THE LAST WORD: Joe Kubert’s BEST Comic Book Covers!!(Some of them)

I have an appreciation for the late, great Joe Kubert here in 2018 as an adult, that I really didn’t have for him as a kid. And much of that is down to exposure, as well as a broader scope of reading material.

As a kid, comics that interested me were what interested most kids of the latter 20th century. We were children of Stan Lee and Jack Kirby, Chis Claremont and John Bryne, Marv Wolfman and George Perez, David Kraft and Keith Giffen, Bob Haney and Jim Aparo. The very exciting and colorful, but delineated world of Superhero comics.

But then the late 80s happened, and creators like Alan Moore and Frank Miller and William Mesner Loebs created works that seemed to challenge and expand the horizons and genres and tropes of the medium. They were following in the footsteps of late 70s pioneers such as Doug Moench and Paul Gulacy, and the aforementioned creators, who all had their moments of scripting comics with an Indy sensibility before the term existed.

And now as an adult, having explored much of the growth of the mainstream comic industry from their golden age roots, to their big screen interpretations, here in 2018 I am revisiting some work that was largely before my time.

Namely the westerns and horror books and combat books, of the late 60s and early 70s.

And this deep dive into this world (I mean I have gone deep in 2018), has solidified and cemented and revealed somethings. Most notably is 1/ The western comic books of Marvel Comics, the 12cent and 15 cent, etc comics, RAWHIDE KID, TWO-GUN KID, GUNHAWKS, MARVEL WESTERN, by mostly Larry Lieber, and Stan Lee, and Jack Kirby, and Gil Kane, and Herb Trimpe and John Severin are masterpieces. And these books are MUST OWNS. And many have not been reprinted. And while MARVEL COMICS were hands down producing some of the best Western Comics, some other notable comics in this genre are the painted cover LONE RANGER comics by Dell and Gold Key Publishing, and DC’s TOMAHAWK–

(Brief interuption to gush on Kubert’s TOMAHAWK. The last 25 issues or so of TOMAHAWK go from Neal Adams covers to the final ten which are Joe Kubert covers, from issues 131 to 140. There are not many people who can follow Neal Adams on covers, and be able to equal him.

When Neal Adams does a run of covers, those become the definitive sought after covers, especially during this period of the 60s and 70s in DC. Whether BATMAN or DETECTIVE or SUPERMAN or SUPERBOY, to this day the definitive covers for all those titles, are the ones drawn by Neal Adams, and with good reason. Neal Adams is a master artist.

So it is no small compliment to say not only does Joe Kubert’s ten issue cover run on TOMAHAWK equal the work of his good friend Neal Adams, they surpass them. As someone who just acquired those ten books this year, listen to me when I say they are INCREDIBLY undervalued, sporting both stunning covers and interiors, and no true fan of comics should be without them. If you can get them in high grade for $10 a book, that is a steal.

Get those issues at the link below. You get great comics AND you earn a few pennies to keep this blog’s lights on.

https://www.mycomicshop.com/search?tid=181351&pgi=101&AffID=200301P01

)

–and ALL STAR WESTERN & WEIRD WESTERN. All fantastic and I will be doing a bit on Western Comics in an upcoming post.

 

 

And 2/ where the Marvel Comics  of yesterday ruled the WESTERN genre, the WAR or COMBAT genre was ruled by DC Comics. Largely because of two names the great Robert Kanigher and the great Joe Kubert. Both men master story tellers, one with words and one with images, and both men incredibly prolific and productive. My favorite TEEN TITANS story of the silver age is by Robert Kanigher, my favorite FLASH stories by Robert Kanigher. So I always meant to pursue Kanigher’s work into his combat/conflict/war books of the period, and I am finally getting a chance to do that in 2018. And what immediately sells these books is the iconic covers and visual storytelling by the late, great Joe Kubert.

His work, especially pre the mid 70s, where his covers got to play with the typography and marrying that to the cover image… gold. Absolutely gold. To the point where covers for OUR FIGHTING FORCES and OUR ARMY AT WAR for a brief period in the late 60s, early 70s are cover art truly raised to the level of Art with a capital A. Why anyone would pay $4, $5, $6, and $7 for a brand new comic book (that can be found in the $1 bins or reprinted in a much better quality trade in a few months), when you can take that same money and get a classic issue from this period of comics… is beyond me.

