Hello again and welcome to another short e-lecture about some selected aspects of present-day English spelling. The English language has an alphabetic writing system with which letters correspond to speech sounds and vice versa. However, it is far from being an ideal fit because simple one-to-one correspondences between graphemes and phonemes as in the word man are relatively few in number. To get an idea about this lack of correspondence, let us listen to an excerpt of a poem meant to illustrate the chaos of English orthography. The poem will be read by one of our student assistants, Jennifer Floyd. Dear is creature in creation, studying English pronunciation. I will teach you in my verse sounds like corpse, core, horse and worse.  Tear in eye, your dress you'll tear. Queer, fair seer, hear my prayer. Sword and sword retain and Britain. Mind the latter how it's written. Now I surely will not plague you with such words as vague and ague. But be careful how you speak, say gush, bush, steak, streak, break, bleak. Woven, oven, how and low. Script, receipt, shoe, poem, toe. Pronunciation, think of psyche, is a paling, stout and spiky. Won't it make you lose your wits, riding grotes and saying grits? It's a dark abyss or tunnel, strewn with stones like rollock, gunnel, islington and isle of white, housewife, verdict and indict. Finally, which rhymes with enough? Though, through, bow, cough, hawk, sow, tough. Hiccup has a sound of sup, my advice is give it up. Okay, thank you Jennifer. Can you read it like Jennifer? I certainly can't. There are too many orthographical patterns with different phonological realizations in it. The main reasons for the inconsistency in present-day English spelling are historical reasons. For example, inconsistencies in spelling from the beginnings to the spread of English around the world. Then sound changes, such as the great vowel shift which is illustrated over here, where numerous sound changes that occurred during the development of English were not mapped onto the spelling of words. And then there are cases of alternation where in turn we can subdivide these alternations into morphographic alternation that is the change of the orthographical structure of a word under the influence of affixation and dialectal alternation. That is the variation of spelling across the central varieties of English. Whereas the first type of alternation is fully rule-based, the second concerns the principled realizations of certain orthographical patterns in the leading varieties of English, British and American English. Let us concentrate on dialectal variation in this e-lecture and look at the main two variants of English orthography and its two central shapes, British English and American English. Unlike in British English, the American way of spelling tries to adapt more to the spoken language. It aims at simplification. We can subdivide the major differences between British English and American English into three groups. There are vowel clusters such as OU or simple vowels such as the O. So do we spell color with OU or just with an O? We have endings such as CE versus SE in defense. And we have special cases where sometimes we are not sure. Do we have to double a consonant such as double L in traveled or just one L? You may have already found out that the American variant is always the one represented on the right-hand side. But let us look at these differences in more detail. Let's start with the vocally differences where vowels and vowel clusters are involved. For example, we have the choice between OUR and just OR in American English. British English OUR is in color, American English OR is in color and favorite. Or take this example, OU versus O, mold with OU in British English but just with an O in American English. AU gauntlet British English is spelled just with an A in American English. Or take some more exotic cases where we have some characters which are no longer part of the modern alphabet such as the ash over here or the combination OEE which are written as one single letter as in the word manoeuvre which is spelled of course just with a simple E in American English. Note by the way that the cluster RE in British English is also written differently in American English which leads me to the next group of differences, the endings of words. Here are some examples of endings that are written differently in the two main varieties of English. For example RE versus ER theater and center in British English spelled with RE in American English theater and center spelled with ER. Then we have the case of CE versus SE in words such as defense and license in British English which are spelled with SE in American English. Or take the third case, AUG, dialogue, catalog involve a much more simplified ending in American English so OGUE comes out as OG and in the cases of legalize and symbolize you may well know this difference is ISE in British English versus IZE in American English. Well and MME versus M in words such as program well even in program now British English tends to write this word with just one M because the word is so popular in information technology. This last case can be extended to several other words where American English applies a principle of shortening. For example we have words such as axe and plow in British English which are reduced in American English to axe without an E and plow with a simplified representation of the vowel OU so AUG. Well and then there are some special cases. For example there are cases that involve the base final letter L as in fulfill and enrol. There are verbs where British and American English are simply different these cases have to be remembered. Since their base final syllable is stressed they are subject to continental doubling even in British English. Fulfilling and enrolling are spelled with two Ls in American English this is no problem because you have a double L in the base already. In British English however, continental doubling is also applied in some cases where the first syllable is stressed. Here are such cases. Travel and model have the primary stress on the first syllable. Nevertheless they involve continental doubling. In American English they don't and take the case of worship again stress on word and not on ship. Consonantal doubling in British English but not in American English. So American English seems to be more rule consistent than British English. Doubling or not? Well if you want to find out details about the rule of consonantal doubling consult my e-lecture about the morphographic rules of present day English spelling. Having listed all these differences let me give you some advice whether you like these differences or not please do not mix the orthographic of varieties in your term papers your presentations your handouts or elsewhere. Be consistent. Either use British English spelling or American English spelling but not both. Okay let's summarize. The focus of this e-lecture was a discussion of the central orthographical contexts where British English and American English orthography is different. We saw that these contexts can be grouped into simple vowels and vowel clusters, endings and some special cases. I hope that the examples that I gave you were informative enough to support my advice. Do not mix orthographical versions of present day English. Well that's it for now. Thanks for your attention.


The Sanford Center Task Force in Bemidji is recommending the city stay the course and continue using the management company VenueWorks in the future. Josh Peterson was at last night's City Council meeting where this was revealed and shares with us some of the many questions surrounding this decision. After a year of dissecting and analyzing the business and policies of the Bemidji Sanford Event Center, the task force that was created to help guide the future of the event center presented a lengthy report of their findings and came to the conclusion of what should be considered successful when it comes to the Sanford Center. The task force would like to provide some guidance to the city council and some recommendations on how to move forward with some policy and some procedures and some new ways of looking at that facility. To show what success looks like, a success pyramid was created that starts with the user experience at the top, followed by the regional recruitment, BSU hockey, and the largest portion being the community and economic impact from conferences and events. When this task force was formed, there was a lot of turnover, there was a turmoil happening at the Sanford Center, so we came in, we kind of had a number of goals. Number one was to provide stability. One of the standout moments during the presentation was when the task force made the recommendation to the city council to continue using the management company VenuWorks, who has faced multiple issues since the Sanford Center first opened its doors. The fact that we're talking about recommending VenuWorks after what we've been through, I think it's absurd. I can't imagine why we, at the minimum, were talking about management companies, we wouldn't have wanted to take a look at what's out there. During the meeting, council member Johnson shared that the event center last year ran a deficit of nearly $800,000 and questioned how that can be considered successful. I think there's a tendency for the community to look at the facility and blame VenuWorks for operational losses, and that's not fair. While no final decisions have been made yet, the clock is ticking for the Sanford Center. In Bemidji, Josh Peterson, Lakeland News. Negotiations with VenuWorks could begin as early as January, approval of a new ten-year naming rights contract is expected late next year. If you've enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland Public Television.


