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Jet-Ace Logon on eBay

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  • Jet-Ace Logon on eBay

    According to an article in The Mentor on Mike's comics career > < this item currently up on eBay is one of Mike's:

    TIMES FIVE is from July 1962, priced at just one shining shilling. It is one of two Mike Moorcock scripted Jet-Ace Logan Thriller Picture Libraries - the other, POWER FROM BEYOND (#442) comes from January 1963.
    Is this so? And is anyone else interested in bidding on this? (The starting price of آ£4.99 is probably as high as I'm able to go so if anyone else wants it do say so.)
    _"For an eternity Allard was alone in an icy limbo where all the colours were bright and sharp and comfortless.
    _For another eternity Allard swam through seas without end, all green and cool and deep, where distorted creatures drifted, sometimes attacking him.
    _And then, at last, he had reached the real world – the world he had created, where he was God and could create or destroy whatever he wished.
    _He was supremely powerful. He told planets to destroy themselves, and they did. He created suns. Beautiful women flocked to be his. Of all men, he was the mightiest. Of all gods, he was the greatest."

  • #2
    Sorry guys,

    No time to pretty this up:

    by Andrew Darlington
    "So it happened that two sleek minnows slipped from the
    slippery side of the great ship and trailed their tiny spirts of flame
    across the stars... and as these tiny ships curved onto their joint
    course, their pilots looked down the visible wake of the comet...".
    In July 1992 the Giotto Space-probe intercepts the Grigg-
    Skjellerup Comet. But exactly 30 years earlier - the month that Telstar
    beams its first juddery live TV pictures across the Atlantic, Jet-Ace
    Logan is already flying into the heart of a comet to discover a terrible
    secret that would threaten to turn the world into a green hell of
    poisonous alien chlorine. The story is TIMES FIVE: A JET-ACE LOGAN
    SPACE STORY issued as a 64 page-graphic novel in the THRILLER
    PICTURE LIBRARY series, #418. The highly atmospheric and technically
    precise art is by Ron Turner, from a story - according to Ron, by "a
    young Mike Moorcock".
    Within the comet the two R. A. F. Space Command ships are
    lured into a bizarre alien spacecraft by its quintaped denizens; the
    earthmen "suddenly emerged into a large chamber into which machines
    periodically scooped great piles of litter from the scores of tunnelways
    that led into it. Yet it was not the rubbish that drew their attention ... it
    was the startling lack of it right at the centre of the floor". And there, in
    the huge chamber visualised by Turner's expressive line-work, is an
    unearthly machine; "the earthmen did not have to wait long, for a
    practical demonstration was forthc oming .... They heard the lump of
    piping clatter into the hopper. The machine hummed softly and glowed a
    gentle green, panting out quantities of greenish gas.... The machine
    hum died, and the mechanism coughed an abrupt cloud of fumes from
    its outlet, there was a rattle from the floor... and the astounded
    onlookers beheld five pieces of identically bent metal".
    Jet-Ace Logan looks at the Matter Duplicator suspiciously,
    thinking "just imagine one of those things falling into the wrong hands, it
    would be worse than an H-Bomb in the hands of a 5-year old".
    While a devious scientist attached to the crew thinks "what a
    machine! What a wonderful thing to own! It could create wealth,
    power, any man who owned that could own the world. If only I could
    lay my hands on it".
    The dour and obdurate scientist's name, in what is perhaps a
    wry piece of Moorcockian in-jokery, is Aldis.
    TIMES FIVE is from July 1962, priced at just one shining
    shilling. It is one of two Mike Moorcock scripted Jet-Ace Logan Thriller
    Page 11
    APRIL 1994 page 11
    Picture Libraries - the other, POWER FROM BEYOND (#442) comes from
    January 1963. But there's an unexplored dimension of other Moorcock
    stories published anonymously throughout the period, titles
    unsuspected even by devotees and completists. In all likelihood there
    are still more as yet unidentified or of disputed authorship, awaiting
    definite authentication. But it's a fascinating sub-genre of Moorcock's
    work rich with plots, themes and characters well worth academic
    ## # ##
    "Motors purring, captains shouting orders, the rustle of the
    canvas gun-covers being drawn back, gay flags, flashing steel, flying
    cloaks of many hues; a Hatnorian War-Fleet rose rapidly into the sky".
    The typically extravagant sweep of bold scene setting from Moorcock's
    first published story cycle SOJAN THE SWORDSMAN conjures
    entrancing vistas of fantastic craft and rich costumes spiked with a bite
    of barbaric splendour, and although a teenage work, it's already
    recognisably Moorcockian. All the style elements are in place.
