selwyn Touber
|producer (2 episodes, 1958-1960)
Series Original Music by
|Harry Geller
|(3 episodes, 1957-1960)
|Tom Adair
|(unknown episodes)
Series Art Direction by
|Edward Stephenson
|(2 episodes, 1958-1960)
Series Costume Design by
|Ret Turner
|(2 episodes, 1958-1960)
Series Production Management
|Larry Fielder
|unit manager (2 episodes, 1958-1960)
|Ronald C. Oxford
|unit manager (2 episodes, 1958-1960)
Series Second Unit Director or Assistant Director
|Thomas Foulkes
|associate director (3 episodes, 1956-1960)
|Robert Gilmore
|associate director (2 episodes, 1958-1960)
|Win Opie
|associate director (2 episodes, 1958-1960)
Series Sound Department
|Art Brearley
|audio (2 episodes, 1958-1960)
Series Camera and Electrical Department
|John Freschi
|lighting technician (2 episodes, 1958-1960)
|Ken Pascoe
|video operator (2 episodes, 1958-1960)
|Chuck Smith
|senior video operator (2 episodes, 1958-1960)
Series Music Department
|Harry Geller
|musical director / music director (7 episodes, 1958-1961)
Series Other crew
|Ward Ellis
|choreographer (5 episodes, 1957-1960)
|Roland Kibbee
|consultant (2 episodes, 1958-1960)
|Jerien McClure
|production assistant (2 episodes, 1958-1960)
|Lou Onofrio
|technical director (2 episodes, 1958-1960)
|Joe Strauss
|technical director (2 episodes, 1958-1960)
This was called the Ford show because its sponsor was the Ford Motor
Company, but most viewers called it the Ford show because of their
fondness for the humor, warmth, and singing of the star Tennessee Ernie
Ford. Tennessee Ernie was a man of great humility as well as being one
of the most talented performers of his generation. He could have been a
much bigger star than he was had he been vainglorious and hungered for
fame and fortune, but Tennessee Ernie was at heart a down home body who
did not enjoy the limelight all that much. He retired young from show
business at the height of his popularity, though he did cut a gospel
album from time to time. Like another great entertainer from a later
time Flip Wilson, he simply packed up and went home, seldom to be seen
in the public eye again.
Tennessee Ernie's music was special. He recorded many rockabilly songs such as "Shotgun Boogie" in the early 50's before anyone had ever heard of Elvis. He had one of the biggest hits of all times "Sixteen Tons," written by the guitar genius Merle Travis. Yet gospel was in his heart and soul. He always ended the Ford Show with a hymn, his deep melodious voice calling the angels from heaven. After retirement he only recorded gospel music, no secular songs of any kind.
Ernie was also a gifted comedian. One sketch from the Ford Show stays in my mind. This sketch was possibly the most popular one ever presented on his show. It was about a "jackass-a-gator" on the loose. Ernie piled joke on top of joke about the mythical creature, much of it ad libbed. At times his humor could be very racy for 1950's television. He always wore a mustache on the show. One time he attempted to steal a kiss from a pretty guest who said she had never kissed a man with a mustache before. Ernie's reply was, "A woman don't mind wading through a little brush when she's going to a picnic."
As Ernie always told his audience, "Bless your li'l pea pickin' hearts."
|"The Johnny Carson Show"
|"The Pinky Lee Show"
|The Bing Crosby Show
|"Ford Star Jubilee"
|The Bing Crosby Show
IMDb User Rating:
IMDb User Rating:
IMDb User Rating:
IMDb User Rating:
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|Episode guide
|Full cast and crew
|Company credits
|News articles
|IMDb TV section
|IMDb Comedy section
|IMDb USA section
You may add a new episode for this TV series by clicking the 'add episode' button


text:
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text:
I am testing out Adobe Reader deployment to our Windows XP/7 boxes through System Center Essentials 2007. I have the "Adobe Reader and Runtime Software Distribution License Agreement" for 200 PC's and have run the Adobe customization wizard to get all the settings I want in place. The problem is that the main program (10.0.0) is in .msi format and the update in .msp (10.0.1), which can't be deployed through SCE. To get around this I modified the .msi to include the .msp update (msiexec /a "c:\server\AcroRead.msi" /p "c:\server\AdbeRdrUpd1001_Tier1.msp"). Finally I use the installation parameters: (TRANSFORMS=\server\sharename\.mst) to get my customizations applied.
So far everything appears to work and I plan to deploy to my department next. Has anyone else done this before though? Anything I should be worried about? While I have remotely deployed .msi files before, I have never modified them myself.