What's going on everybody? Got Kyle and Donnie here with Layton Sports Cards and we are ripping 2023 Plates and Patches football 12 box full case number seven for Random Team Stop. Did a random mouse for the break guys. We had Felix with the Bills down to George and with the Saints. Good luck here everybody. You can always check those results on our website, LaytonSportsCards.com. Got the results tab at the very bottom. Good luck Plates and Patches case number seven. Got five left on our division's case going next. Or Falcons, just Falcons left an NT full case PYT. Break, whichever one of those fills up here first. Good luck. Good luck guys. 12 box full case Plates and Patches box number one. First up we've got a D'Shawn Watson to 35 for the Browns. D'Shawn, we've got Roshan Johnson there on these steel signatures. Rookie for the Bears to 300. Roshan, nice one there Falcons. Sweet one. Next up we've got Falcons on the Otto to 25. It's going to be Markey Marks of Michael Vick. Nice one there Falcons on the 24-25 Vick. That's pretty sweet. Madden Legend. Oh yeah. Vick to 25. 2004. Got Patch Trio's. That one's Matt Stafford and 99. Nice Patches there from the Rams jerseys. Two colored number patches. Matt Stafford and base is going to be Aiden O'Connell. Rookie for the Raiders. Aiden O'Connell. Again guys just a few spots left for tonight. We got five in divisions. Plates and Patches next. Got one to go just the Falcons on NT full case. And we've got a Mega Dual Case NT and Plates and Patches. That one's got six to go, or eight to go, eight to go. And the Mega Dual Case Random Teams. This one is Adam Theland to 35. Weird seeing him on a Panthers. I think I saw him at all last week when I was watching. There is the 149. Nice one there Falcons. That's going to be Bijan on the Rookie Auto to 149. Bijan Robinson looking really good last week. We have Steel Signatures. This one is Trey Tucker for the Raiders. That one is number to 300 on the Metal Encard Auto. Trey Tucker Raiders. This one is Double Coverage. Jewel Jersey to 25. Nice one there Lions. Hinden Hooker. Lions on the Dual Patch. And base is going to be Christian Kirk to Box 3. This one feels heavy. Hey thank you Kirk taking one of our divisions down to four on that one guys. Halfway on divisions. And we got just the Falcons left and our NT Full Case PYT. This one is Short Prank. Cooper Cup on the Nuclear Ramps. Cooper Cup on the Short Prank Nuclear Metal Insert. Nice one there Ramps. So far we've seen Rodgers and Cup. Two injured guys on there. Start. There is Steel Signatures. Josh Downs. Rookie number to 300. Colts Rookie. Josh Downs on the Steel Signatures. We've got Orange. Steel Signatures. Boomer Acyason. 5 of 10 for the Bengals there. Little Boomer. Okay Boomer. Steel Signatures to 10 for the Bengals. Got a base of Sean Clifford. Rookie for the Pack. And on the back we have a Jameer Gibbs. Number to 50 on the Double Coverage. Jewel Jersey. Another one for the Lions at Hinden the last one. Gibbs in this one. Fox 4. Good luck, good luck guys. Again got four to go on our next divisions. And just the Falcons on NT PYT. Teams are on sale. Falcons are pretty heavily discounted. There are 300 down. 200 down. Check them out guys. There is Jaren Hall for the Vikings to 35 on the Rookie. Oh yeah they're down. They're marked way down guys on the Falcons. Check them out. Got three good rookies for the Falcons. Jaren Hall to 35. We've got Steel Signatures. That one's DTR. Dorian Thompson Robinson. Rookie to 300 on the Otto for the Browns. And another Steel Signatures. This one is going to be Tyler Scott. That really looks like Vilas Jones Otto there. Tyler Scott on the Steel Signatures Bears. It's a GB. Interesting. That's an inscription. There's a Flowers Rookie Reflections. That one is 4 of 25. Nice one there. Nice four color patch and jersey numbered on that one. 4 of 25 for Zay. Could be like Go Bears. On the Ravens. Could be GB Go Bears. Green Bay. That would make sense. That would make sense. And a Zay Flowers base. I like how the plates and patches this year they did the metal autos and metal numbered cards instead of the printing plates. I think it's a better option. People don't really like the printing plates too much. I like the metal autos. Kind of like a combination of like elite or not elite elements and plates and patches. There's a nice one for the Texans. It's going to be CJ Strout. That is number 25. CJ Strout. The protective cover is coming up a little bit on that one. Not necessarily damaged. It does have the cover on it. 225 there CJ. Nice one. Texans. And 2-149. We got a highly revered Otto of Antonio Gates for the Chargers. Antonio Gates to 1-49. And Deuce Vaughn going to be our rookie Steel Signatures for the Cowboys. That one's number to 300. Deuce Vaughn. Another Bijan. This one is number to 50 on the rookie Reflections dual jersey. Falcons doing well with the Bijan. Dual jersey. And on the back we have a base of Eli. Eli Manning. Box six. Travis playing quarterback. Why not? Why not indeed. All right you guys. Four to go on our plates and patches divisions. And just one to go on NT Full Case PYT. It is just the Falcons. Got three rookies on there. Desmond Ritter. They got Drake London and Al Jir. To 25 we got Josh Allen Green. Beals. Nice one for the Ravens. This one is Graffiti. Number four out of five on the jersey numbered Otto is Zay Flowers. Nice.  Nice one there. We'll mag that for your Graffiti rookie Steel Signatures to five. It's a jersey numbered on that one. Four to five. Nice Zay. Yeah I think he's definitely a receiver one on there. On that team. There is a Steel Signatures Tyree Wilson. That one's got a little bit of dust. We'll get that off. It's just dusty. Tyree Wilson for the Raiders there. Rookie Otto to 300.  And a Jarrett Hall. Double coverage dual jersey. That one is Vikings to 50. Jarrett Hall. And Aaron Jones on the base. Box six or box seven. And guys just Falcons to go on NT. And we got a NT or I got a NT and plates and patches mega dual case as well. That one's got eight to go. Saints. One of one. We got Platinum base Drew Brees. Nice one there. Saints. That's pretty cool. We'll mag that for you on the Platinum foil. Drew Brees. One of one. There we go Saints. That one's George M. Nice hit there sir. Only one of one Drew Brees. We'll mag that for you sir. And behind it we've got 15 to 15 all-haul Otto. It's going to be Brett Farve for the pack. 15 of 15 on the all-haul. Class of 2018 Hall of Famer. Got rookie steel signatures. This one is Aiden O'Connell. Raiders number to 300. We've got double coverage. This one is to 55. Interesting numbering there. It's Anthony Richardson. Dual jersey for the Colts. To 55. Very interesting numbering. And DK on the base. All righty guys. Can do a full case division style after this. Got four to go on that one. And just Falcons to go on NT. PYT. Fill whichever one. Whichever one does fill here.  That is way thicker than the rest. I don't think so, but we might find out here. No, that's just three thick cards in there. Interesting. First up to 35. We got a Brian Erlacher. Oh, that's sick. That's pretty cool. That was our suite. Erlacher there to 35 for the Bears. And nice one here. This one's going to the Chargers. It's full coverage RPA with a little acetate window. 10 of 25 is Quinton Johnston. Nice one there. Chargers on the gold ink at the little acetate window in front of the patch. Nice one there. Three color patch for the Chargers. Nice one. Quinton Johnston to 25. Behind it, we've got a Tyger Spears to 50 on the three color patch. Tyger for the Titans. He had a nice opening day. It's a 50 there on the RPA. And another thick one. This is the 25. It's going to be Patch Trio's of Amon Ross, St. Brown. Or the Lions there. A little two colored number patches on there. One is six of 25. That one's really thick. And Drew Brees on our base. Had the one on one of this. Now we got the base. The box nine. Good luck. Good luck, guys. Been a good case, man. That's Zay was fired. Drew Brees 101. Keep it going. Seen some Bijans as well. First up, we got a Jahan Dotson to 35 for the Commanders. This one is Tanner McKee to 50 on the RPA for the Bears. Three color patch there. Eagles. Two and 0. Yeah. 2B2. 2B2. Birds there. Next up, we've got a Highly Revere. This one is Ricky Williams to 75 fins. Go Ricky. 75 on the fins there. Got a full coverage. This one's Dante Cole Pepper to 45. Full coverage. Jumbo Jersey. Cole Pepper to 45. UCF Legend. And Sean Clifford, rookie base. Box 10. Good luck. Good luck. New heights. New heights. Box 10, guys. Good luck. Yes, that's what I was thinking too, Anthony. What's up, sir? How are you doing today, Anthony? How are we doing today? Okay. There's a Derrick Stingley purple to 35. One is Texans. Derrick Stingley. Nice one here for the Vikings. We've got a Steel Signatures rookie, Jordan Addison. Nice one there to 300. Had a touchdown tonight. Nice one too. Addison there for the Vikings. And this one is All Hall. Going to be Allen Fanaka or Fanaka to 149 there for the Steelers. Steelers on the throwback. Class of 2021. Fanaka. We've got Jonathan Mingo number to 50. Dual coverage. Dual Jersey. Or double coverage. Dual Jersey. Nice number patches there for the rookie Mingo. Kind of Ole Miss. And to Sean Watson on the base. Yeah, Anthony. We got the dub. Wasn't pretty, but it worked. Yeah, doing good, man. I know Donnie was a little, it was a stress a little bit there. He was stressed a little bit during the game, but it was a good game, man. Can't complain about a solid Thursday night game. Always, always enjoy a good Thursday night game. Last season we didn't get too many of them last season. I remember having some rough Thursday nighters. This one is number to 10. Nice one there. It's going to be Sam Howe, QB1 for the commanders. Four out of 10 on the Sam. Four plus 10 Jersey number. Could be a thing. This one is another full coverage RPA with the acetate window. This one's Kendrae Miller. 18 at 25 for the Saints there on the three color number patch. Nice one there.  These are sweet. Kendrae Miller to 25. We've got another All Hall. This one's Tony Bacelli for the Jags there. Number to 75. Tony Bacelli. That's another sweet one. Or Sean on this one. Nice. And the Finns. Nice one here for the Dolphins. Why can't I find the Dolphins? Oh, they're a combo team. Courtney. Courtney with the Dolphins. We've got swag champ number to five with the Finns logo. It is Jalen Waddle. Nice one there. Courtney on the Finns hit. That's pretty sweet. Logo there. 105 Jalen Waddle. Best celebration in the league. Jalen Waddle hitting the wall. There we go Donnie. Donnie hitting the waddle. Nice one there. Swag champ. That's a thick one too. And Joe Thomas on the base. Just one more here guys. And we've got just Falcons to go on NTPYT. And we've got four to go on plates and patches divisions. Whenever they hit a big waddle card was Sean's top one. He should be waddling. Definitely should be waddling. We need a petition from chat. Petition Sean to waddle. 25 we got Ken Walker. And next time, next time you guys see a waddle with Sean here. Definitely make sure you hit the sully. We've got a Steel Signatures Tank Dell for the Texans. That one's number to 300 Texans. Behind it we have Leaps and Bounds on the jersey. This one is Mark Andrews. It's a 99. Nice one there. Ravens. Leaps and Bounds auto. Mark Andrews. Needed him this weekend. Mark Andrews. Nice on-card Mark Andrews auto. We've got Dual Jersey to 75. Double coverage of Stetson Bennett. Rams rookie. Stetson Bennett. And we've got a Odell Beckham on the base for the Ravens. Right alright guys. That will do it for our break there. Plates and Patches. Hobby 12 box. Full case number seven. Do a quick hit recap here. We'll do just the autos on this one. Okay going on the next one. This one is Leaps and Bounds to 99. Mark Andrews on the on-card auto Ravens. We had Steel Signatures Tank Dell number to 300. This one was Tony Bacelli to 75 Jags. We had Kendray Miller to 25 on the Acetate Window RPA. Gold ink. Well it's Fanica to 149 Steelers. We had Jordan Addison to 300. Rookie Vikings. This one was Highly Revered Ricky Williams to 75. We had Tanner McKee to 50 on the RPA. Ty J Spears 50 RPA and to 25. Quentin Johnson. Full coverage. This one is a Aiden O'Connell Rookie Auto there. Number to 300 Raiders. We had to 15 Brett Favre on the all-haul. Had Steel Signatures Tyree Wilson Raiders to 300. This one was Deuce Vaughn to 300. Highly Revered Antonio Gates to 149 Chargers. We had Tyler Scott to 300. This one was Dorian Thompson Robinson number to 300 as well. Browns Rookie QB. We've got Boomer Assaicin number to 10. Bengels. Josh Downs to 300. Trey Tucker to 300. And Bijan number to 149. Falcons. That's Bijan there. Had Falcons again to 25. Mike Vick and we had Roshan Johnson Steel Signatures to 300. And R2 Mags. We had a one of one out of Plates and Patches Platinum Foil. It was Drew Brees. Nice one there Saints. And we had four of five on the Graffiti Rookie Auto. Zay Flowers for the Ravens. That one is Jersey number there. Four out of five. Nice one Ravens. Alrighty guys that'll do it for full case number seven. Got four to go on full case number eight and one to go on divisions or on PYT NT.


