What else do you collect?? 18 18

[PopKulture]

Clearly you've been at it a while... 

[Flex Mentallo]

1 minute ago, PopKulture said:

Clearly you've been at it a while... 

Kept only the best.

[Flex Mentallo]

[BB-Gun]

On ‎8‎/‎6‎/‎2017 at 5:10 PM, Flex Mentallo said:

I loved these two - they aren't story books. Instead they depict the actual planes. My father burnt my copies because I wouldnt stop reading them.

I have collected a few issues of Flying Aces mostly because of the art by August Schomburg but I am fascinated by WWII aircraft.  I like to imagine how the engines set up their 18 cyclinders.  Some were in helical patterns and others were double radial engines.

Edited August 8, 2017 by BB-Gun

[Scrooge]

On 8/6/2017 at 11:36 PM, damonwad said:

Yes, I'm an OTR fan and that Dunning book is awesome (makes a good book end too). For those that don't know, it's full of historical info and background from  a few paragraphs long  to 4 or 5 pages long on practically every old radio show made.

Lots of OTR on my "someday" list but my favorites so far are Gunsmoke, Dragnet, Yours Truly Johnny Dollar (Bob Bailey), Sherlock Holmes (Rathbone and Bruce), Great Gildersleeve, Amos and Andy, X Minus One and Dimension X. In no particular order except for Gunsmoke.

While not a collection, I also share an interest in OTR. Got the chance to snap a pic of the OTR section of my library. Books cover both OTR in the US and France -

[damonwad]

3 hours ago, Scrooge said:

While not a collection, I also share an interest in OTR. Got the chance to snap a pic of the OTR section of my library. Books cover both OTR in the US and France -

Cool. Was the French OTR heyday about the same time as in the U.S? Did they have a lot of original programming or was it mostly French versions of the U.S. shows?

[Scrooge]

D-Wad, still new at this on the French side but here's what I understand so far. The landscape pre-World War II was fairly similar to the U.S. with a dominance (?) of local on the fly shows as the U.S. would have had in the '20's and early '30's. The issue then is the Occupation. As the Germans advanced in the territory, radio stations sabotaged themselves and destroyed their equipment so that the Germans couldn't take advantage of it. There was still programming during the Occupation but it was either dictated by the German Authorities or "tamed down" in Free France since the state signed the Armistice. Once France was liberated, the national purges happened also in radio with some broadcasters seeing their career ended. In order to promote national unity under the new government, a law in 1945 IIRC disallowed any private broadcast! So, you had a complete monopoly from state-sponsored radio, which ultimately spanned 3 channels (there were still local broadcast but they had to relay the national content apart from some short hours during the day for local content). You can imagine that didn't make for the best environment. What it did though was give a chance for radio from adjacent countries to garner audience so you see the emergence of Radio Luxembourg (to remain neutral it had shut down for the duration of the war), Radio Monte-Carlo (i.e, Monaco) and Radio Andorre (to remain neutral, it only broadcast non-news during the war). Luxembourg and Monte-Carlo are still to these days high audience getting radios in France, Radio Luxembourg was playing all day long in my home when I grew up. In 1955, Europe 1 was created to compete against these as well, broadcasting from Saarland, a German region, with the intent to gain audience in France, just so that the law could be circumnavigated. That said, the national radios still had to provide good and interesting programming to the audience especially since it was (and is still) underwritten by a tax paid by anyone with a radio set. To that extent, yes, quiz shows and other programs of that nature were licensed and adapted from U.S. shows. Soaps and variety programs had to be locally produced. It seems that play production was a little more elaborate in France than the studio produced drama in the U.S. The main difference is that instead of looking at a Golden Age circa the late '30's / '40's say for radio comedy like in the U.S., memorable shows in France didn't develop until the late '40's and really the '50's, at a time when the U.S. was transitioning to TV and when radio shows migrated to the new medium. That's the main shift. [Aside: later, "Free radios" or "Pirate radios" emerged and broadcast illegally. Eventually the state relented and, finally, in 1982(!!) were private radio stations allowed again in France.]