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Does anyone know of an extension for Firefox, or a script or some other mechanism, that can monitor one or more local files. Firefox would auto-refresh or otherwise update its canvas when it detected a change (of timestamp) in the files(s).
For editing CSS, it would be ideal if just the CSS could be reloaded, rather than a full HTML re-render.
Effectively it would enable similar behaviour to Firebug with its dynamic HTML/CSS editing, only through external files.


text:
Skip to comments.(-:(-:(-:THE OFFICIAL FRIDAY SILLINESS THREAD:-):-):-)
Posted on 01/06/2012 5:27:25 AM PST by Lucky9teen
In an effort to restore Americans faith in their government, President Obama has taken advantage of a little-known clause in the Constitution to sweep away the most unpopular Congress in history, replacing Senators and House members alike with movie stars, game show hosts, pop divas and kittens.
Slipped into the Constitution by Ben Franklin, the so-called Kick Congress in the Arse Clause had always been dismissed by Constitutional historians as just the kind of shenanigans Franklin liked to pull when he was loaded. Most scholars agree that Franklin was drunk and in a joking mood when he persuaded the rest of the founding fathers to support the clause, which enhances a Presidents recess appointment powers, allowing him to replace Congress, but only if said President is of African descent.
Former members of Congress were quick to express outrage over what they deemed a power grab on the part of the President. Former House Speaker John Boehner branded Obamas move, the kind of dirty trick Republican Presidents are known for. Democrats Nancy Pelosi and Harry Reid released a joint statement condemning the President for displaying extreme courage by turning his back on his own party and doing whats best for the country, which is not how we do things in Washington.
News of the Presidents action dominated the airways. Fox News Political analyist Juan Williams reacted angrily, insisting that President Obama is not African at all. What Obama has done is completely illegal! Hes no more African than I am! For Gods sake, look at his birth certificate. Any idiot knows Barack Obama is Hawaiian!
Teeth, not so much.
I'd better hit it before Laz does!
Is that Janet Reno?
Welcome back!!!
Tamp! Trump!
I give this a 10. It has a good beat and I can dance to it.
She does have a wholesome, debauched girl-next-door quality about her, doesn't she?
If that was Reno, I'd be blinded for life. It's the guy from American Idol.
Thanks for the exposure....the Amazon sales have slipped a bit lately......
Don't sell the man short. According to the cover he's the king of ALL the taverns.
Plus she's not one of those anorexic twig-chicks that if you hit too hard, you'd snap in two.
I'm shocked, SHOCKED I tell ya, that MC Pooh's album has a parental advisory sticker on it.
Mr. Bat will be found to be a serial killer with over forty bodies in his attic.
Obama Virus: Inserts "ah" or "um" between every 5th word in any text document. Inserts pauses of random length and frequency in to all text-to-speech applications. In any text docuemtn, it autocorrects the following words to "evil" or "enemy": Christian, Conservative, Republican.
Is it me, or does Mr. Bat look like Newt?
Aging turns us all into caricatures.
I'm looking for some silly limericks, poems or jokes appropriate for preschoolers or young kids for a program I'm working on. Also, any silly dog or frog jokes.
Here's a sample that should bring a giggle from a 5-yr. old.
To mother it never did matter
That eating more cake made her fatter
While baking one day
She slipped on some clay
And fell, head first, into the batter
I am really concerned about North Korea's appointment of the "dear leader", Kim Jung Ill's youngest son to be the new leader of North Korea— a nuclear power!
After all, Kim Jung Un (pronounced Kim's young-un?) had NO military experience whatsoever before daddy made him a four-star general in the military. This is a snot-nose twerp who has never accomplished anything in his life that that would even come close to military leadership: he hasn't even so much as led a cub scout troop, let alone coached a sports team or commanded a military platoon.
So, setting that aside, next they make him the "beloved leader" of the country. Terrific!!!
Oh, crap! I'm sorry. I just remembered that we did the same thing here, We took a community organizer who has never worn a uniform and made him Commander-in-Chief; a guy who has never led anything more than an ACORN demonstration and made him the leader of this country. Never mind.
So just who is the ugliest?
Steven Tyler
Mick Jagger
Keith Richards
Bob Dylan
I'd rather not think about it.
Welcome back Lucky!!! Happy New
Year to you and yours!
LOL!!! Nicely done!!!
My Daughter's Moving Out
Last night, my daughter just walked into the living room and said, "Dad, cancel my allowance immediately, rent my room out, throw all my clothes out of the window, take my TV, stereo, iPhone, iPod, and my laptop. Please take all of my jewelry to the Salvation Army or Goodwill. Then sell my car.
Take my front door key away from me and throw me out of the house. Then disown me and never talk to me again. And don't forget to write me out of
your will and leave my share to my sister."
Well, she didn't put it quite like that. She actually said...
'Dad, I have decided to work for Obama's re-election campaign.'"
Very subtle.
Chris Rock - How not to get your ass kicked by the police!
You have to be careful not to read that one too fast.
The old hag on the left looks familiar. She used to be hot!
OH MY GOD!!! Post #40 is a guy I played in a band with, yes the Weird Al looking guy! OMG!
I spent a decade playing country/rock with him.
My Beeber is totally stuned!!
I am truly perplexed that so many of my friends are against a mosque being built at Ground Zero. I think it should be the goal of every American to be tolerant.Thus the Mosque should be allowed, in an effort to promote tolerance.
That is why I also propose that two nightclubs be opened next door to the mosque, thereby promoting tolerance from within the mosque. We could call one of the clubs, "The Turban Cowboy",which would be gay, and the other a topless bar called " You Mecca Me Hot."
Next door should be a butcher shop that specializes in pork, and adjacent to that an open-pit barbeque pork restaurant, called " Iraq o' Ribs."
Across the street there could be a lingerie store called " Victoria Keeps Nothing Secret", with sexy mannequins in the window modeling the goods.
Next door to the lingerie shop, a liquor store called "Morehammered." All of this would encourage the Muslims to demonstrate the tolerance they demand of us, so the mosque problem would be solved.
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