We're here at ITU Telecom World 2015 in Budapest, Hungary, and I'm very pleased to be joined by Mr Guillermo Alacón, who is the Global Director of the Government Broadband Initiatives for Alcatel, Lucent International. Mr Alacón, thank you very much for being with us today. Thank you. Now, the theme here at ITU Telecom World 2015 is Accelerating Innovation for Social Impact. I wanted to ask you, how have you seen ICT innovation directly impacting on social economic development in people's lives? Well, in many ways, even with the 2G technology, previous technologies, it comes to my mind. The early warning against, you know, floods or earthquakes in Chile, or recently we have been working in preparation for Ecuador, they have a volcano, and this is a broadcasting alarms to anyone in the place, even if they are roaming or they are just passing by, and it's saving lives, effectively, and with the climate change and all these problems that we have nowadays, natural disasters, it is one of the things that saves lives immediately. The other thing is on health that comes to my mind. For instance, we have been working in Senegal and now in Mexico, where we have problems with obesity and diabetes, and there is a lack of physicians in these places, and it is very important to see how simple SMSs with the support of WHO, for instance, and the Ministry of Health, they can help the people to have better lives, even though there are limitations in the health budget, in the reaching of health services. So this is very tangible, this is giving concrete results. We are very proud to be part of these initiatives, and we see that as technology moves forward, we see a lot of new opportunities going out to impact people's lives. And what concrete measures can government and industry take to encourage entrepreneurship and SMSs in the IT sector? And what's Alcatel Luzon doing in this regard? I think that we all in the industry have a big responsibility and lots of things to do in that regard. It is for me it's incredible that the small, medium enterprises are embracing first social media than some telecommunications services, for instance. And some telecommunications services have been there for long. But the problem is that we make things still today, if not, that's my opinion, complex. We have a reputation of being complicated things and sometimes expensive. So the people walk away, but it's easier to just sign in into a social media, start doing, you know, Twitter or other things. And they are embracing that fast, not because, other reason, because it is cheaper and simpler. And I think that the main goal as an industry that we have now is to make it cheaper, to make it simpler, to make it more friendly for the people to come in and use the services which many are there for years and they are not using it. So I think that that's one big thing that we need to do. In that respect, we are in Alcatel Luzon working to make it simpler through the use of cloud services in the telecommunication services. Today is still complex. You need to know the country codes, the dial-in exit codes and the numbering plan. And also, I found many people even in my industry that says, I don't know how to dial, okay? So it's been around for 100 years or more. And then on the IP, we need to understand things like which is the IP gateway, which is the DNS servers, you have to configure the IP address, and then people just don't understand it.  So that's what virtualization and NFV, SDN, all these acronyms that we love now is basically just to delocalize, make it simpler, make it like creating a digital concierge that will take care of you and that will guide you through the jungle of networks and gateways, which is going to get even more complicated because there are concerns on security and privacy. So this is not going to be easier technically speaking, but we need to make it easier for the people to use it. And I think that's one of the things that we are doing. Last but not least, we are also working on make it better because we see a lot of comparisons and benchmarking on what is the price of a gigabyte, what is the price of the fixed mobile broadband, et cetera, on terms of there seems equal like dollars per megabit per second, dollars per gigabyte. But the quality is very important because it's like electricity or water. If you have water of bad quality or you have water twice a week, it's not the same as having running water with good quality and good pressure and available all the time. It's the same with electricity. You don't want to connect your things into an electric grid that is not very well balanced. So in telecommunications, we need to put more attention on the quality of the services and start generalizing too much because we say, oh, this is the price of the gigabyte, which kind of gigabyte? So I think that we have started with quality of service, quality of experience, but I think that we need to have a availability, quality of trust, if this is trusted or not, and there's a lot of opportunities to make it better. And fiscal policies, should they play a key role in this? Oh, yes, I think this is the challenge to connect the unconnected, the challenge to make it better, to make it more affordable, etc. It's a huge challenge and we need to partner everybody. We vendors, but certainly operators and authorities because the two of them have very valid goals. The government wants more quality, more coverage, more affordability of services, etc. And the private companies, the operators are worried because the return on capital employed has reduced by half in the last five years, going to the similar level as electricity, for instance. So it's very valid if you put it in an open, honest dialogue, the two valid goals in the table and you partner together, a very good thing happened. I think that taxation is one of those because, for instance, in some places still they think that telecommunication is a luxury, so it is treated like that tax-wise and it shouldn't. In fact, I always say that when I go to a hotel, for instance, when I travel, they don't charge me for the amount of plugs for electricity or the amount of liters of water that I'm using when I shower, when some places, yes, but they charge me for the internet access and quite expensively in a separate bill by the time, etc. So I think that we still have some work to communicate that it's an essential service. It is not only for entertainment. It has a lot of impacts, for instance, if someone is monitoring, if my doctor is monitoring my health through internet and I am traveling, I need that, it's not a luxury or studying or working. So, for instance, I see good examples recently in Chile and now in Mexico. The government were clear on what they wanted and they wanted more coverage and opened up the network and a series of obligations and limitations, but they were willing to give something back and then it's an honest trade-off and the end result is that the amount of taxes or, let me say, the collection on the part of the government was reduced in 90 percent because it went more from you, from your knowledge and your capital to be used more effectively, so I'm willing to give back part of that. And I think it's a recognition that we need each other, public and private, and that great things can happen if we recognize that I have an honest dialogue. And finally, I'd like to ask you, what's the value of attending events such as ITU telecom world to you? Well, you know, for me, first and foremost, is networking, meeting the people because events like these that happen once a year, et cetera, are great opportunities to meet people, look them in the eye and start having an honest conversation because even though we're in the communication industry, we sometimes do not communicate as often as we should. So, for me, the main value is meeting people, is having an honest dialogue that is, you know, you can program meetings with many different peoples and stakeholders attending interesting debates. I have the opportunity to participate in two panels. And for me, it's the networking, the people. Kian Marconi, thank you very much for taking this today. My pleasure. Thank you.


