#176: Booger!

What’s happening, fellow babies? I’ve got an auditory treat for all of you to kick off this week. A couple years back, an internet radio station decided to see if it might be possible to program an entire three-hour block by threading together all of the air breaks made by Howard Hessman’s character Dr. Johnny Fever during the original run of WKRP IN CINCINATTI. So what you get is an entire morning shift curated by Fever and featuring the specific tracks that he played throughout the show, punctuated by bits of business from assorted episodes. It’s pretty great, and it can be found at this link. The whole thing went so well that they repeated the process for Tim Reid’s character Venus Flytrap a few months later. That broadcast can be found here.

And with that out of the way, we can jump straight in to your questions for the week. Here we go!

Joe West

so excited about the new cosmic line spinning out of Imperial! Each of the five books, just based on the solicitations of their respective one-shots, seem like they’re gonna be killer. Will you be working on any of them?

Not directly, Joe. The books that are spinning out of IMPERIAL will be handled by my Associate Editor Annalise Bissa. I’ll have a certain degree of oversight on them, but they’ll be Annalise’s books to run.

Andrew Albrecht

Can we expect any of Jen’s supporting cast from her last couple of ongoing to be involved in the upcoming Planet She Hulk book?

Only if they can breathe in outer space, Andrew!

Karl Kesel

FANTASTIC FOUR MOVIE: 2 things…

1) When I saw you at the World Premiere (which was a once-in-a-lifetime blast for Myrna and myself) you said you'd seem the movie already, before the World Premiere. I've since heard that there were some last-minute edits to FF after SUPERMAN came out. I wondered if the version you saw earlier was any different from what we saw that evening? And if so, in what ways? I'm kinda jonesing to see Malkovitch as the Red Ghost, myself…

2) You should have gotten a THANK YOU credit at the end of the movie, Tom. Yeah, you're the editor, yeah, it's your job, but you have helped shape the FF in ways subtle and direct for a long time now, and I believe you deserve credit for that. My story about Ben being Jewish only exists because you green-lit it. And that's the smallest tip of the iceberg. I tip my hat to your hat, my friend.

Always nice to see you, Karl!

1. I did see an earlier rough cut that was quite different from the finished product. But I feel like it isn’t really my place to get into any of the specifics. The filmmakers made their choices in getting to their final released cut of the film, and I ought to respect that. So it’s something that maybe you and I could speak about directly at some point, but I wouldn’t want to put anything into print along those lines, sorry.

2. That’s nice of you to say, Karl, but I don’t know that I agree. I understand the situation and the deal and I always have. As the editor, it falls to me to take the blame, not the credit, for anything I’m involved with, and that includes any material that may have been drawn from as inspiration for the film. Marvel pays me well, I don’t really need anything more than that.

Michael Simpson

At SDCC we saw some few design sheets for some of the books, is there a chance we get to see more of these brand nee designs before Cypher changes the marvel universe in October?

I’m sure that as we get closer to the release of these books in October, Michael, that we’ll begin to release more and more visuals, whether that’s simply upcoming covers or additional character designs or whatever. There isn’t really a schedule or anything, but as our promotional efforts ramp up, it’s almost inevitable.

David Pierce

How long will Age of Revelation last? Will those books supplant the regular Marvel books during that time?

AGE OF REVELATION will last as long as it lasts, David—which is my way of saying that it’s all right to stop and focus on what we’re going to be doing rather than worrying about the horizon and what might be on it next. But yes, during this period for the most part these books will replace the associated Marvel books they’re growing from.

KyleKatarn

I must say I do find your response to Bully quite funny, considering Jean Grey has not been shown to appear in Age of Revelation so far, since Binary is a wildcard at the moment and we have no further information on who that book is about. Therefore what are the "future comics" in your response?

“Future Comics” are any comics that come out in the future, Kyle, of course. Sorry, but I don’t feel as though it’s the best thing to reveal every story twist or secret ahead of time. I’d kind of like people who want to know what happens to read the stories instead.

Sev

For example, when putting From the Ashes together, how far out do you plan for things like crossovers (like Raid on Graymalkin) and huge events (like AoR)? How do writers get assigned for the event books, or do they submit pitches? Basically, if you can share a little bit about how the sausage gets made, that'd be great!