It is work you are typically not going to see unless you go looking. Not many people are showing off 50 year old war comic book covers. In 2018 I have gone looking.

Let me show you some of what I’ve found. We will start with a taste of his unconventional and relatively rare Superhero work and move onto his more prolific genre work.

 

 

 

SYFYWIRE’s Matthew Funk says it best when they say…

“G.I. Combat #88

Kubert’s contributions to the visual language of war stories can’t be overstated, and this cover proves as much. This is very Stanley Kubrick-style imagery, but the comic predates Full Metal Jacket by 26 years. Kubert was creating iconic, haunting, and cinematic images of war that would influence generations of storytellers.”

When you think of great, iconic cover artists, the names Gil Kane, Neal Adams, Jim Steranko, Nick Cardy, and more recently Alex Ross come to mind. And all deservedly so. But one that arguably has gotten overlooked by the masses is Joe Kubert, and this is largely because he worked mostly in genres that did not get the attention back in the day. But now as an adult and getting into genres of Western and War and Horror, I am getting exposed to the work of great artists such as Joe Kubert, I am seeing much of it for the first time, and it is…. ASTONISHING. What really amazes me about Kubert is when he gets to play with Typography in his covers, and make that part of his story-telling, those are absolute game changers. Such as the above, and many of his Combat books.

 

Ready to own some of these great comic books?

Then use the link below and start ordering:

https://www.mycomicshop.com/search?q=our+army+at+war&pubid=&PubRng&AffID=200301P01

 

Exclusionary TV: Whites Only Television? MADMEN, PAN-AM and REVENGE

Provocative title huh?

Well, it’s not quite as provocative as it seems. The premise of this article isn’t that shows such as MADMEN, PAN-AM, and REVENGE are in and of themselves bad or bigoted shows.

They may in and of themselves be good shows. But shows, dramas or scifi or action, that are predominantly White, when not off-set by any shows that are predominantly Black or colored, true to the definition of predominant… create an environment, a medium, that is about the ascendancy, importance, influence, authority of force of one group.

In such an environment it is impossible for me to buy into, relate, follow, view, or otherwise enjoy such shows. Now in an environment where a show such as PAN-AM is counter-pointed with a show on The forming of AIR JAMAICA or the Black Stuntmen’s Union or the Black Coyboys’ Union or any adventure or thrilling show with a predominant cast of color; then PAN-AM rather than being indicative of a color and ethnic bias in every show in tv, can be seen as one voice in a chorus, rather than the same voice, everywhere.

So that’s the problem I have with shows such as MADMEN and REVENGE they paint everything with the same trite and pale brush (take the series REVENGE, based on a book by the son of one of the most famous Black men, and the cast is all white. Explain that to me? Along with that it always rings false that we have yet to see a THREE MUSKETEERS that represents the ethnicity of the author Alexandre Dumas, or the ethnicity of the inspiration for all Dumas’ heroes, namely his father, France’s most famous and most feared soldier, the elder Alexandre Dumas, (inexplicably called Thomas-Alexandre in recent writings), the Black giant, the warrior Moor, Napolean’s most feared and brilliant General. The COUNT OF MONTE CRISTO is directly inspired by how his father was betrayed by Napolean, imprisoned, and killed. And rather than anyone ever tell that story, it becomes in REVENGE about a blond woman, mad about something. Forgive me if I have no interest in that retelling.)

So, What’s the solution?

We’ll get to it. First indulge me, with a brief trip to yesteryear.

In the late 50s, into the 60s and 70s television and cinema in the US, and indeed throughout the Western World, made great strides in becoming more representative of the class struggle going on throughout the world.

That’s a fact, it just is. So let’s begin there.

As countries from Congo to Cuba to Korea to the West Indies to Brazil all were dealing, at various stages, with the shattering of traditional Colonial ties. With populations of repressed people, embracing the concept, both with artistry and arms, of “not eating at another man’s table” but creating their own table.

It was a staggering period not just of revolution, but potentially evolution… for the world and the west.

Rather than mass media that explored and showcased only the fantasies and the fears of the white and the male you began getting shows that took place in a world reflective of the movements changing the landscape of our cultures and our time. Civil disobedience, and sit-ins, and Black power, and Native American rights, transcendentalism and free love, sexual and religious experimentation, and of course war and the search for peace and self identification.

And all these growing pains, all of this stew of change, could be seen in the entertainment of the age.