Hi everyone, this is Chih-choh. Welcome to my channel and welcome to another comic book haul video. And I've been really looking to this comic book haul. It's taking me a little bit of time to grab all the comic books. It was basically the same seller putting the comic books on and it was taking his time a little bit and we grabbed a couple of comic books and then another week later, grabbed some more and then another week later, grabbed some more, grabbed a handful here, handful there. So it took about a month, month and a half to get all these comics. And the comics are from a local seller. And this comic book is a special comic book because it's a comic book haul we're getting in because someone that's been watching the videos we've been putting out has been loving the comic book haul as a comic book reads the comic book discussions and all that jazz. And he sent in some funds. Thank you, Nicholas, for sending in the funds for us to do a comic book haul. Okay, so this comic book haul is a huge thank you to Nicholas for sending those funds in. I topped it up a little bit but it's basically all of Nicholas's funds coming in. And I really wanted to get a nice selection of comics to do for this comic book haul. And we ended up getting some amazing comics, a fantastic comics, right? Some of them were sort of fair value. There's a couple that were like fair value, right? They weren't a phenomenal deal. They weren't, I didn't pay too too much. It's sort of the going rate for them. There was a handful that were, you know, pretty good deal. Okay. And there is another handful here that were ridiculously amazing deal. Okay. There's only 23 comic books here. Okay. And they're from the golden age, the silver age, and basically the bronze age of comics. And I went down the rabbit hole for this a little bit because what we're ended up going to do for this for this comic book haul. Okay. And the odds are we're going to do this from now on, including trying to catch up on the readings that we've got set up for reading set number four, right? So we have a, you know, I put out a little video where we, I picked 16 comic books that I was going to read and sort of the the you guys through comments and stuff like this picked another 16 that we're going to read. So we have 32 books from reading set number four that we plan on reading. And we're about a third of the way through, right? So there's a whole bunch of comic books we're going to read. But from now on, what we're going to do is we're going to start reading some of the comics that we're getting through these comic book hauls and officially we'll start it off with this one. And what we ended up doing was reading three comic books or we're going to read three comic books from this haul. I've already shot the video for two of them. There's a one more I need to shoot. Okay. And we'll talk about the comics. We'll get a little, you know, dig down a little deep and go get some info regarding these comics once we start taking a look at them. Okay. And I've taken a fair bit of notes for these. Okay. This is from one of the comic book haul readings, one of the comic books here and I highlight stuff. I usually, you know, surf the net and go through to a few different websites and read wiki and a comic vine is really good. My comic shop has some great info. There's comic book database that has great info. There's a comic book plus where you can read golden age comics and take a look at stuff and they got a lot of great info. And when you're looking at older comics, golden age comics, silver age comics, even some modern copper age comics, if they're independent on the ground, you have to sort of go to multiple sites to try to get an accurate picture of who the creators were that were working on these comics. So hopefully I have my info correct here. Okay. But we'll go through it and see what we ended up finding. Okay. Now what I'm going to do, I'm sort of going to go through it according to the list that I have here. Okay. And there's like, I don't know, a few pages and I go through highlight and reread it just to just to just to make sure I'm getting most of the info that I want to talk about in this comic book haul. Okay. And just to give you the price of what we ended up getting. I'll tell you what each one individually costs. But this comic book haul basically ended up costing $107 US for 23 books. Right. So you can do a per how much it costs per unit. Right. The way we've done in the past. Okay. So it costs $107 US, which was $142 Canadian. There were caught. There's a comic here that costs like $38 Canadian, which comes out to that was the most expensive, which comes out to $28 US. And the cheapest one we got was a dollar Canadian, 75 cents US. Okay. And that hasn't the price that we paid. Okay. It doesn't really mean that the one we paid $28 for us is worth 28 times more than the one we paid $1 for. Okay. When we go through it, you'll get an idea of why. That's my quick little intro to this. I may seem a little excited, but that's because I am, because I really wanted to share this with you guys. And I've been holding off doing it until we got all the comics that went through the funds to be able to get all these comics. Okay. So let me tell you what the first comic is. Okay. And the first comic is a golden age comic. And it's called Gangbusters. And it's issue number 39. Okay. I'm going to hold this up, but I'm going to read a little bit of what it is that we ended up getting. And just so you know, we're also live streaming this on Twitch. So I got two cameras set up here that you see in the camera, this live streaming, this people are seeing this is a little bit below the camera that we're recording this on. And they should be capturing the same image. Okay. So let me read you some of the info on this. This is Gangbusters number 39. DC Comics came out in 1954. And it's graded at good, very good. And we ended up paying 1026 Canadian, 769 US. Okay. Now, the cover here is done by Leonard Starr. Okay. Let me bring this closer so you see it. Beautiful work. And Golden Age Comics has some of the most amazing covers. Okay. Yeah. So Leonard Starr. And who is Leonard Starr? He's, he did the comic book strip on stage. And he was known for reviving Orphan Annie. I didn't know this at the time, right? I bought this because of other reasons, right? One of the reasons was because Golden Age crime, basically comic book, which I've been collecting for a while, right? Leonard Starr, who's done the cover for this, and he did the last story in this as well. Okay. Here's some info I dug up. A lot of this info I dug up from Wiki. There was a lot that I dug up from other comic book sites as well. Okay. But Leonard Starr quoting worked with Joe Simon and Jack Kirby on their earlier romance comic titles, in particular, the Crestwood Prize title, Young Romance. Now, keep this in mind for some of the other comics we're going to look at, right? So he was involved with Joe Simon and Jack Kirby, two of the giants in the comic book industry, for the first, basically, romance comic book series that was put out in comic book format, right? That came out in 1947, I believe. Okay. Which was called Young Romance from Crestwood Publications Prize, Publications Prize comics. Okay. And he's worked on some, basically, Golden Age comics, EC comics, as well as Timely, which was a precursor to Marvel. And he worked on the early issues of human torches, submitters. So pretty important creator, right? And so he's done the cover. And there's one backup story he's done. And there's some other artists. This is basically a compilation, you know, six pages, five pages, eight pages of stories, right? With different artists and writers on there. So there's three more, actually four more, basically, people, artists that have worked on this series, okay, on this issue, whose work appear here, right? One of them is Bill Illy, which has, basically, on comic book vine. I went to comic book vine for this comic book all fair bit. You know, the guy's got 270 comics to his name. And then there's Ray Bailey, who only has 46. Leonard Starr has 137. So those are the minimum number of comics they've worked on. I'm pretty sure there's a lot more than that, right? But there's one other person that worked on this. They got a story in this, which is Kurt Swan. Okay. And I found this interesting regarding Kurt Swan. And let me read you this regarding Kurt Swan, because I like controversy in comics, and there's a fair bit of controversy in some of these comics that we got, right? But this is who Kurt Swan is. Okay. He was, he produced, he worked from the 1950s to the 1980s in comic books, right? So he did, I'm going to crack this open. So maybe we take a look at this eight page story that he worked on. It's called The Great Ocean Liner Robbery. Okay. And let's take a look at his art before we take a look at this. It's a nice comic, nice cover. You can see it without the glare better. Very nice. And it's nicely intact. Great ocean liner. Take a look at this. Now this guy who's done the artwork here. Okay. The pencils anyway. And beautiful, really. Very nice. Okay. So coding, and I believe I grabbed this from Wiki. Okay. After DC's 1985 12 issue limited series, Crisis on Infinite Earths. And it's a pretty important series. Okay. That came out in 1980s to sort of reshape DC for the modern age. Okay. And with the impending 1986 revision of Superman by writer artist John Byron, Swan was released from his duties on the Superman comics. Critic Wallace Harrington summed up Swan's dismissal this way. And this is sort of the, if you consider what I want to read for you this paragraph, it's sort of the norm, the way publishers, especially Marvel and DC, treat treated their creators, right, which was gave a huge backlash, which was really the political power behind independent comic book publishers, right? Quote, the most striking thing that DC did was to completely turn their back on the man that had defined Superman for three decades. They closed the door and turned out the lights on the creator that had defined their whole line with no real things, no pump, no pump nor circumstance, circumstance. DC simply relieved Kurt of his artistic duties on Superman. Kurt Swan, who had drawn Superman in action, Lois Lane, Jimmy Olsen, Superman and World's Finest, and Drew Superboy in Venture Comics was one of the quintessential Superman artists of the 1960s, 70s and 80s. He became, he became was just another, he became what was just another victim of the 1980s implosion gone, right? Which is very sad to hear, but I'm very happy to have this. It's not one of his Superman titles, comics that he did, but it's one of the Golden Age original comics that he did. And I'm pretty sure I have some of the Superman from Golden Age that he did. And then after that, he only worked on one other Superman mini series, and that was the non chronological 1986 story. Check this out with Alan Moore, whatever happened to the man of tomorrow. So I'm going to keep keep this in mind. Kurt Swan, a good name to remember. And according to the website I looked at, which was comic book Vine, which has basically the issues that the artists and creators have been referenced on the website. This guy is referenced by on 