Pulp magazines were inexpensive fiction magazines that were published from 1896 to the late 1950s. The term pulp derives from the cheap wood pulp paper. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks"; the typical pulp magazine had 128 pages. The pulps gave rise to the term pulp fiction in reference to run-of-the-mill, low-quality literature. Pulps were the successors to the penny dreadfuls, dime novels, short-fiction magazines of the 19th century. Although many respected writers wrote for pulps, the magazines were best known for their lurid and sensational subject matter. Modern superhero comic books are sometimes considered descendants of "hero pulps"; the first "pulp" was Frank Munsey's revamped Argosy magazine of 1896, with about 135,000 words per issue, on pulp paper with untrimmed edges, no illustrations on the cover. The steam-powered printing press had been in widespread use for some time, enabling the boom in dime novels. In six years, Argosy went from a few thousand copies per month to over half a million.
Street & Smith, a dime novel and boys' weekly publisher, was next on the market. Seeing Argosy's success, they launched The Popular Magazine in 1903, which they billed as the "biggest magazine in the world" by virtue of its being two pages longer than Argosy. Due to differences in page layout however, the magazine had less text than Argosy; the Popular Magazine did introduce color covers to pulp publishing, the magazine began to take off when in 1905 the publishers acquired the rights to serialize Ayesha, by H. Rider Haggard, a sequel to his popular novel She. Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt. In 1907, the cover price rose to 15 cents and 30 pages were added to each issue. Street and Smith's next innovation was the introduction of specialized genre pulps, with each magazine focusing on a particular genre, such as detective stories, etc. At their peak of popularity in the 1920s-1940s, the most successful pulps could sell up to one million copies per issue.
In 1934, Frank Gruber said. The most successful pulp magazines were Argosy, Blue Book and Short Stories, collectively described by some pulp historians as "The Big Four". Among the best-known other titles of this period were Amazing Stories, Black Mask, Dime Detective, Flying Aces, Horror Stories, Love Story Magazine, Marvel Tales, Oriental Stories, Planet Stories, Spicy Detective, Startling Stories, Thrilling Wonder Stories, Weird Tales and Western Story Magazine. During the economic hardships of the Great Depression, pulps provided affordable content to the masses, were one of the primary forms of entertainment, along with film and radio. Although pulp magazines were an American phenomenon, there were a number of British pulp magazines published between the Edwardian era and World War II. Notable UK pulps included Pall Mall Magazine, The Novel Magazine, Cassell's Magazine, The Story-Teller, The Sovereign Magazine, Hutchinson's Adventure-Story and Hutchinson's Mystery-Story; the German fantasy magazine Der Orchideengarten had a similar format to American pulp magazines, in that it was printed on rough pulp paper and illustrated.
During the Second World War paper shortages had a serious impact on pulp production, starting a steady rise in costs and the decline of the pulps. Beginning with Ellery Queen's Mystery Magazine in 1941, pulp magazines began to switch to digest size. In 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks. Competition from comic-books and paperback novels further eroded the pulps’ marketshare, but it was the widespread expansion of television that sounded the death knell of the pulps. In a more affluent post-war America, the price gap compared to slick magazines was far less significant. In the 1950s, men's adventure magazines began to replace the pulp; the 1957 liquidation of the American News Company the primary distributor of pulp magazines, has sometimes been taken as marking the end of the "pulp era". All of the few remaining pulp magazines are science fiction or mystery magazines now in formats similar to "digest size", such as Analog Science Fiction and Fact and Ellery Queen's Mystery Magazine.
The format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan. Over the course of their evolution, there were a huge number of pulp magazine titles. Many titles of course survived only briefly. While the most popular titles were monthly, many were bimonthly and some were quarterly; the collapse of the pulp industry changed the landscape of publishing
Harry Scoble is an Australian rugby union footballer who plays as a hooker for the Western Force in the international Super Rugby competition. Domestically, he turns out for Perth Spirit in the National Rugby Championship. Scoble hailing from an AFL supporting family, Scoble was interested in playing AFL as a youngster, however by the age of 9 he had switched to rugby union and started making his way up through the grades playing for The University of Western Australia in his native Western Australia, he represented both Western Australia and Australia at schoolboy and under-20 level as well as being a member of the Future Force program before being selected as a member of the Perth Spirit squad ahead of the inaugural National Rugby Championship in 2014. After 2 years of consistent performances in the NRC, Scoble was named as part of the Western Force's wider training group ahead of the 2016 Super Rugby season. Injuries to first choice hookers Nathan Charles and Heath Tessmann saw Scoble thrust into the limelight as the franchise's starting number 2 for the second half of the campaign.