DANGER MAN, MISSION IMPOSSIBLE, PROFESSIONALS, GOOD TIMES, SANFORD AND SON, the rise of Soul Cinema, and the rise of Hong Kong Cinema, and Neo-Realism in Italy, and the New Wave in France, and the didactic films out of Russia, and Brazil, and Cuba, and Senegal, all of this making its way to newly born film studies programs in the states that gave birth to a whole generation of entertainment makers excited and influenced and inspired by this time of change and challenge.

So suddenly you had Patrick McGoohan in the DANGER MAN TV show 50 years ago globe-trotting and going to different countries and different people, and exploring issues of colonialism, and civil war, and terrorism, and governmental oppression, and doing this with a changing ethnically diverse cast. Dealing with issues of Middle East tensions and modern slavery. And this kind of informed and humanistic film-making came from the creators down. And all the shows of that period, while not DANGER MAN ground breaking, to greater or lesser degrees were that informed and representative of a culturally diverse and changing world.

Move the clock forward 50 years, and suddenly you have no community owned or locally owned cinema, much less production companies. That’s not an accident, that’s a very pointed, and very considered monopolization and marginalization.

You have the end of virtually any locally or regionally owned newspaper, radio, or television station. So you get the end of people and community created movements, and art and music, and you get instead corporate construction of reality and ‘art’ in things like AMERICAN IDOL and its ilk.

You have cinema and television that is in retreat from ideas… like diversity and the rights of man, and instead seeks a return to the exclusionary, blinders on, cinema of the 50s. Not just in terms of content and cast in front of the camera, but talent and crew behind the camera.

As, in reality, the mad military war machine of billionaires undoes the local determinism of countries like Haiti and Liberia and Libya, so too is our entertainment,no less the tool of billionaires, undoing the strides made toward multiculturalism. A return to “Whites only” television from MADMEN to PAN-AM to REVENGE.

And those shows while they hold no interest for me, would be fine if they were counterpointed by an equal number of US made shows with a majority of Black or Brown or Asian or a combination thereof, of actors in front the camera, and talent behind the camera.

And the talent is there, as screenwriters such as John Ridley discuss in numerous interviews. Even more talent than was available in the 60s and 70s is available now, the difference is, the cinemas are bought up, the advertising is cost prohibitive, and quite frankly the doors are closed.

In the 60s and 70s, Hollywood saw the need for an influx of diversity to save them from the rise of Independent Cinema (an outgrowth of viable and healthy local cinemas, local determinism), and there were a good number of people in the studios who were happy and excited for that diversity. They were part of the changing times, and part of changing it.

Today Independent Cinema has no way into the theaters, because the locally owned theater circuit, and indeed the community controlled mass-media circuit that served America, particularly Black America from the 20s to the 70s, has been bought out, legalized away, and generally dismantled.

For what was gained, more was lost in the compromise of integration.

The problem with the doctrine of separate and equal, was the fact that is was NEVER separate and equal, it was always separate and UNEQUAL. The Black Power movement and Black Panther movement was about making it SEPARATE AND EQUAL. Was to make the lie into the truth. And that is the reason we have integration today. Because the idea of separate and equal, scared the powers to be to their very soul.

They saw in the more moderate integration model of Martin Luther and his ilk, a compromise that could become a massive victory. They retreated from Separate and (Un)equal and embraced Integration of a sort, “you can now use our Bathrooms, you can now to an extent come into our house, but… you have to lose your house. You have to lose your radio stations, your movie theaters, your stores, your farms, your wallstreets, your sports teams, your attempt at self determination”.

Of course it wasn’t presented like that, but a few decades later that’s absolutely what has happened. The thriving economic base of Black America that thrived even under the odiousness of Separate but unequal, wherein they could still provide for themselves and be self sufficient, has been completely gutted under the together but even more UNEQUAL system of integration. And that robbing of local determinism has extended to all America. Has shown itself to be the most significant volley in a class-war that has America trillions of dollars in debt, and slaved, to corporations gross and immoral.

And television and cinema is the clearest example of this wholesale pillaging of a peoples economic potential.

So that’s what I see when I see shows like MADMAN or PANAM or REVENGE or SMALLVILLE (past season 4) I see prejudice and bigotry and class warfare… codified.

So you have a television and a cinema environment that has turned back the clock, and is again solely about showcasing the fantasies and the fears of the white and the rich, to the exclusion of all else.

