Saturday, February 28, 2015

The Florida Pulp AdventureCon, from the perspective of a men’s adventure fan…

 

When my men’s adventure magazine mentor Rich Oberg and I heard that there would be a bunch of issues from the legendary Napa Collection and some original men’s adventure artwork at the inaugural Florida Pulp AdventureCon in Fort Lauderdale on February 22, we had to go.

And, we’re both very glad we did.

As noted in my previous post here, the Florida Pulp AdventureCon was organized by Rich Harvey and his partner Audrey Parente, organizers of the long-running PulpAdventure Con in New Jersey.

For me, the fun started the night before the Con.

Rich, his lovely wife Holly and I were invited to dinner by a fellow collector we know who lives in Southeast Florida.

As MAM buffs know, Rich owns the largest collection of original men’s adventure artwork and magazines in the world. It’s been featured in two great books: Taschen’s MEN’S ADVENTURE MAGAZINES and Adam Parfrey’s IT’S A MAN'S WORLD: MEN'S ADVENTURE MAGAZINES, THE POSTWAR PULPS.

The Florida collector we had dinner with owns one of the world’s most complete collections of the earlier pre-World War II pulp fiction magazines.

He was also instrumental in bringing the Napa Collection of men’s adventure magazines to Heartwood Auctions. And, he owns some awesome vintage illustration artwork.

Since he prefers to keep a low public profile, I won’t name this particular über collector.

But I will show a couple examples of the men’s adventure treasures we saw at his house.

One was a cover painting by Norm Eastman that was used for the cover of BLUEBOOK, October 1966.

The female model used for the machine gun-toting babe in that painting was my pen pal and favorite glamour girl Eva Lynd.

The guy in the background is Eva’s frequent modeling partner Steve Holland, the model for James Bama’s iconic Doc Savage paperback covers and countless other cover and interior illustrations done for paperbacks and men’s magazines.

Another treasure we saw that night was Norm Eastman’s original painting for MAN'S BOOK, October 1965.

I don’t know who the model was for the poor scantily-clad damsel who is simultaneously being pierced by bamboo stakes and whipped by an evil North Korean soldier. But the model for the Korean was Norm himself. (He often used his own face for the bad guys in his cover paintings.)

That MAN’S BOOK issue epitomizes the type of men’s adventure magazine that give bunched panties to people on the “correct” end of the politically correct spectrum. Along with other mags published by the Reese and EmTee companies (MAN’S EPIC, MAN’S STORY, MEN TODAY, NEW MAN, WORLD OF MEN, etc.) and by similar low-budget publishers, MAN’S BOOK is the kind of “lurid” mag that led the entire MAM genre to be dismissed and dissed and lumped together (quite, er, incorrectly) under the derogatory term “sweat magazines.”

Of course, to people like me and Rich Oberg, there’s not only nothing wrong with those old gonzo “sweat mags.” We love ‘em. We view them as them as cool descendants of the earlier periodicals called “weird menace” or “shudder” pulps. And, it amazes us that, in an era when the novel 50 SHADES OF GREY is a bestseller and many popular movies and TV shows regularly feature bondage, torture and other things that are far more extreme than the typical images and stories in men’s adventure magazines, the “sweat magazine” subgenre of MAMs still elicits shock and derision.

One of our other dinner companions the night before the Con – Stephen D. Korshak – has similar views. Stephen owns the internationally-renowned Korshak Collection of “imaginative” illustration art. Paintings from his amazing collection are featured in several beautifully-produced illustration art books.

My favorite is THE ALLURING ART OF MARGARET BRUNDAGE, which he co-authored with the renowned comics and illustration art expert, author and publisher J. David Spurlock. Brundage was a rare female pulp artist who did some of the best cover paintings for WEIRD TALES and other pulps in the 1930s.

We saw copies of many such pulps on display at the Pulp AdventureCon the next day and J. David Spurlock was a special guest there that day.

On his table he had copies of the many books he has written and published about comic and illustration artists. My favorite is FAMOUS MONSTER MOVIE ART OF BASIL GOGOS, which Spurlock co-edited with Kerry Gamill. It includes a chapter about the cover paintings and interiors Basil did for men’s adventure magazines in the 1950s and 1960s, which range from intense battle scenes to alluring “Good Girl Art.”

Spurlock also brought along some nice artwork to sell – including “comp” sketches Gogos did for his men’s adventure work.

The first Florida Pulp AdventureCon was not a large show. But as the presence of Spurlock suggests, the quality of the vendors and items was high.