In total he earned 8 caps, 7 of which were from the start and scored 2 tries including one on debut against the Waratahs. Scoble represented Australia at schoolboy level in 2011 and was a member of the Australia under-20 side which competed in the 2014 IRB Junior World Championship in New Zealand; as of 14 August 2016
Vavoom! is the fourth studio album by the swing band The Brian Setzer Orchestra. It was released in 2000 on Interscope Records. All tracks composed by Brian Setzer. "Pennsylvania 6-5000" "Jumpin' East of Java" "Americano" "If You Can't Rock Me" "Gettin' In the Mood" "Drive Like Lightning" "Mack the Knife" "Caravan" "The Footloose Doll" "From Here to Eternity" "That's the Kind of Sugar Papa Likes" "'49 Mercury Blues" "Jukebox" "Gloria" "Rock-A-Beatin' Boogie" Brian Setzer - guitar, vocals Bernie Dresel - drums, percussion Ray Hermann - saxophone George McMullen - trombone Tim Misica - saxophone Mark Winchester - bass Robbie Hioki - trombone Kevin Norton - trumpet Mike Himelstein - background vocals
"1st Man in Space" is a song by Sheffield electronic music group All Seeing I. It was the third single to be released from the album Pickled Sherbet, it features vocals by Philip Oakey of The Human League on what is an update of David Bowie's "Space Oddity" and Elton John's "Rocket Man" The lyrics were written by another Sheffield musician, Jarvis Cocker of Pulp. The single reached Number 28 in the UK singles charts when released in September 1999. "1st Man in Space" "1st Man in Space" "Sweet Music" "1st Man in Space" "Dirty Slapper" "No Pop I" Philip Oakey - vocals Jarvis Cocker - lyrics, guitars Dean Honer - keyboards Jason Buckle - guitars, bass Richard Barrett - drums, programming http://www.the-black-hit-of-space.dk/be_my_lover.htm http://www.the-black-hit-of-space.dk/first_man_in_space_review.htm http://www.pulpwiki.net/Jarvis/1stManInSpace
The Clansman: A Historical Romance of the Ku Klux Klan is a novel published in 1905. It was the second work in the Ku Klux Klan trilogy by Thomas Dixon Jr. that included The Leopard's Spots and The Traitor. It presents the Ku Klux Klan heroically; the novel was twice notably adapted by its author as a successful play entitled The Clansman, a decade by D. W. Griffith in the famous 1915 movie The Birth of a Nation; the 20th-century revival of the Ku Klux Klan is a direct result of its glorification by Dixon. The play, being concerned with the KKK and Reconstruction, is adapted in the second half of The Birth of a Nation. According to Professor Russell Merritt, key differences between the play and film are that Dixon was more sympathetic to Southerners' pursuing education and modern professions, whereas Griffith stressed ownership of plantations. Dixon wrote The Clansman in support of racial segregation, as it showed free blacks turning savage and violent, committing crimes such as murder and robbery far out of proportion to their percentage of the population.
He claimed. Dixon portrays the Radical Republican speaker of the house, Austin Stoneman, as a rapacious, negro-loving legislator, mad with power and eaten up with hate, his goal is to punish the Southern whites for their revolution against an "oppressive" government by turning the former slaves against the white Southerners and using the iron fist of the Union occupation troops to make them the new masters. The Klan's job is to protect the white Southerners from the carpetbaggers and their allies and white. In addition to criticism that The Clansman would stir up feelings in the South, Dixon's argument that the Klan had saved the South from negro rule was ridiculed by some as absurd. Austin Stoneman – Northern political leader who advocates and implements Reconstruction in the conquered Southern States. Stoneman's hatred for President Johnson stems from Johnson's refusal to disenfranchise Southern whites, his anger towards former slaveholders is intensified after the assassination of Abraham Lincoln, when he vows revenge on the South.
His programs strip away the land owned by whites. Men claiming to represent the government confiscate the material wealth of the South, destroying plantation-owning families; the former slaves are taught that they are superior to their former owners and should rise up against them. These injustices are the impetuses for the creation of the Klan. Similar to his statements about The Leopard's Spots, Dixon insists in a "To the reader" prologue that the novel is historical: I have sought to preserve in this romance both the letter and the spirit of this remarkable period; the men who enact the drama of fierce revenge into which I have woven a double love-story are historical figures. I have changed their names without taking a liberty with any essential historic fact; the publication of The Clansman caused significant uproar not only in the North, but throughout the South. Thomas Dixon was denounced for renewing old conflicts and glorifying what many thought was an unfortunate part of American history.
When offered membership in the KKK, Dixon turned it down because, he claimed, he did not agree with the Klan's methods. The Klokard of the Klan, Rev. Dr. Oscar Haywood, at one point challenged Dixon to a debate over the nature of the Ku Klux Klan. Despite Dixon's reported claims that he rejected violence except in self-defense, in the book previous to The Clansman in Dixon's trilogy, The Leopard's Spots, the Klan dealt thusly with a black man who had asked a white woman to kiss him: When the sun rose next morning the lifeless body of Tim Shelby was dangling from a rope tied to the iron rail of the balcony of the court house, his neck was broken and his body was hanging low--scarcely three feet from the ground. His thick lips had been spli
Leonard Lyell, 1st Baron Lyell, Bt, was a Scottish Liberal politician. The eldest son of Colonel Henry Lyell and Katharine Murray Lyell, he was a nephew of Sir Charles Lyell, 1st Baronet, the geologist, he served as Liberal Member of Parliament for Orkney and Shetland from 1885 to 1900, was commissioned a Deputy Lieutenant for Forfarshire in December 1901. He was created a baronet in 1894 and raised to the peerage as Baron Lyell of Kinnordy in the County of Forfar, on 8 July 1914, he married Mary Stirling in 1874, had one son, Charles Henry and two daughters, Mary Leonora, born 1877, Helen, born 1878. His only son Charles Henry Lyell was a Liberal MP but as he died in 1918 his son Charles Anthony Lyell succeeded to both the baronetcy and barony. Leigh Rayment's Peerage Pages Leigh Rayment's Historical List of MPs Hansard 1803–2005: contributions in Parliament by Leonard Lyell