Edited August 11, 2017 by Scrooge

[damonwad]

57 minutes ago, Scrooge said:

D-Wad, still new at this on the French side but here's what I understand so far. The landscape pre-World War II was fairly similar to the U.S. with a dominance (?) of local on the fly shows as the U.S. would have had in the '20's and early '30's. The issue then is the Occupation. As the Germans advanced in the territory, radio stations sabotaged themselves and destroyed their equipment so that the Germans couldn't take advantage of it. There was still programming during the Occupation but it was either dictated by the German Authorities or "tamed down" in Free France since the state signed the Armistice. Once France was liberated, the national purges happened also in radio with some broadcasters seeing their career ended. In order to promote national unity under the new government, a law in 1945 IIRC disallowed any private broadcast! So, you had a complete monopoly from state-sponsored radio, which ultimately spanned 3 channels (there were still local broadcast but they had to relay the national content apart from some short hours during the day for local content). You can imagine that didn't make for the best environment. What it did though was give a chance for radio from adjacent countries to garner audience so you see the emergence of Radio Luxembourg (to remain neutral it had shut down for the duration of the war), Radio Monte-Carlo (i.e, Monaco) and Radio Andorre (to remain neutral, it only broadcast non-news during the war). Luxembourg and Monte-Carlo are still to these days high audience getting radios in France, Radio Luxembourg was playing all day long in my home when I grew up. In 1955, Europe 1 was created to compete against these as well, broadcasting from Saarland, a German region, with the intent to gain audience in France, just so that the law could be circumnavigated. That said, the national radios still had to provide good and interesting programming to the audience especially since it was (and is still) underwritten by a tax paid by anyone with a radio set. To that extent, yes, quiz shows and other programs of that nature were licensed and adapted from U.S. shows. Soaps and variety programs had to be locally produced. It seems that play production was a little more elaborate in France than the studio produced drama in the U.S. The main difference is that instead of looking at a Golden Age circa the late '30's / '40's say for radio comedy like in the U.S., memorable shows in France didn't develop until the late '40's and really the '50's, at a time when the U.S. was transitioning to TV and when radio shows migrated to the new medium. That's the main shift. [Aside: later, "Free radios" or "Pirate radios" emerged and broadcast illegally. Eventually the state relented and, finally, in 1982(!!) were private radio stations allowed again in France.]

Wow, that's great stuff and thanks for taking the time to post it.

It's very interesting how the war changed the radio landscape in France for so long. I would have assumed that they would have had all kinds of private stations as soon as the Germans left.

1982 is very surprising to me.

[Scrooge]

8 hours ago, damonwad said:

I would have assumed that they would have had all kinds of private stations as soon as the Germans left.

I believe that the restrictions placed post-war stem from the war of propaganda in the period right before war started out. Not only did the German establish an official french language station aimed at disseminating their message across the border but they also covertly sponsored two seemingly independent stations, one communist and one pacifist in name only, that were in actuality propaganda arms. Add to that legitimate French stations with pro-german proclivities and there was an extensive eco-system that the nascent new French administration would rather have not to deal with again, hence the radical decision to keep radio programming under lock and key.

[BB-Gun]

On ‎8‎/‎8‎/‎2017 at 2:02 PM, Flex Mentallo said:

Just

Just wondering whether there was any Baker art in that issue of Rage.  Baker illustrated the Flogging story and the Girl Gangs in the issue below.

Edited August 12, 2017 by BB-Gun

[Robot Man]

How about comic character watches?

[comicjack]

Love the Betty watch 

[batman_fan]

1 hour ago, comicjack said:

Love the Betty watch 

I love the all

[PopKulture]

On ‎8‎/‎12‎/‎2017 at 0:37 PM, Robot Man said:

How about comic character watches?

 

Man, these are awesome RM! More goodness from the museum that is your collection. I have to believe there was a certain amount of box-diving involved in assembling this collection...

[Flex Mentallo]

On 8/11/2017 at 8:00 PM, BB-Gun said:

Just wondering whether there was any Baker art in that issue of Rage.  Baker illustrated the Flogging story and the Girl Gangs in the issue below.

Sorry, no baker. I checked another issue as well, and no luck. So you can also eliminate the issue below from your search.

[PopKulture]

Earlier in this thread, I mentioned I collect women's magazines from the 40's to the 50's not for the covers, which were moreover duds, but for the interior spreads, which featured some really cool graphics:

Jon Whitcomb

Fredric Varaday

Dorothy Monet

Walter Baumhofer

Arthur Sarnoff

[Flex Mentallo]

2 hours ago, PopKulture said:

Earlier in this thread, I mentioned I collect women's magazines from the 40's to the 50's not for the covers, which were moreover duds, but for the interior spreads, which featured some really cool graphics:

Jon Whitcomb

Fredric Varaday

Dorothy Monet

Walter Baumhofer

Arthur Sarnoff

More please!

[PopKulture]

Okay

Perry Peterson

Walter Baumhofer

Fredric Varaday

Dorothy Monet

Walter Baumhofer

Bernard D'Andrea

Dorothy Monet

Bernard D'Andrea

 

Edited August 14, 2017 by PopKulture

[Flex Mentallo]

22 minutes ago, PopKulture said:

Dorothy Monet

Wonderful

[Robot Man]

6 hours ago, Flex Mentallo said:

Wonderful

Yeah, my favorite too. Love the 1950's graphic design.