A can for each state. Stack up all the cans in a pyramid and you get a picture of Uncle Sam. See a cool six-part series on the set at BevReview, where I got the photos.
You’ll have to buy it if you want better scans. I’m broke.
Related to the above: I’ll be on vacation for a couple of weeks starting tomorrow. Happy 4th!
Just watch. It’s incredible.
Here’s the beginning of the title track:
I met a Cosmic Cowboy
Ridin’ a starry range
He’s a supernatural Plowboy
And he’s dressed up kinda strange
And at first I didn’t see ‘im
Bein’ out there on the run
Yeah, but that old hat that he’s wearin’
It’s shinin’ brighter than the sun.
Get it? The Cosmic Cowboy is Jesus! The album is on Spotify. At least listen to the title track.
(Photos via BC High Archives)
The Art of Earl Norem: The Silver Surfer: The Ultimate Cosmic Experience (Marvel Fireside Books, 1978)Published June 26, 2015 Comic Books , Earl Norem , Jack "King" Kirby , Make Mine Marvel , Marvel Fireside Books , Stan "The Man" Leave a Comment
You know you’re good when you get asked to redo a Jack Kirby cover. All but one of the Fireside books were color reprints of classic (i.e. pre-1970) Marvel titles and storylines. This one was the exception—an all new graphic novel by Lee and Kirby, and a damn good one that I remember reading and still have. The “Origins” books were a particularly hot commodity at my elementary school, and the Surfer was way up there too. Probably my first exposure to Norem’s work.
Check out ‘Tain’t the Meat for more on the Surfer issue and the Fireside Books series.
There’s an excellent article by Keith Stuart at The Guardian about Spielberg’s early interest in video game and computer technology (his father was an electrical engineer) and how the shot of Killer Shark (1972) at the beginning of the film perfectly encapsulates the entire narrative: “It’s effectively Brody’s nightmare, and his objective, rolled into one flickering image on an ancient coin-op display for a few redolent seconds.” Stuart continues:
In a movie filled with legendary cinematic moments, this brief sequence is a minor one, but as with many other elements of Steven Spielberg’s 1975 picture, it was also prescient. The director, a keen games player and watcher of pop culture trends, foresaw an era in which Hollywood would be seduced by the popularity and the visual spectacle of the emerging video game arcade scene. He got the appeal of these new entertainment machines, but he also understood how computer graphics represented a new way to present narrative to audiences – even if, in Jaws, it was a few seconds of footage.
As Stuart notes, Killer Shark was actually Sega’s last mechanical game, not a video game, the shark animation a result of a projector inside the cabinet. You can also see Computer Space (1971), the very first commercial coin-op video game, in the background of the same shot.
In the Roger Corman-produced Piranha (1978), a brilliant Jaws and eco-horror parody written by John Sayles and directed by Joe Dante, there’s a shot (below) featuring Atari’s Shark Jaws (1975): sort of a parody within a parody within a parody.