In fact, among the dozen other major vendors were some of the top vintage comic, magazine and illustration mavens in the country.

For example, in addition to being the organizer of the Florida and New Jersey Pulp AdventureCons, Rich Harvey is the founder of the Bold Venture publishing company. Bold Venture publishes a growing array of anthologies of both classic pulp stories and “new pulp” and Rich brought copies along for the table he and his partner Audrey Parente had at the Con.

Audrey is also a pulp fiction expert who has penned books about a pair of towering figures in that genre, writers Theodore Roscoe and Hugh B. Cave.

Two of the best sources of vintage magazines in the world – including men’s adventure magazines – also had tables at the show: DTA Collectibles, owned by pioneering comics and vintage magazine maven David T. Alexander and Heartwood Auctions, which Rich Harvey works for on a part time basis. David is a legendary figure in the realms of both vintage comics and vintage magazines and, among other things, is the coiner of the term “Good Girl Art” (GGA, for short). That handy term for images of scantily-clad babes is now applied to comic and cartoon art and illustration art used for magazines, paperbacks, calendars and other purposes.

The DTA and Heartwood tables both featured rows of classic pulp mags in great condition and those were the big draws, just like they are at venerable pulp cons like the Windy City Pulp and Paper Convention and Pulpfest.

But my focus was seeking out some of the scarcer men’s adventure-related offerings that often show up at pulp cons. And, there were some great MAM treasures there to be had.

The Heartwood Auctions folks had brought along some boxes full of men’s adventure magazines from the Napa Collection, the amazingly pristine stash of men’s adventure mags found several years ago in a “secret” room in a house in California.

I’ve been buying issues from the Napa Collection for a while now via the Heartwood website to fill holes in my collection. At the Con, I snagged a couple more that I had missed.

One is a mint condition copy of MAN’S WORLD, August 1958, with an awesome exotic adventure cover painting by Mort Kunstler. MAN’S WORLD is one of the classic Atlas/Diamond group of mags published by one of Martin Goodman’s Magazine Management subsidiaries. (In 1958, Olympia Publications was listed as the publisher of MAN’S WORLD.)

Like almost all Atlas/Diamond magazines, this issue is full of rousing action and adventure stories, illustrated by some of the best mid-20th illustration artists who worked for the men’s magazines and paperbacks. For example, it includes superb interior duotones by Mort Kunstler and Tom Ryan

…and by the equally talented illustration artists Al Rossi and Samson Pollen.

The other Napa Collection issue I bought is a pristine copy of MAN’S ADVENTURE, January 1961, a men’s adventure mag published by comics pioneer Stanley Morse, through his Stanley Publications company.

The issue I bought features a wild chain gang scene, with a busty blonde prison boss whipping one of the hapless prisoners. No artist credit is given for the cover painting, but I’m pretty sure it was done by artist Mel Crair.

Most of interior art in that one is not quite as good as in MAN’S WORLD. But there is one illo in it that’s very notable for who it’s done by: John “Jack” Schoenherr. Schoenherr actually did quite a few illustrations for men’s adventure magazines, but they are far less known than his work for science fiction magazines, most significantly the memorable cover and interior paintings he did for Frank Herbert’s series of DUNE novels, starting with their serialization in ANALOG magazine in the early 1960s.

The Heartwood Auction folks also brought along some nice original men’s adventure paintings to sell. My friend Rich Oberg bought several to add to his huge and still growing collection. (He now has more than a thousand original MAM cover and interior illustrations.)

At a nearby vendor table I met author and historian Nicky Wheeler-Nicholson. Her grandfather was Major Malcolm Wheeler-Nicholson, the founder of DC comics who brought Superman to the public. Among other things, Nicky was selling a collection of adventure yarns the Major wrote for pulp magazines before he became a comics publisher, titled THE TEXAS-SIBERIA TRAIL.

At another table, pulp maven, pop culture historian and archeologist Jeffrey Shanks was selling pulp magazines, vintage paperbacks and copies of his pulp-related books. I bought a signed copy of his latest, ZOMBIES FROM THE PULPS, the first-ever collection of zombie stories published in classic pulp mags like WEIRD TALES, DIME MYSTERY and TERROR TALES decades before the modern boom in Zombie movies and TV shows began.

Jeffrey was also gracious enough to sell me a hard-to-find copy of TRUE, December 1959 that he had.