1,959 comic books. So he's done about 2,000 comic books, if most likely more, okay? So a huge creator, huge creator, okay? And Leonard Starr, of course, as well. Fantastic. And it was a good price that we got it for. The next comic. This comic is collectible, or this line is collectible. It's something that is sought after. They don't go for premium prices, but some of them do, depending on the artist and stuff like this. And it's Target, okay? And this is Target Comics, volume number nine, issue number 11, came out in January 1949. And it's got Kit Carter as one of the characters in this, right? The cover of this, this guy, is done by Joe Curta. And he's a creator of Martian Madhunter. And he was one of the original, one of the main creators in the Golden Age of Comics artist. He worked with Lev Gleason on crime titles and the Durango kid, Captain Marvel, Junior, romance and mystery titles. He worked a lot, right? He was a, and he was, he, one thing he wrote down here, worked exclusively as an artist and anchor for DC comics throughout the 1950s and 60s, right? So that's pretty cool having this. He did a lot of work. He's been credited with like 420 titles on comic wine for this, right? Another person that worked on this, which I find interesting, I try to track down, is Nina Albright. Now she's only been credited with 14 titles, but she was one of the original, one of the few Golden Age comic book creators, okay, from the Golden Age of Comics. And then there is William Allison that's worked on this as well, okay? And another person that's worked on this, which I found super cool was Don Rico, okay? And Don Rico is a co-creator of Black Vuelo, okay? And Jan of the Jungle, Leopard Queen, Leopard Girl, and Lorna, the Jungle Girl. And I have one or two issues of, you know, a couple of those titles, okay? They are sought after. They're sort of like bad girl, bad girl comics and jungle comics and stuff like this. And depending on what's on the cover, they are definitely sought after. So it's cool having, you know, his work here. I'll probably flip through this, flip through this at some point and take a look to see if he's got any of the bad girl art in there, okay? Cool. Nice to have. And we ended up, this is actually graded at very good. And we ended up paying $325 Canadian to $44 US for this, okay? Nice haul. Happy to have, happy to have. And a creator of Black Vuelo, which is pretty cool, right? And Black Vuelo came out and had tales of suspense, number 52. And Martian Manhunter is earlier, 1955. When did it come out? 1955, okay? When Detective Comics 2, 25. And that's a major character. This one, let me show you this one. This one I've been trying to track down. I've been trying to get my hands on, and we ended up getting at a great price, okay? Alarming Tales, number 6. Awesome. Now, there's only there's only five, I believe five or six issues of this. I don't know if it started with number one. So there must have been six issues of this. This is the last issue in the series, I believe. Okay. And this is Harvey Carmichael Comics. It came out in 1958, so that we consider it the early Silver Age, okay? And it's got work by Al Williamson. And we've talked about Al Williamson a lot before. He was one of the pioneers of, from the Golden Age of Comics into the Silver Age of Comics. And I believe the Bronze Age in the 1970s and 80s even, he did a lot of work. He worked for EC Comics a lot, okay? He worked on Two Fist of Tales, Frontline Combat. He did a lot of war in Western Comics, right? Another person, and this is an anthology, okay? Trippy cover, right? Cool cover. And it is an anthology, and Golden Age of Comics had a lot of anthologies and a lot of different creators working on titles, right? Some giants. Here's the names of a couple of the other people that have worked on this. Okay. Bernard Bailey, co-creator of Spectre and Our Man, has worked on this, okay? Fred Kidda, okay? He was a Japanese American, worked on Airboy and Atlas Comics. And this is, I believe, let me see, Trailing Adventures. And this is Harvey Comics, but it doesn't have the logo on it. And you can tell us, came out after the comic code, right? Came into effect, right? This guy that we saw, there is no stamp on here. This comic code authority, right? Censorship stamp. So this one came out before the comic book kicked in, okay? And this one as well, Gangbusters, there is no comic code authority on there, right? So that's a big feature regarding when the Silver Age and Golden Age kick into play, okay? Fantastic. And I'm going to read you something I found on here, okay? When I was looking into this. Now, Fred Kidda, the Japanese American artist, he had a major role, I didn't know this, right? I didn't know a lot of stuff I looked up when I was looking, looking up the creators in this, in this comic book haul, right? He drew the amazing Spider-Man newsprint, the comic strip, okay, in the early 1980s. And another person that's worked on this, and just to let you know, Al Williamson has been credited with almost a thousand comic books on Comic-Bind, one of the websites I was looking at, right? Another person that's worked on this is Angelo Torres, and he worked on EC Comics and MadComics as well, right? And another person that worked on this is Paul Riemann, and he's credited with almost 600, 700 comics. And he did a lot of work known as one of Jack Kirby's frequent incurs, okay? And Paul Riemann, ready for this, worked on Incredible Hulk number one, X-Men number one to five, and Avengers number two, three, and five, right? Huge. He worked on many, many, many key issues, right? Now, regarding this, I was doing some research on this. I went off on this, and just this series as well.  I'm going to try to get my hands on more of these, right? We paid 850 Canadian for this, 637 US, right? 1958 comic, pretty incredible price, pretty key issue with a lot of major characters, major artists, right? But I found something that was listed on an eBay listing that was selling this issue, a rundown version of this issue for a lot more than we paid for, right? So let me read, quoting the listing, okay? Quote, this listing is for a sweet copy of Alarming Tales number six by Harvey Carm Comics from 1958. This series was an early Jack Kirby, Al Williamson, and John Severn sci-fi horror series, though this specific issue was not worked on by Kirby. That's okay, we'll take Al Williamson, right? Love Kirby, the king of comics, Al Williamson, giant as well, right? What makes this book famous is that there's a backup story, The King of Ants, which was created by John Severn while he was working at Harvey Comics, as well as Marvel Comics at the time. While this story did not get much notoriety, it did grab the attention of Jack Kirby, who worked on all the other issues in the series, right? And there's six issues in the series, basically. At the time, Jack Kirby was working with John Severn on the series as well as other issues of the series. Hold on, at the time, Jack Kirby was working with John Severn on the series, as well as Tales to Stonish and Strange Tales for Marvel Comics. So they took the concept back to Marvel Comics and did the first Ant-Man prototype in Tales of Suspense, which met with mixed reviews. Okay, and I believe I have that issue. Leading up to the creation of Hank Pyme, the original Ant-Man and star of the major motion picture by Marvel. Okay, now you gotta remember this guy's trying to sell this comic, right? That makes this the very prototype of Ant-Man character. Sadly, grades low and it has substantial water damage. Now, this one is not the water damage one run, right? Now, should we take a look at this? Should we take a look at this? We got chat going on, on Twitch. And which story was it? It is, it is, it is the King of Ants. Let's crack this open and see where the King of Ants appears, right? Did I make a note of it? Yeah, it should be a third story, the King of Ants. And the King of Ants is done by Al Williamson and Angela Angelo Torres, right? And this person was saying Severn was working on it. So, you know, there's a discrepancy there. King of Ants. Let's take a look at this. This thing's got a little tape on. See if you can see it, if I hold it up. And it was graded at, what's it graded at? Good, very good. So, that's a pretty good price, 6.37 US for good, very good, right? It's got a little tape here. So, let's see if we can find the King of Ants. The King of Ants. Look at this. Here is the table of contents, right, at the beginning. Alarming tales, number six, in this issue, in this issue, ambassadors, ambassador from Mars, the emotion maker, the King of Ants, the strange power of Gary Ford, right? And the King of Ants says this, the soldier observed the Ants and learned a valuable lesson in strategy. Cool, let's see what we got. Let's see if we can find it. Moon descent. Who knows, look at this. Nice, look, look, look. The emotion maker, King of Ants, look at that. Al Williamson, look at this panel, look at the start of this. Beautiful, beautiful, really phenomenal, right, phenomenal. Doc, these little fall fellows are absolutely fascinating. The more you study them, the more you become intrigued by them. Dr. Cross, the plantation is being attacked by raiders. Oh, look at this. Indeed, he shrinks down. Super cool. How does he shrink down? I can't read it up. This way, the things are too short, but I'll show you the panels. Take it like this. I'll bring it close so you see it, right? So the story goes and there's an explosion, right? That something happens. And this is sort of the shrinking thing they do, and he shrinks down. Look at that, look at that. Awesome. And then there he is, a silhouette, right? Shrunken down. Very cool, very cool. Take a look at this. And he's riding the ants, right? That is very cool, very cool indeed.  