shaxper
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Post by shaxper on Oct 6, 2014 20:17:05 GMT -5
...which would you choose?
Mind you, you'd start like any other employee: entry level, bottom of the totem pole, given the assignments nobody else wants, and having to work hard to earn respect from your betters.
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Post by Ish Kabbible on Oct 6, 2014 20:23:19 GMT -5
I wouldn't mind working for the NY Yankee's bullpen next season.Minimum salary is slightly under $240,000 and you stay at the best hotels, get meal money and your own picture on a trading card. Not too shabby. I just have to throw the ball when they tell me to
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Post by Deleted on Oct 6, 2014 20:49:35 GMT -5
I wouldn't mind working for the NY Yankee's bullpen next season.Minimum salary is slightly under $240,000 and you stay at the best hotels, get meal money and your own picture on a trading card. Not too shabby. I just have to throw the ball when they tell me to And even at your age, you might lower the average age of the players on the Yankees roster for next season... -M
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shaxper
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Post by shaxper on Oct 6, 2014 20:53:32 GMT -5
And back on topic...
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Post by Deleted on Oct 6, 2014 21:03:00 GMT -5
I am slowly learning the craft of lettering for the Studio (computer lettering allows me to do it even with horrible handwriting ), so I wouldn't mind starting in the lettering corrections section of the bullpen learning different fonts and styles and the crux of the craft, either as part of Romita's Raiders in the classic Marvel Bullpen, or in a similar role at one of the other big publishers who handle production in house rather than farmed out to creator owned production. Barring that, something in the CrossGen bullpen since there was such an amazing collection of talent there, there would be so many potential people to learn from. -M
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Post by Deleted on Oct 6, 2014 21:04:53 GMT -5
Probably mid 70s. And if any sexist, male chauvinist bullpenner got in my face, wondering out aloud what a woman is doing in his space I'd refer to Jenette Kahn at DC (as inspiration).
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Crimebuster
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Post by Crimebuster on Oct 6, 2014 22:16:08 GMT -5
70's Marvel, because as a writer, I could probably do any damn thing I wanted with basically no editorial oversight, as long as it kept selling. Which, naturally, it would.
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Post by chadwilliam on Oct 6, 2014 23:04:06 GMT -5
From The MAD World of William M Gaines:
During MAD's early years, Gaines employed a stockroom boy named Anthony, a well-behaved, industrious chap, who suffered from only one character flaw — extreme gullibility. One day Gaines revealed that he had a twin brother named Rex.
"Watch out for him, Anthony," Gaines warned. "Rex looks exactly like me except that he has a scar on his cheek and talks loud and mean and nasty. He doesn't have any money, so he steals from other people. If you see him, he'll be wearing my clothes because he stole them from me."
A few days later, Gaines walked out of the office, applied a rubber cement scar to his face, and walked in as Rex. Anthony was appalled to see Rex stride through the office, shouting terrible oaths, bullying the employees, even rifling the petty cash box in Gaines's office. Anthony saw and Anthony believed.
Rex's visits continued. He would demand to see his twin brother, refusing to believe Anthony's explanation that William Gaines was out. Sometimes Rex had a scar on his right cheek, sometimes on his left — Gaines could never remember which he'd used the time before — but Anthony remained a believer. Years passed, and Gaines feared that Anthony was catching on. One morning the phone rang in Gaines's office. "Anthony, it's for you," Gaines shouted. Anthony picked up the phone and, while Gaines looked on, heard Rex's voice, tape-recorded, on the other end: "Anthony, don't say a G**damn word — just listen!" The voice screamed on for thirty seconds, then hung up. Gaines's mother visited the office and was cornered by Anthony.
"Mrs. Gaines, you wouldn't lie to me. Do you really have another son named Rex?" "I'd rather not talk about it," she said.
Anthony was an aspiring playwright. After he left MAD, he wrote a play cal-led The Canary Cage and sent it to Gaines to read. A few weeks later, Anthony phoned to get Gaines's reaction. Rex answered.
"Anthony, I just wantcha to know I'm producing a musical with Rodgers and Hammerstein called The Gilded Canary Cage."
Rex proceeded to describe the plot, which, of course, came from Anthony's script. "That's my play!" Anthony protested. "Yeah," growled Rex, "but can you prove it? I stole it from my brother when he wasn't here, and now it's mine and you can't do anything about it."
Anthony became so hysterical that someone in the office — Gaines never found out who — broke down and revealed the hoax for what it was. Gaines was sorry the gag was blown because he had been planning to end it himself in more appropriate fashion.
"We were going to kill Rex off, stage a funeral, and put up his tombstone in a cemetery, carved for real — 'Rex Gaines, Born 1922 — Died 1959.' It would have been the perfect ending."
So I know where I'd want to work.
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Post by crazyoldhermit on Oct 7, 2014 7:33:08 GMT -5
1960s of course. I imagine it would be a fantastic learning experience.
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Post by Cei-U! on Oct 7, 2014 8:25:55 GMT -5
I'd want to work for Sheldon Mayer at All-American so I could witness firsthand the births of Flash, Hawkman, Green Lantern, Wonder Woman, the Justice Society, and so many other characters I love (including a certain pink thunderbolt). If not that, then Marvel in the Lee/Kirby/Ditko era.
Cei-U! I summon the Waybac Machine!
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Post by Nowhere Man on Oct 7, 2014 9:23:09 GMT -5
I'd have to go with Marvel 1972-1977. I think I'd actually enjoy working for Roy Thomas and Co. compared to Jim Shooter, even though I generally prefer the comics from 1978-1984.
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Post by Icctrombone on Oct 7, 2014 9:33:14 GMT -5
Without a doubt , Marvel in the 60's to see everything being created from nothing.
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Post by benday-dot on Oct 7, 2014 19:14:39 GMT -5
Charlton Comics under the Wildman/Cuti regime (1970's), because with all due respect to Scott Harris and his freedom cry with Roy Thomas, it was at the House of Derby, which, while perennially short of milk and honey, truly let freedom reign.
Great topic.
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Post by Ish Kabbible on Oct 7, 2014 19:59:49 GMT -5
Seriously speaking, the EC staff of the early 50s would be my choice. Few comic publishers treated their comic employees better with competitive pay rates and respect towards the staff.The over-riding reason, to me, would be the quality of the work produced by that company. It earned the respect of peers and any true comic fans that existed then. An excellent company to have on your resumee that would open the doors for other opportuntities further down the line. And once rising to a certain level you would be taked on those famous annual vacation trips William Gaines lavished on his staff around Christmas time. And need I mention getting advice from some of the greatest artists of all time like Frazetta,Kurtzman,Davis,Wood et al ?
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Post by Slam_Bradley on Oct 7, 2014 20:17:05 GMT -5
Not actually a bullpen, but Mad circa late 60s through the 70s.
Gaines was pretty good to work for.
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