There isn’t really one way of going about this, Sev, it’s different for each situation. In the case of the FTA launches, we deliberately made the decision to spread all of the characters out and largely keep all of the titles separate at the outset, both to differentiate this era from the Krakoa period where all of the books were geographically centralized, and so as to give each title an opportunity to establish its own flavor. But in doing so, with our books rolling out in July, I arbitrarily told people that round about December is when we should start to see the characters begin to cross-pollinate from one title to the next. As things developed, one of the ways that that played out was in the small “Raid on Graymalkin” crossover between Jed and Gail’s books. In that instance, they were the writers involved because they were writing the two main X-MEN titles, and that’s where most of the Graymalkin business had been developing. In the case of AOR, at the point where we began to talk about the anniversary of AGE OF APOCALYPSE, I threw the question out to the whole of our X-Writers and Jed was the one who came back and said that he had something he thought might fit the bill.

Jeff Ryan

When you go walking a convention hall, what toy or comic is a white whale you're still on the hunt for?

I’m not really on the hunt for much of anything these days, Jeff. Especailly when it’s a show that’s taking place a decent distance from my home. My mantra these days is that “everything is weight”, meaning that anything that I purchase is going to need to be transported by me back to my domicile. So even people giving me free stuff, while it’s always appreciated, can become a difficulty since free things are still heavy when you pile enough of them up together. I’m much more likely to see something cool on a show floor and whip out my phone and order it from some other place to be delivered to my home, thus avoiding the need to carry it myself.

Mark Paglia

If, through the magic of hypotheticals, a convention told you that you could convene a panel on any topic you like and invite anyone as panelists, what would you put together?

I don’t really know, Mark, I don’t spend a whole lot of time thinking about hosting convention panels in the first place. So there isn’t really any long-gestating topic that I’m hungry to be talking about in front of an audience of hundreds of people that I couldn’t take on in places such as this Newsletter.

JV

in the Days of Future past special by Claremont and Larocca - Claremont basically states that Rachel is a virgin birth that comes from the Phoenix (not clear if he means Jean or the actual Phoenix entity) - your thoughts on this? Do you consider it canon?

(we can also assume Rachel's brain has been scrambled from all the time travel too lol). On a related note I would love to see the untold tale of Rachel escaping Mojoverse prior to Excalibur 1 (it was supposed to be a mini series in the late 80s by Claremont and Leonardi) - any plans for this? Any idea why it never happened?

I haven’t read that DoFP Special yet, JV, so I don’t think I ought to be making rulings about its contents until I do. But really, everything is canon until it’s not. And I haven’t given any thought to a story showing Rachel escaping the Mojoverse priot to EXCALIBUR, largely because that’s a situation that dates back to 1987 or so, and I don’t know that there are many readers today who are even aware of it, much less care about resolving it. Chris always had a lot of plans for a lot of projects, many of which fell by the wayside as things went along.

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Off The Wall

A new acquisition gifted to me while I was in San Diego by the generous Mark Buckingham. This is a page from our recent FANTASTIC 4: FIRST STEPS In-World Tie-In comic. Turns out that Mark had brought along many of the pages, intending them as gifts for those who were involved with the production of the film and the comic. By the time he got around to me, he warned that the movie people had scooped up all of the best pages already. Which wasn’t really the case, and I’m quite happy with this early page that shows the newly-transformed quartet in quarantine in Rocket City, where Ben Grimm spars with a K.E.R.B.I.E. robot, a more battle-oriented take on the more domesticated H.E.R.B.I.E. innovated by writer Matt Fraction as a sideways tribute to FF creator Jack Kirby.

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I Buy Crap

I ordered this limited run edition of an action figure based on the classic serial hero from KING OF THE ROCKET MEN what must have been more than a year ago, but it finally showed up during my time away. And it’s a pretty great thing. The Rocket Man was a popular serial character in the late 1940s and early 1950s, starring in three completely-unrelated serials as well as a television program. The figure, therefore, comes with multiple heads, which you can swap out depending on whether your preference for the man underneath the helmet being Jeff King, Commando Cody, Larry Martin or the TV version of Commando Cody who wore a mask.

For those unfamiliar with this character, I’ve included this link to the trailer for KING OF THE ROCKET MEN. The big appeal to the character was the flying effects, with the Lydecker Brothers had improved upon since they tackled THE ADVENTURES OF CAPTAIN MARVEL several years earlier. Giving the character a helmet also helped to better conceal when it was merely a dummy that was being showcased.