I'll show you the whole thing. Take a look. So he's riding them, and he shrinks back up again, right? Or zooms back up again, right? Very cool. Very happy to have this for the amazing price of $6.37 US, right? Wow, wow, wow. Wow, wow, wow. Let's put this back. Awesome, awesome, awesome. Pure awesome. What does the title say? Ambassador from outer space. Let's see what else we got. Let's see what else we got. This one. Cool, cool, cool. Let me show you this one. I've been trying to get my hands on some of the golden age books that talk about the atomic bomb, the atom age, the nuclear age and stuff like this. So we got us War of Wars, Atom Age Combat, number one from St. John Publications. And this came out in 1958, and it's got the comma code on there, right? And this is graded at good minus. So it's basically graded at 1.8 out of 10 or so, right? Or 1.8, 1.5 maybe, okay? What I graded at that, I would give this probably a good, right? We ended up getting this guy for $1250 Canadian, $9.37 US, and that is a fantastic deal, okay? Fantastic deal. And I had to look this up. There's only two places I found. I found one place that said this, which, who the person was that was working on this, okay? And I had to get it confirmed. And I got it confirmed by looking this up on CGC, the comic book gradient, one of the comic book grading companies, right? And the artwork for this is done by Dick Ayers, okay? And Dick Ayers is huge. He was one of the, came through the golden age of comics and a lot of work in the silver age of comics, copper age of comics, bronze age of comics, and modern age of comics. Dick Ayers has produced a ton of work, right? The website I was looking into was here, let me get this close, so maybe you can read that. The website I was looking into to see how many titles these artists worked on, the artists and creators worked on. I listed him as having credited with at least 1500 comic books, right? So huge. And I know there's comic books that they haven't, they don't have listed that he's worked on, right? Fantastic, great deal, happy to have this. And as far as Dick Ayers goes, I've mentioned this before, I've published some comic books in the past, right? And I had a small comic book publishing company. And Dick Ayers did a lot of inks for Marvel comics, especially for Jack Kirby's pencils, right? So he was, he did a lot of pencils, but he did way more inks than pencils, right? And he was, he was a sought after inker, okay, a lot, right? So one of the comic books that I ended up publishing, the creator of this comic book, okay, the guy who came out with the story and stuff, he commissioned Dick Ayers to do the inking for issue number one. And this is the comic book that I published. It's a gateful, a gateful cover, so I'm going to open it up, okay? The pencils were done by Laval, our main artists for this comic book, right? But Shadow, Patrick McKenna is the person who came up with this series. And he knew, back then in the early 1990s, mid 1990s, he knew his comic book history inside out, right? I saw his comic book collection. I went to Denver, Boulder, Colorado and visited him and stuff like this. And he had a huge collection in his garage and he had it all organized and he knew his comic books well, right? And he commissioned Dick Ayers to do the inks for Laval's pencils. And this is Dick Ayers inks, right? So I'm very proud to have said that I've published, especially this comic book, whatever comic book I've published, but Dick Ayers inks as well, right? That was one of the reasons I was very happy to get my hands on this atomic age with Dick Ayers doing the work. Should we crack it open just to take a look at it? Let's take a look at it, because we saw his inks, right? Let's take a look at his pencils as well. And I believe he did the inks and the pencils for this. It's very hard to dig down, get the info for these books, okay? And this is good minus, right? So it's going to be fragile. So I'm going to be careful with this. Look at the front cover. It's got a major rip on it. Oh, gentle, gentle. It's still attached, but barely, right? Let me turn this. We're just going to do the first page. Let's do maybe a little bit more. It's on target. Let me see if I can find a nice page for you. Oh, leather neck. And this is a compilation as well. Take a look. Very happy to have this. Very happy to have this. Let me put this back. Fantastic deal at 937 US. And there was another atomic age, atom age, atomic age, atom age combat series that came out in the early 50s. This is 1958. It came out as number one. It was continued with number two and three in another series, right? But in 1952, I believe, there was another atomic, atom age combat series that came out that I believe had like two or three issues in it. Okay. Let me show you this one. This is one of the ones we're going to read. This one was requested. I asked Nicholas that funded this haul if there was on a previous stream that we did, one of the cooking streams that we did, where we made borscht. He showed up and I asked him if there was any type of comic books he liked. He would be interested in reading. And I mentioned we had war comics, love comics and stuff like this. I picked a couple of love comics to read and he mentioned it would be great to read a war comic. So we're going to read through this. I haven't done the reading for it yet. Okay. Spy Fighters, number nine. Atlas Comics, 1952. Graded at good, very good. Okay. It's Marvel War Story, but Atlas Comics was basically a company that turned into Marvel Comics, right? So a lot of the people, original people that worked on Marvel Comics, they worked at Atlas Comics. They're the same people, right? May it be Jack Ruby, Stan Lee, the Cares did some work, I believe, for Atlas Comics as well, right? This piece is an anthology again. Okay. Let me take it out so you can see it without the glare, right? The cover, let me show you the cover again. We'll look at it without the plastic so you don't get the glare on there, right? The cover is done by Saul Brodsky, okay? And Saul Brodsky is a pretty big name. He did a lot of work, right? Let me read you a quote. I mean, he was active in comics for decades, right? Let me bring this out. That way you can see the cover, beautiful cover. And it was colored by Stan, let me tell you who's Stan Goldberg. It was colored by Stan Goldberg. And Stan Goldberg is huge as well, right? So the art was done by Saul Brodsky and the color was done by Stan Goldberg, okay? And Stan Goldberg worked for Archie Comics a lot, did a lot of work for Archie Comics, and he did the original colors for Spider-Man, okay? Wow, wow, wow, okay? He did a lot of work for Fantastic Four as well and designed a lot of coloring for the Fantastic Four, wow, wow, wow, okay? Huge. And let me bring it close so you can see it in detail. Beautiful, beautiful, beautiful. Fantastic. And regarding Saul, okay? He was a comic book artist, worked on Marvel Silver Age production. He did a lot of the back-end stuff, right? And here's one quote, quote. Saul was really, and we're quoting, who we're quoting right now, Stan Lee, right? So Stan Lee quote, Saul was really my right-hand man for years, right? Huge role to play in the back-end, behind the scenes creating a lot of the superhero comics as well as the comics by Atlas Comics or War Comics or Western Comics and everything and anything, right? Long familiar logo of Amazing Spider-Man, so he worked on Saul, Amazing Spider-Man logo, right? The one that we know, okay, that started off. He worked on it, okay? As other Marvel logos still in use in the mid-2000s, right? He was, I'm quoting, okay? No, I'm just not quoting Stan Lee, just quoting the article, okay? He was belatedly credited after decades as the anchor of Jack Kirby's Pencil's art for the Fantastic Four, number three to four, as well as many other landmark comics. Huge, huge, huge, okay? Quoting Stan Lee again, my assistant for years and the company's production head, he could write, he could draw, he could ink, he could do everything. Nice. We're going to have a read through this, okay? And he's done, how many stories? He's done three stories in this. There's a story called Tonight We Die, the ones he's done. Tonight We Die, Doom Patrol and the Tin Soldier he's worked on. And there's one story here by Alan Bellman, okay? And it's called The Chance. And Alan Bellman worked in the Golden Age of Comics as well. He worked on Captain America, he went towards Submariner, okay? A lot of crime and mystery comics, Western comics, and of course war comics, right? Did I tell you how much we got this for? Let me tell you how much we got this for. Ready for this? Let me put this bag in its bag. I couldn't believe it. I had my price on this a lot higher than what we got it for. And I waited, I waited. The second sticking down on the auction. I waited. I had it a lot higher than what we got it for. And I had another bid higher than what I had. I said, I can't pay more than this. And I went, I need this comic book. I even put a bid higher than what I had it for, right? Just in case someone came in the last second to press it. And I pressed it just because I couldn't believe no one was bidding on this. Not yet anyway, right? Three seconds before I pressed the higher bid, right? We ended up getting this comic for Canadian price. Ready? One dollar. We got it for 75 cents. U.S. Okay, we're going to do a read through this, okay? Spive Fighters, number nine. I don't know how many stories we're going to read, but we're going to read War Adventures of Spies and Action Combat. Very sweet, very sweet. Okay. The next two comics. The next two comics. One of them, I took three pages of notes on and I had to put it off, print it off on another. The next one, I took one page of notes on, right? So let's go through the ones where I took the notes because we've already shot the video for these. We've already done the readings for this. I go into detail during the comic book reading of this, okay? But I'll cover some of it here. I'll cover, here, let me show you. This is how much notes I took on this. Okay. Cut and paste. Some of the stuff I wrote, but a lot of cut and paste and just highlighting quotes. And when I'm doing the readings, what I do is post these up in front of me. So when we're doing the readings, I can reference some of the things at the beginning of the intro, right? This is Romance Comic. Young Love, number 31. Okay. It's marked as, it's numbered as March, okay? Number 31. And it came out in March 1952, right? And it's prize publications, right? If you remember the first comic we looked at, right? Which was Gangbusters. Leonard Starr was noted specifically on working on one of the first comics, Love Comics, Romance Comics that was ever published as a series, which was Young Romance, right? From prize publications, right? This logo right there. Okay. So the same company that Leonard Starr and the company is Joe Simon, right? And Jack Kirby, right? Huge. And Joe Simon's Jack Kirby, they got together in the Golden Age of Comic Books and they created a company that went for 20 years or something like this. I have the notes on the years that were active from 1940 to 1950s to 1960s, I believe. Yeah, 1968. So Prize Comics put out comics from 1940 to 1968. And they were known for the Romance Comics. When they started putting out Romance Comics with Young Romance, right? They were selling millions of copies. They actually kicked up, I think, tripled their print run for Romance Comics number three or four, right? And at one point, I read this, I couldn't believe it, over 90% of their print run for the publication is all the titles we're printing were Romance Comics, right? Specifically Young Romance. Huge, huge, huge. And this series, Young Romance, I believe it was the second series, second Romance series they put out after Young Romance. And Young Romance came out in 1947 and Young Love came out in 1949 or something. And this one, this issue is 1952. Okay. And this is graded at very good minus. We read through this. I would have probably given this a very good, not very good minus. And we paid $3.25 Canadian for it, $2.44 US. We read this. We're going to go through this. Why is this important? Why is this huge? Well, Crestwood Publications, sought after, Price Comics, sought after, Romance Comics from the Golden Age of Comics, sought after. Jack Kirby pencils for one of the stories, right? Fantastic. Let me read you. Read you some of the people that worked on this. Okay. Jack Kirby worked on this. Mort Meskin worked on this. Another huge creator, okay, in the Golden Age of Comics and Silver Age of Comics. He's credited with like over 400 issues that he's worked on. George