It bores me to go backwards. To learn from the past is a great thing, to repeat the past is not. And we have a whole generation of studio execs and heads, who think they are doing something new by embracing the old, and all they are doing… is wasting time.

In a multi-cultural society, an increasingly multi-cultural society, these dreams of exclusion cannot stand, they will become unsatisfying, they always do. And in the end we will have to waste years just getting back to the same point of diversity as the 1970s. Getting back to the starting point from which we should be… evolving.

So let’s cut out some of the time wasting. Contact these studios signing off on this exclusionary television, the creators and producers, twitter them, facebook em, call’em, even write em, let them know the show doesn’t represent you, and to create a show that does. And let the advertisers know, say “this show boycotts me and mine. Since you are asking me to support your product, I want you to produce a show that supports me.”

It’s economics people. For all their crushing of competition, ultimately the decision makers and gate-keepers still need to create a product you want to buy. Let them know they are failing at that mandate.

Let them know you want to see more shows, that are both smart and diverse.

Day Break – The Complete Series- Do not buy the 2disk version, get the 4 disk version

55 Degrees North – Series One & Two – 5-DVD Box Set ( Fifty Five Degrees North ) ( 55 Degrees North – Entire Series 1 & 2 ) [ NON-USA FORMAT, PAL, Reg.2.4 Import – United Kingdom ]

Kidnapped – The Complete Series

Secret Agent AKA Danger Man: The Complete Collection (Slimline Packaging)

The Philanthropist: The Complete Series

Kings – The Complete Series

Blood & Bone

I Am Cuba: The Ultimate Edition

Let them know you want to see more DAY BREAK with Taye Diggs and Moon Bloodgood, more 55 DEGREES NORTH with Don Gilet, more KINGS with Eamonn Walker more BLOOD AND BONE with Michael Jai White, more James Purefoy and Jesse L. Martin in THE PHILANTHROPIST (the spiritual descendant of McGoohan’s DANGER MAN); more shows that look forward to solutions, rather than backward to evasions.

Challenge the creators, challenge the studios, challenge the advertisers, challenge the performers, and challenge yourself to go not marching backward, but to go forward… into the mystery. And ultimately we will as cities and a nation, have to eschew outside control, and embrace again local production of items and local determinism.

And it starts as simply as recognizing and calling out the prejudiced the exclusionary and the destructive when we see it.

Here endeth the lesson.

POLITICAL CORRECTNESS… Defined??!!! Noooooooooooooooo!!!!!

So called spokesmen for the people, representatives, annoy me.

Whenever you see someone using the term political correctness, they are disparaging it, typically. Which is funny considering the ones bitching about the term are the ones who coined the term in the first place.

Well it wouldn’t be America if people didn’t build things up so they could have something to tear down.

Like African-American.

Incredibly stupid term, taken out of the unifying context it was first used in (most clearly in the 60s as a call for economic and cultural ties with the larger global African/Black community, including Libya, which today a loose-cannon American administration and war-machine is currently bombing into the stone-age).

If you’re Black and you happen to live in America, you’re not fucking African-American.

I’ll say it again… You are not African American.

You’re Black. You also happen to be American.

But Nationality and Ethnicity are two separate fucking things and should remain so. Because these days, your nationality is doing its level best to exterminate your ethnicity. And if you confuse where you live, with what you are, the truth of that genocide may be lost on you, until they come knocking on your door. And by then it’s going to be a little damn late, isn’t it?

And of course being puppets of an inane media we all, regardless of color, tend to some degree to integrate these divisive stupidities that the propaganda machine feeds us.

But that’s why you have to wake up a bit, and be aware of the strings that are pulling you.

So that you can cut them, or at the very least… pull back.

So getting back to Political Correctness, and these morons who can’t go a single day without whipping on Political Correctness for this or for that. They never quite make sense do they?

It’s because political correctness is a nonsense word, put in place just to muddy the conversation, even in the head of the speaker.

I’ll say that again.

Even in the head of the speaker.

If you want to know what people are railing against when they use the term Political Correctness, replace it with respect. And you’ll see what people are really arguing against. They are arguing against having to respect each other. It’s that simple. They are even arguing against having to respect themselves.

So the next time that moron in your life or at your job starts going on about Political Correctness, have him say again the sentence, substituting the word respect, and you’ll both really understand how idiotic and petty are the things he’s really bitching about.