Adventures Into the Unknown was an American comic-book magazines series best known as the medium's first ongoing horror-comics title. Published by the American Comics Group, initially under the imprint B&I Publishing, it ran 174 issues (cover-dated Fall 1948 - Aug. 1967). The first two issues, which included art by Fred Guardineer and others, featured horror stories of ghosts, werewolves, haunted houses, killer puppets and other supernatural beings and locales. The premiere included a seven-page, abridged adaptation of Horace Walpole's seminal gothic novel The Castle of Otranto, by an unknown writer and artist Al Ulmer. Unlike many American horror comics of the Golden Age, it weathered the public criticism of the early 1950s and survived the aftermath of the Senate Subcommittee on Juvenile Delinquency hearings of April and June 1954 when the comics industry attempted self-regulation with a highly restrictive Comics Code.This book contains the very scarce Issues #1 and #2.
Adventures Into the Unknown was an American comic-book magazines series best known as the medium's first ongoing horror-comics title. Published by the American Comics Group, initially under the imprint B&I Publishing, it ran 174 issues (cover-dated Fall 1948 - Aug. 1967). The first two issues, which included art by Fred Guardineer and others, featured horror stories of ghosts, werewolves, haunted houses, killer puppets and other supernatural beings and locales. The premiere included a seven-page, abridged adaptation of Horace Walpole's seminal gothic novel The Castle of Otranto, by an unknown writer and artist Al Ulmer. Unlike many American horror comics of the Golden Age, it weathered the public criticism of the early 1950s and survived the aftermath of the Senate Subcommittee on Juvenile Delinquency hearings of April and June 1954 when the comics industry attempted self-regulation with a highly restrictive Comics Code.This book contains the very scarce Issues #1 and #2.
A comprehensive biography of Edvard Munch explores the events of his turbulent life and places his experiences in their intellectual, emotional, and spiritual contexts.
The classical guitar is at its best with music of smaller proportions that is personal, evocative, and imbued with opportunities for subtle, expressive nuances in performance. Like the piano it must stitch together discrete and fading notes into continuous melodies supported by a harmonic background. The joining of Grieg's music and the classical guitar seems to be a most obvious and fruitful endeavor. This collection presents transcriptions from Grieg's best known and loved piano works. They are of intermediate to early advanced difficulty, with detailed fingering indications and extensive notes about the transcriptions and performance suggestions for each piece. This wonderful music, so easily and elegantly translated to the guitar, has previously been overlooked by most guitarists. These arrangements show that the results of the combination is better than might be expected. Standard notation only.
Preface * Vorwort * Suite I, op. 46: I. Morgenstimmung * II. Ases Tod * III. Anitras Traum * IV. In der Halle des Bergkonigs * Suite II, op. 55: I. Der Brautraub (Ingrids Klage) * II. Arabischer Tanz * III. Peer Gynts Heimkehr * IV. Solveigs Lied
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