Roussos worked on this. And he's credited with almost 2000 comic books from the 1940s to the 1980s. He was he was primarily or one of the people that inked a lot of Jack Kirby's pencils, right? Let me do a little quote for you, right? Including, so just reading, reading this. One of the primary inquires for Jack Kirby's pencils, including on the landmark issues of Marvel's Comics Fantastic Four over, okay, over five decades you created artwork for numerous publications, including EC Comics. Wow, wow, wow, wow, right? And he was staff colorist for Marvel Comics. Bob Kane and Bill Finger, check this out. Bob Kane and Bill Finger, the creators of Batman, hired him to assist Inker, Jerry, Robertson on Batman stories. Roussos duties included drawing backgrounds, inking and lettering, starting as early as Batman number two, right? And he's got the second story, the great indoors he's done the work for, right? One of the comics most famous covers, Avengers number four, penciled by Jack Kirby and inked by Roussos, right? The one where Captain America is entering the scene, the front lines, right? Classic. That issues one of the core key collectible comics from the Silver Age of comics, right? Another person that's worked on this is Mort Menzkin, right? As I mentioned, and he's pretty big as well, pretty, pretty huge. And one place I checked it, Joe Simon was credited with doing work on this. And Joe Simon is huge. He's one of the founding fathers of the comic book medium. And of course, Jack Kirby, he did actually the main story for this, which is Be My Valentine. And just to give you an idea how huge Jack Kirby is, Jack Kirby on the site that I was checking comic by is credited with how many over 3000 issues to his name, right? So Jack Kirby 3000 he's created basically some of the most beloved characters in comic book history, right? Wow. Wow. Wow. And we read that. Okay. And Jack Kirby penciled love story. Fantastic. And it was trippy reading that issue. And they were, by the way, this guy, the love stories in this, at the bottom where we read the fine print, it states that all the love stories are true. All the stories, the romance stories, I call them love stories, all the romance stories in this sort of compilation, right? Or true stories. So there's stories that people had sent in and they created little short 5, 6, 7, 8, 10, 11 page stories of, right? Fantastic. Fantastic. Okay. Now here's another love story we ended up reading.  I think I did. But just in case I didn't, we bought that one for 325 Canadian 244 US, right? Graded at very good minus.   Fantastic price. Okay. Here's another romance comic from the golden age of comics. It's a little older than the other one. This one, Love Comics, came out in 19, sorry, Young Love came out in 1952. This one, Life Story, this is Life Story number 13, came out in 1950. It's volume number 3, number 1 from Fawcett Comics. Okay. It came out April 1950. Graded at very good minus. Same grade as the other one. And I really wanted this book because one of the stories of this is done by Wally Wood. Wally Wood. Wallace Wood. Okay. And I've shot the video for this. I've read through this. Fantastic. Fantastic. Okay. Crazy romance stories. A lot of deception in this. I was amazed, right? These are the stories that are told here. And the people that worked on this, Wally Wood, Wallace Wood, and he's huge, huge, huge. He did a lot of work for EC Comics. Okay. He did a lot of work in regards to crime, but, oh, sorry, in regards to science fiction and the science fiction stuff. Just do a little search for Wally Wood. This is his name. Wally Wood. Okay. And do Wally Wood and do image search and do sci-fi. You'll be blown away by his covers and his, his science fiction artwork. Right. And we might have read already because we've done, I believe three or four EC Comics reads. Right. So we might have probably, I think we've already read one of Wally Wood's stories. Okay. I refer to him as Wally Wood, but from what I understand, he didn't like being called Wally. I didn't know this until I looked this up and dig down a little deep. Right. So he wanted, he liked Wallace Wood. Right. So I think in Endearment, everyone says Wally Wood and I, that's what I've grown up with. Right. And he's done huge. He did, he worked on trading cards, advertising posters, promotions, marketing, and stuff like this. And here's a little quote from William Gaines from EC Comics, the person that, you know, the backbone of EC Comics. Right. Quote. Right. So quoting William Gaines, Wally may be, may have been our most troubled artist. I'm not suggesting any connection, but he may have been our most brilliant. Right. Right. This is the only Wally Wood romance comic that I have. And I didn't know he did romance comics. I'm going to look for more of these. Right. Another person that's worked on this is Bob Powell. Okay. And Bob Powell is, is pretty big as well. He had like 500 issues to his credit from that site. Wally Wood had 700 issues to his credit. Okay. Bob Powell had 500 issues to his credit. And he worked on Sheena, Queen of the Jungle, Mr. Mystic. And he was one of the founding artists of Black Hawk. Okay. And he worked on trading cards, Mars attacks, trading cards as well. Now, one other thing in this, in the comic book read that we do, I looked it up when I was looking at this because it wasn't on the cover. I didn't know to believe the website I was looking into. And if it was the same person I was thinking of, until we cracked this open. And the first time I cracked both of these love romance comics open was during the readings. Right. So when we cracked it open, this comic book has a two page exclusive interview with Gene Kelly. Okay. And we'll read that whole interview in the comic book reading. And Gene Kelly is one of the Hollywood's old school actors. And he was a dancer and singer. He was phenomenal. Right. He was, Fred Astaire is considered to be one of the greatest or the greatest dancers in movie history. Gene Kelly, second, very close second, right? Or close or second, Fred Astaire was Fred Astaire. Right. Gene Kelly is amazing. I believe it's Gene Kelly that does the singing in the rain where he's with the umbrella dancing. I believe so anyway. And during the interview that we read, the question is asked of him, what was his most proud scene that he's done in the movies? And he mentions a scene in there and we go through it. We read it. And I still haven't grabbed that movie again because I remember that movie. There was a period where I went through what do you call it? A lot of black and white comic books. And Gene Kelly was amazing. Okay. I got some more notes here regarding the spy fighters. Okay. The one we looked at, the war comic that I don't think I mentioned. But for spy fighters, one of the other person that worked on this, where is it? Let me bring spy fighters up again. Okay. One of the other persons that worked on this was Joe. That's got a story in this. Joe Sinot. Okay. And Joe Sinot, gigantic, huge. He's got like 1200, 1300 issues to his credit. And what do we got? We'll mention this during the read. Right. Joe's, you know, he's worked on Silver Surfer number one. He's Tales of Suspense, Mystic, Mystery Tales, Uncanny Tales, Strange Tales, Estonishing X-Men, so many. Okay. And here I'll read you this as well regarding Joe Sinot. Marvel, so Stanley in the mid 2000s cited Sinot as the company's most in-demand anchor. Right. So he did a lot of inking for Jack Kirby as well. Okay. Now coding Stanley. Pencilers used to hurl all sorts of dire threats at me if I didn't make certain that Joe and only Joe inked their pages. I knew I couldn't satisfy everyone and I had to save the very most important strips for him. To most pencilers, having Joe Sinot inked their artwork was tenement to grabbing the brass ring. And we're going to read the one that Joe Sinot most likely inked as well and Saul Brodsky pencil, the tin soldier. We'll see. We'll see. We'll see. Right. Let's see what else we got here. The next set of comics I got here are Walt Disney comics. Okay. And most of them are Karl Marx comics. Actually, all of them have Karl Marx comics except one. Okay. So let me show you these. Let me show you these. Let me grab all of these in one shot. As you know, I've been collecting Donald Duck Walt Disney comics, Walt Disney comics and stories, Uncle Scrooge and stuff like this. You would have seen these in previous comic book hauls. Right. So here's the ones we got. And all of the covers for all of these are Karl Marx and Karl Marx has stories in them at least one, two, three, possibly. And there are other artists that have worked on these. Right. Again, they're sort of compilation of different artists and writers stories. Okay. And Karl Marx was basically associated with Donald Duck and Uncle Scrooge, basically the Donald Duck universe. Okay. This one is here. I've got these. I'm going to go through these in order this way because they're ordered. I'm going to actually let me do this. Let me flip these around. I got these backwards according to the notes I've written down here. Right. Here. Let's do actually this one we'll do at the end because it's the last one. Okay. Here's Walt Disney comic and stories. Number 144. Okay. And the seller had the price tags on here. He had $15. But we ended up paying $3.25 Canadian for this $2.44 US. Okay. And this is Walt Disney comics, comics, and stories. Number 144 came out in 1952 precode. And his greatest good very good. Okay. And it's got Karl and he's got Karl Marx art and cover by Karl Marx. Okay. Fantastic. Fantastic. Okay. It also has Al Falatiro in it as well. And Frank McSavage doing some work as well. Okay. This is best known for his work on Donald Duck. So, Terafellow, I got a little note here. I didn't know Terafellow. I like collecting a lot of Karl Marx stuff. So, I don't know the rest of the main creators that worked on Donald Duck and worked on Walt Disney comics. But Terafellow is best known for his work on the Donald Duck comic strip. Right. Cool. Cool. Cool. Good price. We got a good price. Here's Walt Disney comic and stories. Number 139. This should be number 139. Okay. Graded at good very good. Again, Karl Marx cover and art. We paid 550 Canadian for 12 US. Fantastic. Fantastic. Very happy to have this. I don't have this. I don't think I have any of these ones. Over the years I've randomly been just buying Karl Marx comics. Right. Walt Disney comics and stories. Number 136. 1952. Graded at good fine. Right. Karl Marx. Fantastic. Look at this. Absolutely beautiful. Like really, really beautiful. Beautiful. Look at that. Look at Donald. Right. Very cool. Again, this is not a cover for this. It's got Karl Marx art. Okay. This is Walt Disney comics and stories. Number 125. It's got Karl Marx art and it's graded at very good. Right. And we paid $5 and 50 cents Canadian for 12 US. Okay. But the cover is done by, I got to flip the page. I got someone to note through. Karl Buettner. Okay. It's Karl Buettner that the cover for this. And this is first appearance as go. First appearance of Huey, Dewey and Louis as junior witchucks. Right. As junior witchucks. Fantastic. Okay. And Karl Buettner was pretty big. Pretty big. Karl Buettner. Should I read this to you? Sure. Let's read it. Karl Buettner was an American comic book artist who worked in two vastly different genres. At the start of his curary, he drew saucy erotic cartoons for pulp magazines. I think we might have to get our hands on some of that. Later he worked on various children's comics based on popular cartoon characters, most notably launching the comic book careers of Disney's little bad wolf, Bucky Bug and Pinocchio.  