That issue is hard to find because it includes a historic story about Bigfoot, published before he was called Bigfoot. It’s titled “The Strange Story of America's Abominable Snowman” and was written by cryptozoology pioneer Ivan T. Sanderson, with art by Louis Glanzman.

In a few weeks, my co-editors Wyatt Doyle and Dave Coleman will be publishing our CRYPTOZOOLOGY ANTHOLOGY – the third book in the Men’s Adventure Library series. It includes a baker’s dozen of classic men’s adventure magazine stories about Bigfoot, Sasquatch, the Loch Ness monster and other legendary creatures. The “pre-Bigfoot” Bigfoot story from the December 1959 issue of TRUE will likely appear in a second volume of classic crypto-critter tales, which we’re already starting to plan for. (Thanks, Jeffrey!)

Vendors at Pulp AdventureCon also included some other notable pulp mavens who, along with Jeffrey Shanks, have dubbed themselves the “Southern Pulpsters” in the Facebook group where they hang out online.

One was writer, editor and graphic designer William Lampkin. William was a key contributor to one of the most long-running and authoritative online sources about pulp magazines, ThePulp.Net. He is the author of the Yellowed Perils blog, the first of ThePulp.Net’s Pulp.Blogs, and founded ThePulp.Net’s precursor, .Pulp, in 1996.

Another table at the Con was manned by Michael R. Hudson, CEO and President at Sequential Pulp Comics. Michael is both a comics and pulp expert and a mover-and-shaker in the realm of “new pulp” (a.k.a. “neo pulp”). Under his guidance, Sequential has published a series of highly-acclaimed graphic novels, written and illustrated by top players in that realm. He also recently wrote the novel MY NAME IS NOBODY, which is based on the original screenplay by Ernesto Gastaldi for the famed 1973 spaghetti western.

In fact, I’d say one of the things that really impressed me about the Florida Pulp AdventureCon was how many talented and knowledgeable people were there, both as vendors and as viewers.

I was also struck by the camaraderie and friendliness of the Southern Pulpsters vendors at the Con, and by their willingness to share information about pulps, artwork, publishing and other topics with relative newbies like me.

It was great fun and I was happy to hear Rich Harvey confirm that he and Audrey already planning next year’s Florida Pulp AdventureCon. I’ll be there.

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Comments? Questions? Post them in the Men’s Adventure Magazines Facebook Group.

Related reading…

Sunday, February 1, 2015

Talking with Rich Harvey about the Napa Collection and Pulp AdventureCon...


If you’re interested in classic pulp magazines, men’s adventure magazines or vintage paperbacks and you live within reasonable traveling distance of Fort Lauderdale, Florida, that’s where you want to be on February 21, 2015.

On that day, the first Florida Pulp AdventureCon will be held there at the Universal Palms Hotel.

It’s an offspring of the annual Pulp AdventureCon held in New Jersey for many years.

The chief organizer of both is Rich Harvey. Rich is a pulp magazine and comics maven, a writer and graphic designer, and founder of Bold Venture Press, which publishes a growing array of books and the PULP ADVENTURES story anthology series.

Rich also works part-time at Heartwood Auctions, one of the biggest sellers of pulp magazines and other vintage periodicals in the country.

He’s one of the Heartwood staff who are involved in selling “the Napa Collection,” a huge stash of men’s adventure magazines that makes Heartwood one of the biggest sellers of issues in that genre in the country. As I write this, there are more than 1,300 men’s adventure mags from the Napa Collection up for sale on the Heartwood Auctions site and in its eBay store. There are hundreds more from the collection that have not yet been put up for sale. The write-up about the Napa Collection on the Heartwood site calls it “one of the most significant single owner magazine collections to come to the market in decades...an uncirculated near mint collection from the Napa area in Northern California of Men’s Adventure, pin-up, and Men’s Magazines from the 50s, 60s and 70s.”

Given the men’s adventure magazines I’ve seen (and bought) from the Napa Collection so far, I’d say the phrase “one of the most significant” may be an understatement.

It includes near complete runs of many of the most popular men’s adventure titles.

They include the classic Diamond/Atlas mags published by subsidiaries of Martin Goodman’s Magazine Management company – such as FOR MEN ONLY, MALE, MEN and STAG – to full or near full runs of the “sweat magazines” published by B.R. “Bud” Ampolsk and Maurice Rosenfeld’s Reese and EmTee companies – such as MAN’S BOOK, MAN’S EPIC, MEN TODAY and WORLD OF MEN – which are both notorious and highly-prized for their lurid cover paintings of Nazis torturing scantily-clad women and similar lurid imagery.