text:
Koar Regular Fit Short Sleeve Men's Tee Shirt
The Koar Short Sleeve Men's Tee Shirt is for any athlete competing in any sport. Comfortably take your game to the next level! The regular short sleeve shirt features bio performance technology and lightweight fabric that's great during warmer weather. 100% polyester.


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I try to make my blog posts appear on Facebook but at the Facebook->General page there aren't the checkboxes Social publisher, like button etc.
Another strange thing is that i don't get the app namespace field.
I am using wordpress 3.4.2 and Facebook plugin 1.1.8.
What should i do?
thank you in advance for your help!


text:
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Rheumatoid arthritis is a chronic systemic inflammatory disorder disease. Mainly the middle age people are usually suffers from this disease.Women are mostly effected than in men. But there is a possible chance that children too, may get affected by this disease. Tissues and organs are likely to get affected in ones body, but principally it attacks
Ayurvedic Clinic in Melbourne CBD the joints producing a inflammatory synovitis that often progresses to destruction of the articular cartilage and ankylosis of the joints. In Ayurveda, rheumatoid arthritis is known as "Sandhi Vata.
The Rheumatoid arthritis disease may also responsible for diffuse inflammation in the lungs, pericardium, pleura, and sclera, and also nodular lesion, which is most common in subcutaneous tissue under the skin. Although the cause of rheumatoid arthritis is unknown, autoimmunity plays a pivotal role in its chronicity and progression.
The standard medication for Rheumatoid arthritis may not be very helpful. As a result the condition becomes chronic, or treatment may have significant side effects. In such cases Ayurvedic herbal treatment may be very useful and effective because medicines may be taken for long periods without any serious side-effects.
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Call us today on Tel: 03 9886 6460 or fill out the following Ayurvedic Package enquiry form to have one of our specialist consultants advise on the best treatment for you.


text: When asked for the secret of his success, baseball player Wee Willie Keeler replied, "Hit 'em where they ain't." What worked for Willie at the plate applies equally well in investing. Seeking stocks that others ignore, shun, or simply forget gives individual investors like you an edge over the professionals. When Wall Street turns a blind eye, you have a chance to get in before these stocks get discovered -- or rediscovered -- and start taking off.


text:
Mastering Techniques: Stocks & Soups
- When Wednesday, August 17, 2011 at 6 p.m.
- Where Alchemy of the Hearth, 960 Rancheros Drive Ste L, San Marcos, CA Map | Website
- Age limit 14+
- Categories Food, Lectures & Classes
- Cost $65
Above: Image of Chef Chef Arleen.
The secret to cooking well doesn't lie in knowing a ton of recipes. Cooking well relies on time tested techniques passed down from generation to generation of cooks. Join Executive Chef Arleen Lloyd for the 10 class series geared towards mastering the techniques that will make you the best cook you can be. Purchase all 10 classes for $450.00 or purchase each class individually.
In this class you will learn the how to of stocks and soups. You will then practice each technique with applicable foods. The particular class will take place on August 17th, 2011 at 6 p.m. for $65.00
*Please bring an apron, closed toe shoes, chefs knife and containers to carry your creations home.
Location: Alchemy of the Hearth at 960 Rancheros Drive Ste, L, San Marcos, CA 92069. Google Map.


text:
Full CoverageBreaking News
Husband of woman found dead in creek speaks outUPDATED 10:43 AM EDT Mar 19, 2013
For the first time, Michael Clutter, the man whose wife and two children were found dead in a creek at Binford Park last week, is speaking out.
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