Of course, creator Dave Stevens was heavily influenced by these serials when, years later, he created his own rocket-pack wearing hero, the Rocketeer.

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Behind the Curtain

I ran across the memo that I quote below in a file of my stuff from the late 1990s and it surprised me a little bit. I can’t quite recall the circumstances under which it was written. But from context, I think it probably had something to do with John Byrne’s either upcoming or then-being-published SPIDER-MAN: CHAPTER ONE and the conversation surrounding it. I know for a fact that my suggestion about creating a story that would wind up with a ‘Great Divide” that would establish a new parallel continuity was an attempt on my part to insure that the classic Marvel Universe that I loved was not impacted by sweeping retcons in the manner of that CHAPTER ONE project. Regardless, it’s interesting to see this after all this time, especially given that what I suggest here came to pass a short while later in the form of Bill Jemas’ Ultimate Universe (though without an Event to set things up.)

From: TOM BREVOORT

To: BOB HARRAS

Re: BRAVE NEW WORLD

After our meeting last Friday, I kicked around a few more ideas over the weekend. Here's what I came up with:

We begin with a major Marvel Universe event, which I've dummy-named GREAT DIVIDE. This would be a large scale Crisis/Zero Hour type storyline, in which the whole of the Marvel Universe is imperiled. (We could even use this event to clear away some of the deadwood that the MU has accumulated over the years, such as the Marvel UK stuff or the Ultraverse.) At the conclusion of this event, a secondary continuum would be formed, sheared off from the regular Marvel U. (Perhaps in some manner involving whatever is left of the HR pocket universe, if there's any mileage to be gained by that.)

Following this event, we'd premiere four to six new titles set in this new universe, featuring new but more classic versions of those characters who may have drifted the furthest from their roots: AMAZING FANTASY, featuring Spider-Man, AMAZING ADVENTURES, featuring the X-Men, TALES TO ASTONISH featuring the Hulk, TALES OF SUSPENSE featuring Iron Man, STRANGE TALES featuring Doctor Strange, and perhaps one new title devoted to an all-new character.

The take on these characters would be that they would gain their powers in 1998/1999, and we would follow their adventures from this point forward, without the cumbersome continuity the main books have built up over the years. The core concepts and names would be the same, but everything else would be up for grabs. So, the Hulk is scientist Bruce Banner who transforms into a green-skinned creature when enraged, but everything else is up for grabs. Iron Man is Tony Stark, who must wear his iron armor to survive. Spider-Man is a teen-ager blessed and cursed with his spidery powers. And so forth.

These versions would be updated for the 90s in terms of the visual look of the strip, and the environment, but would retain the classic elements that made the characters human and identifiable in their 1960s incarnations. But in this way, we could play both to and against expectation. Perhaps it's Aunt May, rather than Uncle Ben, that the burglar kills. And so forth. If there's any "get" to it, we could invite big-name artists to redesign the core visuals for these concepts, much in the same way Marvel Vision has been doing with its Timeslip feature. So our new X-Men team could be visualized by Jim Lee, etc.

These titles would represent a self-contained universe aimed at our 9-13 year old core audience, similar to the smaller-scale Marvel Universe of the 60s. The mandate for these books would stress single issue and two-part stories over long-running epics. We'd employ a graphically-distinct cover design to differentiate these titles from the other, classic Marvel Universe books.

Eventually, this universe could be a spawning ground for follow-up events, such as inevitable crossover between the two universes (similar to the JLA/JSA crossovers of the 60s)

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Pimp My Wednesday

And once again, the unstoppable Marvel machine gifts you with new releases to make your Hump Day more manageable.

X-MEN #20 is a quasi-sequel to both X-MEN #3 and #10 in which Cyclops sat down with O.N.E. agent Lundqvist for a spirited debate. Except this time, there’s a lot more throwing of punches involved, and the outcome is both unexpected and also inevitable. Jed MacKay writes and Netho Diaz illustrates.

Also this week is the big finale to Kamala Khan’s GIANT-SIZE adventure in GIANT-SIZE X-MEN #2 by Jackson Lanzing, Collin Kelly and Adam Kubert. The issue also includes a short Revelation story by Jed MacKay and Cafu that tees up the impending AGE OF REVELATION.