Fantastic. Butler's four furthermore set the artistic standard for comic stories with Warner Brothers, Bugs Bunny and Porky Pig. Cool. We got another Karl on our radars. Fantastic. Fantastic. Take a look at this one. Nice. And this one that we ended up getting for $5.50 Canadian, the price tag you had on it was $30. Right? The next one. Very cool. Very cool. Walt Disney Comics and Stories, number 124. Right? From 1951, graded at Fine, it's got Karl Bark's cover and art inside. It's also got Floyd Gottfriedsen. A two-page story, Mickey Mouse, Floyd Gott, I gotta pronounce this correctly, Gottfriedsen. And Gottfriedsen is to Mickey Mouse, what Karl Bark's is, to Donald Duck. Okay. So, Gottfriedsen's Floyd's artwork is seriously sought after as well in regards to Mickey Mouse comics. Okay. Really big. Fantastic. Okay. $5.50 Canadian, $4.12 US. And the price tag you got on this was like $75. And we ended up getting it for $5.50. I think that's a good deal. I'm pretty sure that's a good deal. Right? And Walt Disney Comics and Stories, number 106. Okay. 1949, graded at Very Good Minas. Okay.  Right? And Walt Kelly is the person that created Pogo. Okay. And Dick Moore's created Gasline Alley, the comic strip Gasline Alley. And together, the people that have worked on this, they have thousands of comics to their name. Like really huge, huge. Lots of comics to their name. Okay. Fantastic. Very happy to have this as well. Increased the Walt Disney Donald Duck comic book collection. And we have one more Walt Disney's comic book. Right? This is Walt Disney's Mickey Mouse and Pluto battle. The Giant Ants. And this is Dell Four Color, number 279. Walt Disney and Mickey Mouse and Pluto came out in 1950, graded at Fine. And this one, we paid 1050 Canadian, 787 US. Okay. And Bill Wright did the cover for this and the main story. Okay. Beautiful. And it's a really good shape. Like, yeah, it's a nice, nice copy. The Walt Disney stuff were pretty good shape. The comics that I have in my collection regarding Donald Duck and Walt Disney comics, they're usually lower grade because like they go for cheaper, right? I don't, for me, as long as the comics are complete, I'm happy, happy, happy, happy Chico, right? So these were higher grade. So, but they still went for a fantastic price, right? Average, well, not average, but most of them went for 550 Canadian, you know, $4 US and this was $8 US or so. Good price. Happy to have this. Happy to have this. Okay. Bill Wright. Oh, I gotta read you this as well. I gotta read you this as well. Yeah, I gotta read you this as well. One of the other people that worked on this. Okay. And Bill, Bill Wright, huge Disney. He worked at Disney until he died in the mid-1980s, right? But another person that worked on this was Tony Strubble. Okay. Now, Tony Strubble. Let me read you what I dug up and I believe this is from Wiki and Tony Strubble has like 1600 plus comic books to his name, right? So Tony Strubble was an American quote, was an American comic artist and animator. He was born in Cleveland, Ohio and attended Cleveland School of Art from 1933 to 1937 with Jerry Siegel and Joe Schuster, creators of Superman, right? Who actually got some help from Strubble creating Superman. Gerald Jones in his book, Men of Tomorrow, reveals at one point, Jerry Siegel contemplated ending his partnership with Joe Schuster in developing what became Superman and work with someone else, someone else instead. Strubble was among those approached by him, respectfully approached by him. He respectfully declined, feeling his more cartoony stylish was ill-suited for such a serious character, right? So if history, if things worked out a little differently, Tony Strubble would have been one of the creators crazy, very cool. Let me show you another set of books that we ended up getting. This set, do I have these in order? I have these in order, order, order, because we're going to go through them in order. Oh, here's this one. This one was out of order. Let me put these in order. These are, actually let's count down on this, because I have it listed in my notes backwards, so we're going to count down on this. These are Jack Kirby books. This is Jack Kirby's creation. He did writing, he did, for most of these, he did the cover, he did the writing, the script, he did the pencils, and I believe he did the inks for them as well. Did he do the inks? No, the inks were done, Jack Kirby did mainly pencils, right? The inks were done on one of them, on the first one we're going to look at, by Bruce Berry, that also did the inks for Olmack and stuff. But the rest of these, I believe Jack Kirby, there's one other one, I'll mention, number 16 is Mike Moyers, and the rest of them, I believe Jack Kirby did everything on them, right? Commandee. Now I have the original commandees, the first few issues, actually I have like 12, 15 of the first few issues, but these were very good grades, high grades, and they were going for cheap. Getting these in high grades is harder to do, right? So this is commandee number 23, came out in 1974, is graded at very good near mint, right? And this thing here, right, when I picked it up, I was thinking Jaws, I was like, hi, this is way before Jaws, and the comic book, The Seller, and he had listed it, I believe in the description as well. Orca, the movie that predated Jaws as well, I believe, was like a killer whale, we'll call it killer whale, that seeking revenge that came out in 1977. So this is pre-Orca as well, right? High grade, very fine near mint, and we got it for 425 Canadian, 318 US. Thank you very much. Fantastic. I don't have this one. Here's commandee, the last boy on earth, right? And commandee is well known in this industry. In the last couple of years they've done, there was commandee challenge, I believe it was a 12 issue, where a lot of the great creators and comics, each one of them took on one issue of commandee challenge, and they did one issue of commandee challenge, right? So commandee is a pretty important character. This is commandee number 22, okay, graded, very fine minus, and Jack Kirby, obviously Jack Kirby, all of these, right? And we paid 324 for this Canadian, 243 US. Nice price, nice price. Commandee number 21, very fine plus, we paid 277 Canadian, $2.08 US. Awesome. Fantastic, fantastic. The last boy on earth, commandee number 16, graded at very fine, take a look. Look at that, that's classic Kirby. That cover is absolutely brilliant. Take a look at this, right? Number 16, came out in 1974, graded at very fine, 225 US, $69, sorry, 225 Canadian, $69 US, look at that, look at that. Experimental animals research lab, they got humans in there, crazy. And the inks for this were done by Mike Moyer, okay, and Bruce Berry possibly as well, cool. Commandee, the last boy on earth, number 14, graded at fine, very fine, we paid $1 for this. By the way, all of them bagged and boarded, $1, right? Fantastic, 75 cents US, awesome. Bad for a dollar, considering a lot of comic books charge you $0.25 for a bag and board, in my area anyway. Commandee, the last boy on earth, number 12, very fine, mine is graded, came out in 1973, $2.75 US, $2 as Canadian, $2.08 US, and very fine mine is great, great, look at this, fantastic, fantastic. Commandee, the last boy on earth, number 11, graded at very fine, minus, $2.77 Canadian, $2.08 US, came out in 1973, higher grades, very good. And Commandee, the last boy on earth, number three, graded at fine, very fine, came out in 1973, we paid $4 Canadian, $3 US, and it says this is the first appearance of Tufton, Lord Caesar's son, very nice, very nice, very nice. And we got one more comic here, okay, one more comic. This is the most expensive one, okay, Avengers number 13, we paid fair value for this, okay, it wasn't a phenomenal deal, it wasn't paying too much, it was fair value, so going right for this, right. Avengers number 13, right, from Marvel obviously, February 1965, Stanley script, right, you got Thor, Captain America, and all that jazz, it's a Jack Kirby cover, okay, and it's the first appearance, okay, where are we? First appearance of Count, Nefaria, and Magi, gets the appearance by the Fantastic Four, first appearance of Avengers, emergency headquarters, first appearances, and we ended up getting this for $38 Canadian, $28.50 US, okay, definitely on the more expensive side, I sort of, I was trying to get he had some other Avengers on there, I was trying to get them and they were going for a higher price, and I was like, I got to get one Avengers out of this hall, I got to get one Avengers out of this lot that he has up, right, he had higher numbers and he had lower numbers as well, so we ended up getting this one, which is the first appearance, which is always a key issue to have, right, for me I consider everything to be key issue to a certain degree, but glad to have this, is Jack Kirby cover, okay, the script is Stanley, the pencils for this are Don Heck, okay, and Don Heck co-created Iron Man, I can list here Hawkeye, Black Widow, Wonder Man, a whole bunch of characters, and the inks for this, inks for this, ready, Dick Ayres, Dick Ayres did the inks for this, fantastic, and then already Simec, same Simec did the letters for this, okay, Avengers number 13, very happy to have this as well, even the world's mightiest crusaders find themselves, themselves helplessly trapped within the castle of Count Neferia, your gas with amazement as the most unexpected final panel you've ever seen, see Rick Jones and his team brigade imprisoned in the dungeon of doom, awesome, awesome, awesome, fantastic comic book, I'm very happy to have these, thank you very much Nicholas for funding this, I hope you like, I hope you love what we ended up getting, okay, and I hope you love the war comic that we're going to end up reading, right, spy fighters, and I hope you love the two comic book romance comics that we've ended up reading, and we'll have those up loaded up basically after this video is loaded up, so expect those to be loaded up very very shortly, if not right after this video, okay, I hope you enjoyed, fantastic, and we'll continue with the comic book readings, and slowly as we get budget, we'll do more comic book hauls, and I might start giving some reviews and go over some of the comics that I have in my collection as well, right, some of the trade paper backs people have been asking me to show them the stuff, okay, aside from that, thank you very much, I hope you enjoyed, and I hope I didn't go too deep into the history of these things, but I went down the rabbit hole for this, I was getting lost in the stories and the history and the connections and all the new information that I was finding about the characters and the artists and the history behind the publishing companies, right, that's it for now gang, and I'll see you guys in the next video, bye for now