    An intriguing interview with the real Brian Aldiss (in THE
    SAVOY BOOK edit Butterworth/Britton) relates how Michael Moorcock
    declined an invitation to contribute an autobiographical essay to
    Aldiss/Harry Harrison's HELLS CARTOGRAPHERS project due to an
    excess of modesty, so perhaps this period will remain badly
    documented. But in this light the snatches of self-history in two other
    Savoy Books provide tantalising clues; the SOJAN anthology from 1977,
    and the more recent volume of interviews MICHAEL MOORCOCK:
    DEATH IS NO OBSTACLE by Colin Greenland. James Cawthorn's
    illustrations embellish the Sojar edition which is a valuably revealing
    collection of cut-and-thrust passages from the very dawn of
    Moorcock's career, his first stories ever to find their way into print.
    In fact Moorcock was only 16 when - in 1955, he produced
    the first drafts of his SOJAN THE SWORDSMAN and KLAN THE
    SPOILER text swashbucklers for his own fanzine. According to legend
    he submitted these tales to TARZAN ADVENTURES who accepted one
    for a June 1957 edition - and that by the following issues he'd been
    invited to become the magazine's editor!
    Alongside these two
    embryonic efforts many other stories appeared between August 1957
    (Vol. 7 #22) and September 1958 (Vol. 8 #23) in this long-extinct
    juvenile publication, many of which are now preserved in the Savoy
    TARZAN ADVENTURES had been relaunched by "Westworld"
    on the 8th April 1953 as a weekly 28-page vehicle for U.S. newspaper
    strip reprints. Never a major title in the LION, EAGLE or TIGER league,
    and now difficult to find, copies nevertheless still appear at intervals in
    the mail-order lists of specialist dealers, or for those who scour Book
    Fairs they sometimes turn up incongruously on antiquarian stalls
    alongside well-thumbed Annuals and musty hardback fiction. They
    boast occasional colour photo covers from then-current movies, Lex
    both from 1954, but normally there are dramatic front pages illustrating
    the story inside, done by artists George Bunting or James Beach. The
    eponymous Tarzan serial is in monochrome and fills just over half of
    each issue, which are then padded out with such oddities as Buffalo
    Bill's Western adventures and "other interesting features".
    increasingly, using the rationale that Tarzan's creator - Edgar Rice
    Burroughs - also wrote the Martian John Carter fantasies which so
    enflamed Moorcock's juvenile creativity, there is a growing
    interplanetary content. And as Moorcock had already produced a
    fanzine on the subject - BURROUGHSANIA, he was eminently qualified
    for the editorial task despite his youth.
    The TWIN EARTHS picture strip serial was an American
    newspaper reprint written with considerable imaginative flair by Oskar
    Lebeck with art from Alden McWilliams. The story involves a boy from
    Earth carried by Flying Saucers to the Moon where he is temporarily
    trapped within underground caverns, only to be rescued by robot
    "spiders", and eventually taken to the alien's home world which - like
    John Norman's Gor, occupies Earth's orbit but is located on the far side
    of the sun and is hence undetectable. More Moorcock related is Jim
    Cawthorn's original PERIL PLANET strip which runs through 1957. But I
    also recall reading short text stories featuring spaceman Skylon Dane
    and his journey to a distant planet to defeat an evil scientist whose rays
    dissolve bone-structure leaving his victims living breathing blobs of
    shapeless jelly. And another story about Earthmen visiting the ruins of
    the last Martian temple, only to trigger a self-destruct incendiary
    mechanism. Were these Moorcock stories? Probably not. He used his
    position as editor to publish the work of other S.F. writers, including a
    number of compact 1,000-word shorts from Sydney J. Bounds.
    Moorcock's lay-out work for TARZAN ADVENTURES involved
    adapting strips from their American to their "Westworld" format, adding
    to and altering the narrative. But more significantly, the authenticated
    stories he fed into the weekly himself during the period of his regime
    were aimed at a juvenile audience, they are short, written in a racy no-
    frills style, and show few indications of Moorcock's later metaphysical
    preoccupations. There is an improvement in the writing more or less
    concurrent with the successful dates of their production, and a
    sophistication of the areas in which Sojar operates. But the basic
    prerequisites of action, simplicity, and a plot lasting no more than a
    handful of pages, are seldom challenged. The first exploit identifies
    "Sojan Shieldbearer" as a mercenary, an inhabitant of the double-
    sunned planet Zylor in the employ of Nornos Kad, Warlord of the
    Imperial Hatnorian Empire. Riding a reptilian myat, or piloting an airship,
    he does all the things one normally expects from a heroic barbarian
    sword-wielder. He rescues Il -That, princess daughter of a warrior king,