According to the story told to the folks at Heartwood, this amazing treasure trove was literally “unearthed” in the Napa Valley of Northern California when an earthquake cracked the walls of a house there and revealed a large hidden room full of thousands of magazines.

The magazines had been bought new from a local drugstore by the man who owned the house. Before he died, for some unknown reason, he had his entire collection walled up in a room with no windows.

According to the story, his wife was surprised when cracks created by an earthquake revealed this “secret” cache of periodicals.

But she was savvy enough to know the collection might be valuable and sold it to a dealer, who then sold it to Heartwood Auctions.

Recently, Rich Harvey told me that Heartwood would be bringing some of the magazines from the Napa Collection to the upcoming Pulp AdventureCon in Fort Lauderdale. 

That led to a wide-ranging discussion via email recorded below…

BOB DEIS: How long have you been doing the New Jersey con, Rich, and what made you decide to launch a pulp convention in Florida?

RICH HARVEY:

The first show was an offshoot of the small, friendly get-togethers held by Andy Biegel, Jr.—a New Jersey collector who hung out with his neighbor, Michael Avallone, the great paperback author. The Sunday gatherings were continued for many years by pulp collector Albert Tonik, until 1999, when he decided he could no longer play host. The first Pulp AdventureCon was in 2000. It was a small event, but over the years it grew. Now there’s an average of fifty tables at each show, making it half the size of weekend-long events like Windy City Pulp & Paper Show and Pulpfest. I now live in sunny Fort Lauderdale and Heartwood Auctions is virtually down the road, so doing a convention here just made sense.

What kinds of things can visitors to the Fort Lauderdale con expect to find?

RICH: Primarily visitors will find pulp magazines: the original pulp magazines that filled newsstands from the turn of the century until the 1950s. However, most pulp collectors have broad interests, so you’ll also find men’s adventure magazines, vintage paperbacks, old movie memorabilia, classic radio comedies and dramas, and sometimes golden age comics. I’m often surprised at what turns up at these shows.

You told me that Heartwood Auctions will be bringing magazines from the Napa Collection to the show. That’s enough to make me decide to drive up to the show from the Florida Keys to attend the show.

RICH: The Napa Collection is probably the most complete run of men’s adventure magazines assembled into one high-grade collection. The overwhelming majority of these issues are beautiful, and it’s a real honor to handle a collection like this. I started working at Heartwood last spring. I timed it just right, since they were just getting around to cataloging and pricing the Napa Collection. As you’ve read, the collection surfaced after a minor earthquake in Napa Valley. During repairs to her home, a woman discovered a secret room filled with her late-husband’s collection. It’s a mystery why he hid them away so permanently. Representatives from Heartwood flew to Napa Valley to appraise the collection. They must have felt like archeologists, tunneling their way into the secret men’s adventure room.
   
I noticed that you had artist and model Mala Mastroberte as a special guest at the last Pulp AdventureCon in New Jersey. I’m a big fan of hers. Will there be any special guests at the Fort Lauderdale con?

RICH: Mala has attended the Jersey show for several years now, and it’s been impressive to watch her expand her line of Mala-merchandise. Her fan-base has expanded, as well. Mala has been invited to the Fort Lauderdale and she said she will try her best to come. One guest we will have for sure is J. David Spurlock of Vanguard Publishing will be present. He’s the co-author of THE ALLURING ART OF MARGARET BRUNDAGE, and he’s been churning out great books pertaining to comic books and pulp magazines for a very long time.

On the Pulp AdventureCon website, you have a section that addresses the question “What is pulp?” I was interested in your answer since it’s similar to my own view. As you know, some hard core fans of the classic pulp fiction magazines published from the 1920s to the 1950s the think “pulp” should only be used to describe those particular periodicals. But of course it has come to be applied to many other things, such as men’s adventure magazines and vintage paperbacks from the 1950s, 1960s and 1970s. And, of course, some notable writers, like Thorp McClusky, and great illustration artists, like Norman Saunders, worked for all three of those genres. What’s your view of the term pulp and how it has evolved?