And FANTASTIC FOUR #2 opens with the titular heroes scattered through time and facing extinction in four separate time periods. It also loops events back around the ongoing ONE WORLD UNDER DOOM situation. Artists Humberto Ramos and Victor Olazaba provide some stunning work, which is expertly enhanced by color artist Edgar Delgado—this is a seriously pretty comic book. And as usual, writer Ryan North’s script brings the smarts.

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A Comic Book On Sale 60 Years Ago Today, August 10, 1965

FANTASTIC FOUR #44 represents the beginning of what most agree is the most fertile and accomplished period in the title’s history during the extended tenure of series creators Stan Lee and Jack Kirby. A missing element joins the project this issue as Joe Sinnott becomes the series’ regular inker, a position he’ll hold for more than a decade beyond the point where the other two have left the series. Sinnott’s slick work immediately plusses up the look of the book—it’s astounding to compare this issue to the prior one, inked by the notorious Vince Colletta (who inked this issue’s cover.) All of a sudden, it’s like Kirby’s work snaps into sharp focus. Fans had spoken highly of Sinnott’s previous issue inking the series, uncredited, in #5 some years earlier. But by this time, the Marvel books were selling well enough that Lee could afford to bring Joe on full time. This issue also begins to unravel the backstory of Madame Medusa, who had been introduced as a mysterious femme fatale as part of the Frightful Four a few issues earlier. It’s pretty clear that Kirby or Lee or both adjusted their thinking on the character as we got into this storyline, as Medusa suddenly became both eminently honorable and romantically attached—there was no more of her making lustful eyes at Reed Richards from here on out. This issue introduces Gorgon of the Inhumans and teases a much larger cast of characters, many of whom we’d meet in the following issue. From here, it was just one great creation after another, as Galactus and the Silver Surfer, Wyatt Wingfoot, the Black Panther and Klaw would all make their debuts in short order. Many of these characters were created with the intention of being part of a proposed expansion of the Marvel line mandated by publisher Martin Goodman to combat the perceived threat of Joe Simon taking over the adventure line at competing Harvey Publications. But Martin couldn’t get permission from his distributor to expand as he wanted to, and so the characters wound up being rolled out in the pages of FANTASTIC FOUR first and foremost. An Inhumans strip woudl be teased several times over the next few years. This book was also released during the brief time when, attempting to latch on to the Pop Art movement that was gathering headlines, Lee temporarily rebranded the organization as Marvel Pop Art Productions. This would prove to be an unpopular move and it only lasted for a couple of issues. But Lee was constantly looking for anything that would attract more notoriety and attention to his line of magazines, and he wasn’t above experimenting with them to figure out what worked.

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Another Comic Book On Sale 60 Years Ago Today, August 10, 1965

By the time of AMAZING SPIDER-MAN #30, the web-slinger’s two creators, Stan Lee and Steve Ditko, weren’t even speaking to one another. While accounts differ as to how this came to pass, it seems likely that the breakdown stemmed from Ditko’s insistence that he be credited with the plotting of the series since he was doing 95% of the work or more in that regard, and Lee not being happy about it. This particular issue is notorious for illustrating the breakdown in communication between the two men. The way things were working at this point was that Ditko would go off and plot and pencil an issue on his own, bringing it into the office and handing it over to production man Sol Brodsky along with some hand-written notes explaining the story for Lee. Prior to their falling out, Ditko and Lee would go over each story in detail, which resulted in them pulling in the same direction. But here, Ditko begins to build up a new threat as a subplot: minions of a mysterious “Master Planner” wind up hijacking a van filled with scientific equipment and battling Spidey as they make their getaway. This is a divergence from the main plot, in which Spidey and the whole city is after the reward being offered for the capture of a high-rise cat burglar who’s been plaguing the city. The Master Planner plot would play out over the next three issues, becoming a high water mark in the series. Unfortunately, Lee didn’t understand that this is where Ditko was going, and so as he scripts this story, he establishes the Planner’s men as working for the Cat, even though that doesn’t really make a bit of sense as depicted. It’s a major snafu, and one that nobody caught before it went to print. Consequently, the plot of this story turns somewhat into hash. It still remains a fun read, though—especially if you’re aware of Ditko’s true intentions and can mentally edit the dialogue to yourself as you read it. It’s got a really atypical cover, too, with a tiny Spidey, who gets to be the center of attention by making him the only red and blue element on the cover and surrounding him in a yellow spotlight.