    he leads a counter-revolution against the tyrant usurper of the
    Hatnorian throne, and he puts down an unjustified rebellion against the
    Moorcock remains well within the stylistic restrictions of the
    genre, and well within his own limitations as an evolving writer. The
    history of Zylor is fleshed out in a story sequence SOJAN AND THE
    SEA OF DEMONS in which he destroys the Priesthood of Rhan who are
    bent on world domination. During the struggle he encounters the
    Lovecraftian-named Old Ones who explain that the Zylorians are
    survivors from Lemuria, the antediluvian continent of Earth mythology,
    and that the refugees have spread across the new planet devolving
    into rival kingdoms and tribes. In later Sojan stories caches of
    technological equipment and buildings left by these first
    Zylorians/Lemurians serve much the purpose as those left by the
    Yaksha in Moorcock's "Michael Kane" novel cycle of 1965, set on the
    planet Mars.
    But as well as the Sojan mini-epics Moorcock also contributes
    tales featuring Dek of Noothar and his quests across ancient Mars for
    the Strange One's "Sword of Life"; and Rens Karto of Bersnol with his
    broadsword Blood-drinker. The latter was written as a result of a
    competition in which reader Richard W Ellingworth suggested "a plot for
    a story for TARZAN using Sojan as the central character, with the
    manuscript of SOJAN AND THE PLAIN MYSTERY as the prize". Richard
    received a co-writer credit for the tale, and presumably the "prize" too,
    the manuscript of the story which had appeared in issue Vol. 8 #9 (31st
    May 1958). If he still has that prize it will be worth a small fortune to a
    Moorcock collector now.!
    The stories, and the Cawthorn or Lumley maps and
    illustrations, make few attempts to strive for contrived effect; but in the
    Sojan series lies the basic groundwork for all the Swords & Sorcery
    cycles to come. SOJAN AND THE SONS OF THE SNAKE GOD (in Vol. 8
    #12 - 21st June '58) for example, is a complete capsule novel in less
    than 2,000 words in which - as the page-head blurb declares "Sojan Is
    once again playing a lone hand against death". Sojan the mercenary
    prevents a war by infiltrating and destroying the Cult of Rij the Snake
    In a way the young Moorcock's stint in the editorial chair of
    TARZAN ADVENTURES is a dry run for his later NEW WORLDS regime.
    With the same absolute conviction and missionary zeal he transmutes a
    modest little periodical into his own image, into a vehicle for his own
    energies, aspirations and enthusiasms. I acquired a trove of some
    hundred TARZAN issues at a Jumble Sale shortly after the event. I read
    those classic muscle-rippling Tarzan spreads by Burne Hogart with his
    trademark anatomic al exaggerations, and enjoyed the fantasy element
    of the heroic Jungle Lord's encounter with the grotesque Ononoes,
    villainous creatures resembling huge severed heads propelling
    themselves on their hands. But I - for one, particularly read and loved
    the changes Moorcock had wrought, long before I learned to recognise
    the name responsible.
    In ESCAPE FROM VENUS - one of his lesser novels, Edgar
    Rice Burroughs writes "when I was young I used to dream of living an
    Page 12
    THE MENTOR 82 page 12
    adventurous life, and it may be that those youthful dreams more or less
    shape one's later life". There's a demonstrable truth to Burroughs' pulp
    assertion in the contagion of "youthful dreams" he passed on to
    Moorcock which in turn were passed on to yet another generation,
    shaping my life - among others.
    Despite - or because of his creative innovations, Mike
    Moorcock recalls (in an introduction to his WARRIORS OF MARS) how
    he left TARZAN ADVENTURES "under a cloud", and indeed the title
    folded soon after, in November 1959. But the Cawthorn connection
    was to survive into NEW WORLDS and beyond. While in the meantime
    there were new connections; soon "I was writing floods of hack work
    for Fleetway and getting sometimes 70 or 80 pounds a week ... I think it
    was the autumn of 1960, when I was working for the SEXTON BLAKE
    LIBRARY .. that I bumped into a colleague at Fleetway Publications,
    Andy Vincent, who was an old friend of Harry Harrison's (who was
    also freelancing for Fleetway at the time). Andy told me he was
    meeting Harry and Ted Carnell in the Fleetway foyer and suggested I
    went along. As I remember, that was where I first met Harry". The
    ensuing Ted Carnell connection led to Moorcock's NEW WORLDS
    regime. While Harry Harrison was scripting RICK RANDOM Space
    Stories for Fleetway's SUPER DETECTIVE LIBRARY; illustrated by Ron
    Moorcock's period with the long-established monthly SEXTON
    BLAKE series led to his first novel, a mildly James Bond-ian non-SF
    romp called CARIBBEAN CRISIS published in 1962 as by "Desmond
    Reid". Reid was probably a house alias as there are other titles
    credited to the name, at least as early as the 1958 HIGH HEELS AND
