Today in pulp... Milwaukee Magazine: it's the cream of Cream City!
If anyone tells you Wisconsin sucks just ask to see their crummy city magazine. I'M LOOKING AT YOU HERE CLEVELAND! #TuesdayThoughts
The city's most interesting faces*. Milwaukee Magazine, May 1980.
(*no Gene Wilder. He disowned the city after it slated Stir Crazy)
This is what #Bloomsday looks like in Wisconsin. It's what Joyce would have wanted...
Milwaukee Magazine, March 1980.
Where have all the heroes gone? Milwaukee Magazine, December 1985.
Somebody REALLY liked Bonnie Tyler here...
"Oh yes it's ladies night, at the Lucid Light, oh what a night..."
Milwaukee Magazine, March 1984. Oh behave!
"Church man" George Exoo, going medieval on yo pew...
Milwaukee Magazine, February 1994.
Charles Sykes slams the Boomers!
(Plus: the ethnic diversity of bread.)
Milwaukee Magazine, December 1992.
He then got a job managing Blockbusters, and was never heard from again...
Milwaukee Magazine, May 1983.
Sinister theatre cults! Punk palaces! Racketball! Where will this madness end...
Milwaukee Magazine, April 1983.
Boomers be like: "get off the internet, I need to make a phone call! Dawson's Creek is rubbish! I hate Ray Of Light, why can't Madonna play her old stuff!"
Milwaukee Magazine, February 1998.
"I'm a Mac. And I'm a PC..."
Milwaukee Magazine, March 1986.
So let's celebrate Milwaukee Magazine and the great local journalism that keeps it going. It's not just for the metro area: even Waukesha gets a mention!
Racine can go f*ck itself however...
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Today in pulp, one of the most influential and outrageous illustrators of the Italian Italian fumetti scene: Emanuele Taglietti!
This will be interesting...
Emanuele Taglietti was born in Ferrara in 1943. His father worked as a set designer for director Michaelangelo Antonioni, often taking Emanuele with him on set.
In the 1960s Taglietti moved to Rome, where he studied stage design. He began a successful career as an assistant art director, working for Federico Fellini and Marco Ferreri.
If the spacesuit is the symbol of progress, the gas mask is the sign of the apocalypse. In popular culture it signifies that science has turned against us. It's the face of dystopia.
Today in pulp I look at the culture of the mask!
The first chemical masks were work by Venitian plague doctors: a bird-like affair, the beak stuffed with lavender, matched with full length coat and hat. It was a terrifying sight - the grim reaper come to apply poultices to your tumours.
But it was poison gas, first used at the Second Battle of Ypres in 1915, that led to the modern gas mask. At first these were cotton masks treated with chemicals. However their protection was limited.
It's now over half a century since 1970, and I'm starting to wonder if we should bring back its concept of gracious modern living...
You see we've grown so used to Swedish-style modernism that we've sort of forgotten that maximalism, rather than minimalism, was once the sign of a cultured abode.
The 1970s in many ways reached back to the rich ideas of Victorian decor: heavy, autumnal and cluttered. Home was meant to be a baroque and sensual experience, rather than a 'machine for living in.'