RICH: When I refer to “the pulps,” I’m referring to the original pulp magazines published from the 1920s to the 1950s, like other collectors of those magazines. But “pulp fiction” can also apply to the men’s adventure magazines, vintage paperbacks, and even movies. It’s generally characterized by fast-moving plots and snappy dialogue, interesting plot twists or oddball characters. Literary critics erroneously claim pulp fiction is short on characterization. Those same critics seem to enjoy stories wherein people sit around and emote. Stories about college professors earning great money, but feeling unfulfilled and not having enough sex, are very popular among that critical group. In pulp fiction, the characters express their personalities when confronted with danger or adversity. Without conflict, you have no plot. “Survival of the fittest” is the law of the land, and that doesn’t necessarily mean the physically strongest guy. That’s where pulp fiction gets its hardboiled edge.

As you know, my friend Rich Oberg owns the world’s biggest collection of original artwork used for men’s adventure magazines and a huge collection of those magazines. He and I have noted that men’s adventure magazines and artwork have not traditionally had much of a presence at pulp conventions. Why do you think that is?

RICH: Men’s adventure magazines have been largely ignored by pulp collectors. As I’m looking through the hundreds of different issues that comprise the Napa collection, I’m seeing the best and worst of the genre. Of course, there are many great stories and fantastic artwork, but the more ridiculous material rises to the top of our cultural awareness. Nazis whipping women never worked for me, but it’s a recurring theme on the covers. There might be some resentment toward the men’s magazines, since the pulps died a slow, painful death on the newsstands in the 1950s, and the new genre of men’s adventure magazines was steadily expanding. When I got into collecting pulps in the 1980s, many older collectors, who had actually purchased the pulps off the newsstands, dismissed men’s adventure magazines – and comic books – out of hand.

I think the post-World War II men’s pulp adventure magazines have their own set of fans. I get thousands of viewers of the MensPulpMags.com blog from around the world. We’ve gained over 1,000 members in the Men’s Adventure Magazines Facebook Group in the past year. And the Men’s Adventure Library anthologies of men’s adventure magazine stories I’ve published with Wyatt Doyle at New texture Books are selling well enough for us to be planning more. My sense is the fan base for the vintage men’s adventure magazine genre is growing.

RICH: I don’t know. I’m still learning about the genre. Handling the Napa Collection has been a real crash course in them—Men’s Adventure Mags 101. It’s too bad pulp publishers didn’t adapt to the men’s adventure format. The other day I was studying some of the artwork in them, and I wondered what DOC SAVAGE or THE SHADOW might have looked like in this format. As a pulp magazine collector, one thing I’ve noticed is that, unlike the original pulps, which limited their reprint material, men’s adventure magazines did a lot of recycling of artwork and stories. I wonder if there were newsstand customers who felt ripped off after spending a quarter and seeing recycled material, or if modern collectors feel that way.

Well, as someone who has been collecting men’s adventure magazines for quite a few years, I have a different perspective. There were over 160 different men’s adventure magazine titles. The top tier mags with the highest circulations and budgets, like TRUE, ARGOSY, SAGA and CAVALIER, rarely recycled artwork or stories. The mid-level magazines, like FOR MEN ONLY, MALE, MEN, STAG and the other classic mags published by Martin Goodman’s Magazine Management company and its subsidiaries did some recycling. It was the lower budget “sweat magazines,” like those published by B. R. "Bud" Ampolsk and Maurice Rosenfeld through their EmTee and Reese companies—MAN’S BOOK, MAN’S EPIC, MAN’S STORY, MEN TODAY and so forth—that the most recycling, including recycling the content of whole issues lock, stock and barrel. But many of those duplicate issues are actually more collectible because of their lurid covers and because some of the duplicates were one-offs or limited runs. For example, CLASH, February 1965, was a one-off that was a complete duplicate of MAN’S STORY, January 1965 except for the title. The cover painting is one of the wild Nazi bondage and torture scenes done by Norm Eastman and the female model he used was Eva Lynd. If you can even find a copy of CLASH, you’ll likely pay well over $100 for it if the seller knows what he’s selling.

RICH: I guess I would be hesitant to spend big money on these magazines unless I had a pretty good index to the material and knew which ones were worth more.

No complete index like that exists at this point, though creating a master index of men’s adventure magazines, listing their contents and the artists is a long term goal I have. Newbie collectors can find out a lot about the different magazines by buying two great books: IT’S A MAN’S WORLD and MEN’S ADVENTURE MAGAZINES, both of which feature magazines and artwork from Rich Oberg’s collection. They should also check out the Men’s Adventure Magazines section of Phil Stevenson-Payne’s amazing Galactic Central website and buy a copy of DEVINE’S GUIDE TO MEN’S ADVENTURE MAGAZINES, which I sell in PDF format in the MensPulpMags.com Virtual Newsstand. By the way, are you seeing a trend toward higher prices for copies of men’s adventure magazines lately? I think I do.