    HOMICIDE. The confusing use of publisher-owned house names was
    common practice at the time, so it's highly unlikely that all material
    published under the
    Desmond Reid banner is undiscovered
    Moorcockiana. A similar obfuscation exists in other areas of Fleetway's
    labyrinthine fiction factory.
    In the Colin Greenland interviews Moorcock describes in detail
    how he scripted KIT CARSONS PERILOUS RIDE, a Western adventure
    for the monthly COWBOY PICTURE LIBRARY #337 (In 1961), how he
    wrote sports stories - including one of the SKID SOLO motor racing
    serials and admits he "could have" written a picture script called
    GIANTS IN THE NIGHT about a Professor Lancing and an invasion from
    space. There is also work done for LOOK & LEARN dramatising
    historical events - a life of Alexander the Great, another about
    Constantine, both of which are illustrated by Don Lawrence. The work
    was done at an incredible pace. He describes how a 64-page Mounted
    Policeman Comic Library edition - DICK DARING AND THE HIRED
    GUNMAN, "was done overnight. Started Tuesday evening, delivered
    Wednesday morning, because Wednesday was pay-sheet day. That
    would have earned me about a hundred quid, which in 1959 was good
    money for one night's work".
    Predictably details of this period remain confused and
    questionable. It seems he scripted for TIGER's long-running OLAC THE
    GLADIATOR series vividly set in ancient Rome. Early episodes are
    credited by Brian Leigh; but which are by Moorcock? Sometimes
    powerfully descriptive passages in the narrative boxes suggest his
    style - particularly during Atilla the Hun's barbarian incursion into the
    empire in a late 1959 story, but that's guess-work. Often short filler
    stories for annuals were done by series non-regulars, and Olac was
    featured in TIGER ANNUAL's through most of the 1960's. Perhaps
    Moorcock's contribution lies here? Then there are two - or possibly
    three DOGFIGHT DIXON titles confirmed as Moorcock originals published
    under the THRILLER PICTURE LIBRARY banner; researcher Ian Covell
    reveals that any tales featuring this air ace "set in World War II are not
    by Moorcock", while "those including zeppelins have a good chance of
    being by him". There's a further vagueness concerning titles such as
    MIKE BLADE & THE ATOM WRECKERS (TIGER 31st August to 14th
    December 1963), DANNY JONES: TIME TRAVELLER (TIGER 22nd
    February 1964 to 28th January 1967) and AFRICAN SAFARI. Moorcock
    - or not Moorcock...?.
    It's tempting to read these strips now with hindsight; to see in
    the 18th Century inventor of the time -clock which schoolboy Danny
    Jones later fishes from the local pond ("it was no ordinary clock, it told
    the time in centuries. Whoever set its hands was transported back into
    the past ...") as early evidence of Moorcock's fascination with English
    scientific eccentricity. Through its use Danny meets Dick Turpin, visits
    the Colossus of Rhodes and the Ice-Age Giants, and sails with Black
    Bart the Pirate. While it's not difficult to read the story with Bond clone
    Secret Agent SSA-B Mike Blade - in a adventure involving a mechanical
    dragon (DOCTOR NO ...?) and the bad guy's domed city which rises
    from the sea off Hong Kong (THE SPY WHO LOVED ME ...?) and
    imagine it to be the missing link between CARIBBEAN CRISIS and JERRY
    CORNELIUS. Probably - regarding the scant evidence, to do so is over-
    fanciful. Perhaps the full intricacies will never be resolved. Moorcock
    allegedly contributes to BUSTER, BIBLE STORY, EAGLE, ROBIN HOOD
    and VALIANT; often in complex ways - "sometimes I used to sell the
    outline, then pass the job on to another writer. Barry Bayley and I
    worked like that. I was good at doing the initial spiel that would get the
    idea accepted".
    There were a mass of projects; in an interview published in
    VORTEX #1 James Cawthorn recalls "around 1958 Mike Moorcock and
    me tried to sell a BOEWULF strip story, with no luck", adding ruefully
    "Marvel have done one recently, I believe". And as Ian Covell concedes
    "we are 99% certain that some stuff sold to the comics was never
    actually drawn or used ... but they may have been!. It's great, but
    aggravating fun".
    ZIP NOLAN, the Highway Cop created by the hugely prolific
    Frank S. Pepper, ran as a weekly picture series in LION for many years.
    But during a spell of illness when Pepper was unable to work, it's
    known that Moorcock stepped in to contribute one-off Nolan
    adventures. Working out exactly which plots come from Moorcock's
    furious typewriter is an impossible epic quest - despite some tantalising
    clues leaked to Colin Greenland. But even accepting the popularity of
    Zip Nolan's high-speed motorcycle exploits the themes more obviously
    suited to Moorcock's burgeoning talents are those with a fantastic
    dimension. Running simultaneously through LION are the chronicles of