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A Comic I Worked On That Came Out On This Date

NEW AVENGERS #15 came out on August 10, 2011 and was a tie-in to the ongoing FEAR ITSELF crossover that Matt Fraction and Stuart Immonen were working on. But the thing that makes it truly notable is that it was another step towards world domination by Squirrel Girl, a character who was something of a laughing stock for a decade but who wound up getting the last laugh. And it came about somewhat by accident. Squirrel Girl had been reintroduced a couple of years earlier in the first GLA limited series done by Dan Slott and Paul Pelletier, and it was Slott who established the basic shtick of the character: as set up in her one and only original story in which she defeated Doctor Doom, Squirrel Girl was undefeatable and could somehow trounce even the most storied opponents. Based on that and further appearances around the Marvel Universe, the character began to develop a small but vocal fan base. And so, when Brian Michael Bendis was looking for a character to bring into NEW AVENGERS as a nanny for the recently-born child of Luke Cage and Jessica Jones, EIC Joe Quesada insisted that he use Squirrel Girl in the role. I don’t know how into it Brian was at the outset, but he made the best of the cards he was dealt, and he treated Doreen Green as a legitimate character rather than a punchline, which only increased her popularity. The artwork by Mike Deodato was also a lot darker and moodier, which also made Squirrel Girl come across as more serious. This particular issue spotlighted Doreen, and Brian and Mike did great work in terms of taking her more seriously and increasing her fan base. The one choice Brian made that backfired a little bit was in establishing a secret connection between Doreen and Wolverine, which was treated as a failed romantic relationship, although it’s never spelled out that way on the page. This turned off certain fans, who found the age difference between the two characters a bit icky, which I can understand.

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Another Comic I Worked On That Came Out On This Date

The ALL-NEW ALL-DIFFERENT AVENGERS ANNUAL #1 came out on August 10, 2016, and was one of the more successful things we did during that abortive run, at least from a creative level. I seem to recall that we wound up having to put this book together in a short amount of time, likely to fill some budgetary shortfall caused by some other project being delayed. Accordingly, writer Mark Waid and I hit on the idea of making the issue an anthology story focusing on the stories written by Ms. Marvel’s fan fiction group. This gave us the latitude to deviate wildly from continuity and to do stories that were more broad and bizarre than you might typically find in an issue of AVENGERS. The framing sequence was written by Kamala’s creator G. Willow Wilson, which freed up Waid to do a fun story with Chip Zdarsky. We also opened up the doors to other creators, so Natasha Allegri contributed a meta She-Hulk adventure, Zac Gorman and Jay Fosgitt incarnated Ms Marvel and Miles Morales as anthropomorphic animals, Faith Erin Hicks provided a Squirrel Girl/Ms Marvel throwdown, and Scott Kurtz did a story concerning Kamala’s heretofore-unknown internet boyfriend. It was a very entertaining Annual, but it failed to make much of an impact at all, even with the lovely Alex Ross cover fronting it. But it’s a little gem that is well worth seeking out on the back issue market.

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The New Warriors Chronicles

it would have been around the time that we were wrapping up NEW WARRIORS #72 for print (and were therefore also already working on NEW WARRIORS #73) that we got word that the series was being discontinued. The book wasn’t doing gangbuster numbers, but it was above what we understood the cancellation threshold to be after a lot of effort on the team’s part. But new EIC Bob Harras didn’t have any particular fondness for the title or its cast—if anything, it had occasionally been an irritant at times when he might have preferred that Fabian Nicieza concentrate on getting his X-MEN scripts in sooner rather than devoting effort to it. And so, when he looked over the line and had to prune it back to make room for new projects and new initiatives, the book got the axe. It wasn’t alone in this, a bunch of other titles were cancelled at the same time, including the GREEN GOBLIN series that I was working on. NEW WARRIORS, though, was the only one that might have been able to make a go of it, at least for a while. But every new EIC does the same thing, and it was entirely Bob’s prerogative.