RICH: They can certainly be expensive now if they’re in high-grade condition and damn expensive in really high-grade condition. Not so expensive if the magazine is in average to low-grade condition.

I think prices for high quality copies is increasing in general, especially for the Reese and EmTee “sweat mags” with the most outrageous cover paintings. Issues with things like Nazi bondage and torture cover paintings by artists like Norm Eastman, Norman Saunders and Syd Shores are now selling for $50 to $150 or more. Several years ago, you could often get those for $20 to $50. However, you can still buy issues of the less sought after men’s adventure magazines for anywhere from a buck to ten bucks.

RICH: My advice to newbies is to do your homework. Buy some random, inexpensive issues, maybe some low-grade reading copies, just to get started. Get a nice sampling of titles and begin picking out your favorites. If you’re a serious collector who is interested in high quality issues from the Napa Collection, watch for the new listings on the Heartwood Auctions site. They get listed there before they go on eBay.

I’ve bought quite a few on the Heartwood site lately to fill holes in my collection. Like a copy of ACTION LIFE, November 1964, with a cover painting by Harry Schaare. And some hard-to-find VG quality copies of MAN’S LIFE from 1958 featuring “killer creature” covers by Wil Hulsey, the artist who did the famed “Weasels Ripped My Flesh” cover painting. Hulsey one of my favorite men’s adventure artists. Have you developed any personal favorites in terms of titles and publishers, or artists or writers who worked for the genre?

RICH: I find the true crime and detective articles very interesting. One magazine did a feature on serial killers and profiled Howard Unruh, the psycho scumbag who went on a shooting rampage in Camden, New Jersey in 1947. My uncle was a detective for the Camden police force, and he was on the scene when they arrested him. Decades later, he said he still regretted that someone didn’t just kill that guy right then and there. I certainly read that article with great interest! Oscar Fraley turns up every so often with articles about crime and corruption. He was well-suited to that task, since he was Elliot Ness’ collaborator on THE UNTOUCHABLES. It’s a real treat to find Shell Scott stories by Brett Halliday, or an Ed Noon detective yarn by my old pal Michael Avallone. It’s interesting to look at the early men’s adventure magazines and see the pulp authors and artists turning up, and how the names change as the years go by. A real changing of the guard took place in men’s adventure genre.

Do you have any favorite men’s adventure mag artists?

RICH: I’ve always liked artwork by Gil Cohen. Gil has been a guest at the NJ Pulp AdventureCon a few times, and he often brought original artwork to display. One year, Gil was talking to this gentleman—a big, tall guy with brushed-back white hair. He looked hauntingly familiar to me, but I couldn’t place him. Gil introduced him as the model for his series of Able Team paperback covers! I couldn’t place him because he wasn’t scowling or carrying a submachine gun. It’s always a pleasure to see artwork by Roger Kastel or James Bama.

They are some of my faves, too. One of my first interviews for this site was an interview with Gil Cohen and I recently did an interview with James Bama.

RICH: Earl Norem is another one of my favorite illustrators. I always loved his work for comics and I’ve been discovering more of his work for men adventure magazines as we’re cataloguing the Napa Collection. When Martin Goodman phased out his mens adventure mags, and began publishing comic-style magazines, good old Earl Norem showed up again. Instead of painting Cuban guerilla-fighters firing at a hapless U.S. soldier and a hot babe, he painted the same guerillas firing at The Incredible Hulk and a hot babe—and same scenarios only with super-heroes. Also, I was delighted recently to discover Harry Rosenbaum in some of Goodman’s magazines. Rosenbaum painted one of my favorite Marvel covers, based upon a drawing by John Romita, for The Spectacular Spider-Man, a short-lived magazine starring Marvel Comics’ most popular character.

We’ll have to compare more notes on artists at the upcoming Pulp AdventureCon in Fort Lauderdale. If show is successful, could it become an annual event like the one in New Jersey?

RICH: As far as my partner and co-organizer Audrey Parente and I are concerned, it’s already an annual event. The show will grow over time. Based on signups so far, the attendees with table of merchandise to sell will mostly be different collectors and dealers from the New Jersey show – unless some of those northern pulp guys need relief from the snow. I suspect a few of them will turn up at the last minute.

I look forward to seeing you there, Rich. Thanks for talking with me.

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Comments? Questions? Post them in the Men’s Adventure Magazines Facebook Group.

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