    KARL THE VIKING. These stories from the Dark Ages are scripted by
    respected SF author Kenneth Bulmer, while the blonde Norse voyager
    is exquisitely and authentically illustrated by Don Lawrence - famous f or
    his much-reprinted THE TRIGAN EMPIRE. Karl's world of barbarian
    adventures, terrible supernatural adversaries and journeys into
    uncharted continents is an area exactly attuned to Moorcock's
    preoccupations; and he and Lawrence work together to produce a
    single Karl picture strip for the 1965 LION ANNUAL, a highly
    atmospheric GHOST OF THE TIDELESS SEA. It would be intriguing to
    see further such collaborations, but instead Moorcock and Lawrence
    initiate a new character for LION.
    Introducing the protagonist MAROC THE MIGHTY, the serial
    THE HAND OF ZAR begins 3rd October 1964 and is set in the time of the
    Crusades. John Maroc, an outlawed Crusader, gains superhuman
    strength when he acquires a magic amulet, which he finds many
    opportunities to use on his long trek home from Africa. The second
    story - THE RED KNIGHTS OF MORDA, was re-edited into a 1985
    EAGLE PICTURE LIBRARY #9, recounting Maroc's Spanish conflict with
    armoured adversaries led by the evil wizard-like Satana from his
    subterranean fortress protected by a dinsaurian moat-monster. The
    fast-action blood-thirsty plot moves well, and the art embellishment is
    perfectly executed with well observed castles and tournament scenes,
    although the resolution of each grotesque crisis is rather predictably
    done by "mighty arms, possessed of giant strength gained from the
    magic armlet on Moroc's right wrist". Maroc even supports the toppling
    main pillar of Satana's collapsing stronghold long enough for his allies to
    escape, before the entire mountain edifice is consumed by the
    poisonous lake.
    The series continued into mid-1966, pitting the
    Crusader against the Hawkmen, Gigantos, and the Lord of all Evil. The
    introductory saga is eventually reprinted from 14th November 1970, but
    by then Moorcock has emerged from his prolific and highly
    accomplished Fleetway hackdom....
    Picture strips based on Moorcockiana continue. Durillet's
    stunning Melnibone fantasy-scapes, Mal Dean's innovative and
    iconoclastic International Times JERRY CORNELIUS strip, and Jim
    Cawthorn's epic visualisations of STORMBRINGER and JEWEL IN THE
    SKULL in Savoy Books volumes, are all destined to become collector's
    items, expanding the concept of what "comics' can achieve. But they
    are novel adaptations, not original scripts.
    In retrospect Michael Moorcock sums up his picture strip
    years by admitting that "doing too much text was always a weakness
    of mine ...".
    Page 13
    APRIL 1994 page 13
    ## # ##
    Meanwhile - in TIMES FIVE, Aldis' greed has been manipulated
    by the quintapeds allowing him to smuggle a Matter Duplicator back onto
    the R. A. F. ship, but while escaping with his ill-gotten technology his
    inept piloting skills result in the machine being jettisoned over the
    Brazilian rainforest, which have apparently survived into 2062!
    Discovered there by a disillusioned revolutionary trio led by Antiga
    Guzman "it did not take the rebels many minutes of experiment to divine
    its function. They made guns, ammunition. They multiplied dollar bills,
    but unfortunately these all had the same serial number". Then they
    duplicate themselves into identical armies which soon besiege South
    American cities simultaneously, "and as more armies and arms were
    mass-produced, a great mass of deadly chlorine spread slowly and
    evilly over the landscape, choking animal life to death, rotting all
    vegetation, yet not harming the strange "manufactured" men".
    After exploding the alien spacecraft Jet-Ace Logan descends
    into "a green and empty world" to locate and destroy the Matter
    Duplicator, and "as the machine died, so did all its products of evil".
    Even Aldis shakes Logan's hand in gratitude. "Slowly the Earth soaked
    back the chlorine that it had been called upon to produce, and the sky
    became clear and blue ... marred only by the scar of the receding comet
    - Andrew Darlington
    Produced with much gratitude to Mike
    Butterworth & Dave Britton of SAVOY
    BOOKS, Steve Holland, Ian Covell, Ron
    Turner, Frank S Pepper and Michael
    Books quoted in the text:-
    SOJAN by Michael Moorcock 1977
    (Savoy Books ISBN 0-7045-0241-0)
    OBSTACLE by Colin Greenland 1992
    (Savoy Books ISBN 0-86130-087-4)
    Details from SAVOY, 279 Deansgate,
    Manchester M34 4EW, England.
    The cat spread its wings and flew high into the air, hovering to keep pace with them as they moved cautiously toward the city. Then, as they climbed over the rubble of what had once been a gateway and began to make their way through piles of weed-grown masonry, the cat flew to the squat building with the yellow dome upon its roof. It flew twice around the dome and then came back to settle on Jhary's shoulder. - The King of the Swords