So the impending wrap-up didn’t really impact on this issue, though it would make us reshuffle and rethink our plans for the remaining three that we’d have from here on out. But we’ll cover that as we get into those issues. As for this one, the story wrapped up a long-simmering plotline that had been playing out in the background of the title for many years; that of a door in the lower depths of the Warriors’ Crash-Pad headquarters that nobody could open. Early on, Evan had decided that there was a HYDRA splinter cell that was operating out of a base positioned beneath the Crash-Pad, and so a couple of clues as to that reveal had been scattered throughout our issues.

The thing I remember the most about this whole idea was the fact that a young Dan Slott, then on staff as Marvel’s art return guy and struggling to get a writing career going, absolutely hated that bit. Dan was a part of our regular lunch crew, and he had interned with Evan as I had previously, and so whenever we’d be talking about NEW WARRIORS, he’d break out this routine about the Hydra agents knocking on the Warrior’s door to ask to borrow a cup of sugar. Given that Dan was still trying to make inroads as a serious super hero writer, you have to give him points for ballsyness here.

This issue also paid off on another running plotline: the fact that Hindsight had been able to procure the Warriors’ comm badges and other equipment by hacking into the Avengers’ spending account and charging them back to Earth’s Mightiest Heroes. So the main plot of this issue regards the Avengers’ accountants discovering the bogus charges and the Avengers turning up to get some answers and collect on moneys due. This coincided with Hindsight finally getting that door open and falling into the hands of the angry HYDRA cell. But the arrival of the Avengers causes the HYDRA crew to think that the jig is up and that they have no choice but to fight for their lives, and so a zany three-way battle breaks out. In the end, the bad guys get captured, nobody gets hurt and the Warriors are forgiven—all except Hindsight, who did what he did without the rest of the crew’s knowledge. This was intended as a more light-hearted story in the vein of JUSTICE LEAGUE INTERNATIONAL after the heavier FUTURE SHOCK plotlines of the prior four issues, though looking back at it, I don’t know that we really got the mix right on it. It was delivered too straightforwardly to be taken as a deliberate comedy, and it was too silly and over-the-top to really be taken seriously. So it isn’t a terrible issue, but it wasn’t one of our best.

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Monofocus

The big winner of the week for me has been the Hulu revival of KING OF THE HILL, which came back after a decade-and-a-half away and didn’t miss a beat. I blitzed through the ten new episodes in jig time, and found them to feel exactly like teh show always had, despite accounting for the passage of time. This is one of the rare revivals that really captured the spirit of the original show it was based on—so much so that Hulu lists it as Season 14 rather than a new Season 1. I got into the original show relatively late, well after it had been running for a number of seasons, but once I did, i quite enjoyed it. So revisiting these episodes felt like a big meal of comfort food. The aging up of the cast and the new positions we find them in as the season opens up all seemed perfect, and the show’s brand of gentle middle-of-the-road emotionalism is still in evidence, even when the characters are surrounded by the craziness of our modern era. Suffice it to say, i really dug this—everybody did an excellent job with it.

I’ve also been enjoying WE ARE THE BEATLES (BOKU WA BEATLES), a manga produced a number of years back by Kawaguchi Kaji, whose other manga ZIPANG and EAGLE I swear by. It’s got a very familiar premise for anybody who has either watched the film YESTERDAY or read the unrelated-but-similarly-titled graphic novel: it’s about a Japanese Beatles cover band that finds itself mysteriously thrown back in time to 1961 and who decide to put out the Beatles’ music as their own creations. The thing that distinguishes this manga from teh other two stories is the Japanese slant on things. For one thing, the band, Fab 4, insists on recording their music in English despite not living in an English-speaking nation. And one of the motivations of one of the characters is pretty unique as well: he figures that if they release the Beatles’ songs worldwide before the Liverpudlians can, the Beatles will be forced to come up with new songs that nobody has ever heard before in response. Which is a pretty cool idea. I’m only partway through the strip, so I don’t yet know how it all comes out—apparently, the manga was only moderately successful and didn’t run for a long stretch. The subject matter seems so esoteric for the audience that I’m not really surprised

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Posted at TomBrevoort.com

Yesterday, I wrote about the Second Green Arrow Story

Five years ago, I wrote about the Perfect Game that was JUSTICE LEAGUE OF AMERICA #200

And ten years ago, I spotlighted this Great Cover

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And that’s going to take us out, my children, but we shall gather together once more seven days hence. Until then, keep it mellow.

Hat’s All, Folks!

Tom B