Eerie was a comics magazine, by Warren Publishing, that ran from 1966 to 1983. It was a (mostly) black-and-white magazine that featured original and adapted stories. Unlike most contemporary comics of its era it didn’t submit the Comics Code Authority so its stories could feature nudity, blood, and plenty of other gruesome goodness.
Below you’ll find some of the many ads for spoken word record albums that ran in the mag. The only one I’ve ever come across myself was the audio drama adaptation of 20,000 Leagues Under The Sea |READ OUR REVIEW|.
I’ve received dozens of emails over the years asking about this edition of 20,000 Leagues Under The Sea. If you’ve got some of the records below, or know of others from similar magazine ads, please leave comments!
Eerie magazine ad from 1975 – “SUPER ADVENTURE RECORD ALBUMS” and “12 EVIL EDGAR ALLAN POE RECORDS!”:
EERIE 1979 – “Fantastical LP Record Albums”:
Eerie 1967 – “An Evening With Boris Karloff And His Friends”:
Eerie 1968 – “Wild, New Adventure LP Records”:
Eerie magazine ad from 1966 – “Now You Can Hear Your Favorite Monsters”:
Eerie magazine ad from 1966 – “Famous Monsters Speak”:
MP3 – that’s pretty much the best kind of auidobook format. It’ll work on any device, is convertible to any other format, and is completely DRM free. Tantor Media has begun offering them!
There are now more than 1,000 downloadable titles available to choose from.
Use Code: bogo8
Code expires: October 30, 2011
And, here’s the November 2011 Tantor catalogue |PDF| which includes a biography of Nikola Tesla, A Treatise Concerning the Principles of
Human Knowledge (George Berkeley) and a new novel by Jack McDevitt!
For those that aren’t on Twitter but use RSS readers to read blogs, I suggest you use this link to read the new Twitter feed as an RSS feed:
http://api.twitter.com/1/statuses/user_timeline.rss?screen_name=NewAudiobookIn
Stay tuned for other copied innovations, like the new SFFaudio Grill. We’ve also been playing with a new thing all the kids are doing called YouTube. Coming soon!
Check out this wonderful video a 1949 group interview from the set of Destination Moon! Robert A. Heinlein is there, on set, as he served as a technical adviser.
Heinlein appears at about 5 minutes into Part 1. He reappears again, briefly, at the end of Part 3.
A September 29th, 2011 CBC.ca article entitled “Tories want to wrap copyright law by Christmas” garnered 596 comments in the 48 hours before comments were locked. The proposed legislation, now titled Bill C-11, appears to be an exact copy of the previously unpassable Bill C-32. The book burning provisions are just some of the new “rights” Bill C-11 offers:
-Copy content from one device to another, such as from a CD to a computer or an iPod. This provision, however, does not apply to content protected by a digital lock, which is any technological measure, such as encryption or digital signatures, that rights holders use to restrict access to or prevent the copying or playing of CDs, DVDs, e-books, digital files and other material.
-Record television, radio and internet broadcasts and listen to or view them later on whatever device they choose but not for the purposes of building up a library or for commercial use. This provision does not extend to content that is offered “on-demand” (streamed video, for example) or protected by a digital lock.
-Make a backup copy of content to protect against loss or damage — again unless that content is protected by a digital lock or offered as an on-demand service.
-Incorporate legally acquired copyrighted content into their own user-generated work, as long as it’s not for commercial gain and does not negatively impact the markets for the original material or the artist’s reputation. An example would be the posting of your own mash-up of a Lady Gaga song and, say, a Beyoncé number on YouTube.
-Use copyrighted content for the purposes of education, satire or parody. This expands what is known as the fair dealing provisions of the existing law — which until now covered only research, private study, criticism and news reporting.
-Copy copyrighted material that is part of an online or distance learning course in order to listen to or view it at a later time. Under this provision, teachers can provide digital copies of copyrighted material to students as part of the course but only if they and the students destroy the course material within 30 days of the end of the course. Teachers are also expected to take reasonable measures to prevent the copying and distribution of the material other than for the purposes of the course. Critics have referred to this part of the Act as the “bbook burning” provisions.
Ummm….aren’t we better off with the status quo?
The functions of VCRs and DVRs, we are told, have been illegal since their introductions in 1977 and 1999 respectively. I personally recorded thousands of hours off of TV with the half a dozen VCRs I’ve owned since the 1980s. Somehow TV still exists. Former Industry Minister Tony Clement’s iPod has 10,452 songs on it, “most of them transferred from CDs he bought” – we’re told that each such instance was an illegal act.
Funny that neither Clement nor I am in jail or being sued. Funnier still, nobody in Canada has been prosecuted for using their VCRs or DVRs to record TV shows. Nobody in Canada is being prosectued or sued for all of the stuff we’re being told is currently illegal. So how exactly are we better off if we change the law to make it easier to be sued and prosecuted?
Christopher Aruffo is back with more readings of his (possibly exhaustive) survey of the works of Edgar Allan Poe. Volumes 11 – 13 are available separately or in a combined set. This set includes some of the mid-list fiction from Poe’s body of work, including the notorious “Bernice”, and the granddaddy of all, “The Telltale Heart”.
I’ve said it before (in a review of Volumes 9 and 10 from this Poe series) and I’ll say it again: Aruffo has a stradivarius voice, and he knows how to play it. His lush tones are perfect for Poe and better-than-perfect for “The Telltale Heart”, where he inhabits the crazy-yet-calculating mental world of the narrator. The well-placed giggles never let you forget his lunacy. At the end, his recitation slips into a throbbing rhythm as the heart of the story pounds out its accusatory beats. It’s a performance not to be missed.
Other titles in this collection are:
“Man of the Crowd”: Poe impulsively spends an entire day stalking a strange old man.
“Hop” – Frog: an under-appreciated story of an outcast wreaking terrible revenge.
Metzengerstein: Magic and horror combine in the body of a horse of unexplainable origin.
“Bernice”: another horror story with a Poe-esque protagonist (rich) of Poe-esque habits (solitary) and a Poe-esque grip on reality (none) who obsesses over a woman’s fine set of teeth. Really. This story is so out of proportion, Thomas Disch made it Exhibit A in his indictment of science fiction’s adolescent tendencies (although it is not science fiction).
“The Sphinx”: A possibly-true, slight account of a strange optical illusion.
And, in addition: “The Assignation”, “Shadow”, “Silence”, and “Morella”.
This microcosm gives a fascinating glimpse into Poe’s mental world. Everything about him that is brilliant, obsessive, and unhinged is sampled here.
Eerie was a comics magazine, by Warren Publishing, that ran from 1966 to 1983. It was a (mostly) black-and-white magazine that featured original and adapted stories. Unlike most contemporary comics of its era it didn’t submit the Comics Code Authority so its stories could feature nudity, blood, and plenty of other gruesome goodness. 
Here at the SFFaudio Research and Development Lab, we’ve been 