    • #3
      Mike had this to say about Jet Ace Logan:

      Posted: Sun Jan 23, 2005 12:51 am


      Just briefly, I am pretty sure I never wrote any Jet Ace Logans and I certainly never wrote any full-length Thriller Picture Library JALs. Ron
      Turner's memory failed him.


      • #5
        Thanks Mike.

        Guess I can take it off my 'Watch List' then. :)
        _"For an eternity Allard was alone in an icy limbo where all the colours were bright and sharp and comfortless.
        _For another eternity Allard swam through seas without end, all green and cool and deep, where distorted creatures drifted, sometimes attacking him.
        _And then, at last, he had reached the real world – the world he had created, where he was God and could create or destroy whatever he wished.
        _He was supremely powerful. He told planets to destroy themselves, and they did. He created suns. Beautiful women flocked to be his. Of all men, he was the mightiest. Of all gods, he was the greatest."


        • #6
          Oh, btw, there's a copy of the Great Rock'n'Roll Swindle newspaper on eBay at the moment as well.

          But with a starting price of آ£14.99 I think I'll stick with my Virgin paperback.
          _"For an eternity Allard was alone in an icy limbo where all the colours were bright and sharp and comfortless.
          _For another eternity Allard swam through seas without end, all green and cool and deep, where distorted creatures drifted, sometimes attacking him.
          _And then, at last, he had reached the real world – the world he had created, where he was God and could create or destroy whatever he wished.
          _He was supremely powerful. He told planets to destroy themselves, and they did. He created suns. Beautiful women flocked to be his. Of all men, he was the mightiest. Of all gods, he was the greatest."


          • #7
            A very reasonable price, I reckon, but the newspaper is a bugger to store in good condition!


            • #8
              R. A. F. Space Command
              Aah. That's what I like to see. Sod Starfleet.


              • #9
                Originally posted by demos99
                Oh, btw, there's a copy of the Great Rock'n'Roll Swindle newspaper on eBay at the moment as well.


                But with a starting price of آ£14.99 I think I'll stick with my Virgin paperback.
                I remember the time I went into the old Virgin record shop in Birmingham in the early 80s and they had a stack of the Swindle newspapers by the till, selling for 75p or something wasn't it? I bought the copy I still have which is now somewhat yellowed and creased, but with a bit of foresight I should have snapped them all up!!! :twisted:
                'You know, I can't keep up with you. If I hadn't met you in person, I quite honestly would NOT believe you really existed. I just COULDN'T. You do so MUCH... if half of what goes into your zines is to be believed, you've read more at the age of 17 than I have at the age of 32 - LOTS more'

                Archie Mercer to Mike (Burroughsania letters page, 1957)