Dark Horse Comics recently reprinted the first five issues of Creepy magazine as a handsome hardback. Creepy started in 1965 and was the first black & white magazine published by Jim Warren. Eerie and Vampirella would follow. Early issues often had covers from Frank Frazetta. Archie Goodwin wrote most if not all the stories for the early issues. A mix of horror, black humor, and even some sword and sorcery were contained within its pages. Issue #4 had a letter from our very own Bill Cavalier.

“Being a comic devotee of any form of comic strips, I’d like to give you my opinion on CREEPY #3. The cover was a true gem of illustration! Frank Frazetta really outdid himself this time. C’mon, get him to do inside drawings as well…Gray Morrow is only fair with pen and ink…Suggestion: Where’s Wally Wood? This guy is one of the true greats. His art put to one of your stories would really grace the pages! GET HIM!”

So I guess Bill was a Wally Wood fan at the time. Bill would have been picking up the first Lancer Conan paperback about the time this letter was published.

INDY adds: Thanks, Doc Pod! Modesty, of course, gave me pause not to blare this immortalized 40+ year old letter across the internet. (Ahem…)

Yep, I was a big Wally Wood fan – still am. One of the best cartoonists ever. Along with Jesse Marsh, the artist for the Tarzan comic, Wally Wood is one of my all-time faves.

I’m pretty sure this letter was c.1965, so it would be a matter of months before I first spied CONAN THE ADVENTURER, and it leapt off the shelf into my hands at the Wilco Food Store. Copies of Creepy were nearby, however – what a great magazine!

I’ve got to give a shout out to Brian Leno for pointing this out to me, and then loaning me the book so I could grab a copy of my letter. ($50 is just too much dough for a minor ego-boo like that…) Thanks, Brian!

(Now, if I could just find the copy of Our Army at War from the early sixties, I could re-read the letter I wrote singing the praises of Sgt. Rock and Joe Kubert!)

This morning I was checking new releases from Dorchester Publishing which includes the Leisure, Hard Case Crime, and Cosmos imprints. I decided to check on the Robert E. Howard titles and noticed that Shadow Kingdoms, the first in the Weird Works of Robert E. Howard series is listed as “Out of Stock.” Just as I expected, these paperbacks are going to be available for about a year and then gone when sold out. That means you better get them now or have regret in the future. I like the mass market paperback format, the font type and size, and inside layout. Very easy to read. I could do with better cover art than cliched Ken Kelly that would have looked hackneyed twenty-five years ago, but I don’t make the marketing decisions. Distribution for the Cosmos paperbacks has been spotty. Barnes & Noble has been carrying them while the local Borders hasn’t. So get them while available. Just recently, some people online were bemoaning not getting the Echoes of Valor anthologies when they came out.

A few weeks ago my mom was cleaning out the attic in order to have insulation put in. Turns out she found a bunch of toys from my childhood. One prized batch were the Marx dinosaurs. Another batch were boxes of Airfix army men. I grew up with Marx toys, their main factory was right here in Erie, PA. Among their toys were dinosaur sets, vikings, medieval knights etc. I don’t remember the viking figurines but do remember some big cave man that were six inches high.

Some Romans about to bite the dust

Airfix made these little figurines made of plastic that came in rectangular boxes with blue edges. WWII predmoninated though I had the U.S. Cavalry, French Foreign Legion, and some Napoleanic sets. They were generally found in Five & Dime stores though Sears also carried them in the toy section back in the early 70s. I was about 10 or 11 when I got the Roman set that included a chariot!!! The problem is I had no one for the Romans to fight (other than dinosaurs). A year later, I saw the Ancient Britons box at Sears and got it immediately. That included two chariots! Back then, I took the side of the Romans not realizing the Welsh portion of my ancestry were fighting those Romans. From a Robert E. Howard fan perspective, these toys are great. You can recreate the battle from “Kings of the Night” right down to the chariot riding Britons. I have done some searching on the internet on the old Airfix box sets to see how many were made. There was a Robin Hood set and a Sherriff of Nottingham set. A generic middle ages soldiers was made but no vikings, Normans, Saxons, or even ancient Greeks and Persians. There were castles or forts for some of the sets which I don’t remember seeing.

The garlic eating enemy

A search on E-bay found the old Marx viking molds ended up in Mexico and the toy vikings are available. It got me thinking Paradox should make a deal with some toy maker and produce bags or boxes of toy soldiers based on the Hyborian Age. They could do Aquilonians, Stygians, Shemite Asshuri, Black Isle Corsairs, Nordheimer, Hyrkanian cavalry. They could even have a Battle of the Shamla Pass kit. Think of all the fun the little kiddies could have with Cimmerians and Picts plundering the cities of the Hyborian Age just like in the essay “The Hyborian Age.” A bag of Hyborian “army men” could create a Howard fan a few years later. Beats having some lame cartoon.

                                                                              

Adrian Cole was correct in deducing Mamajambo was a blues singer. A delta bluesman from Mississippi in the 1950s, the legend goes that he wanted to be like Robert Johnson. Instead of making a deal with the Devil, Mamajambo, real name Calvin Hodges, made a deal one dark night with a devil called Shubby Niggrath by the locals. The area had been notable for voodoo especially in pre-Civil War times.

 Hodges became known for his stage name, Mamajambo. All of a sudden he was a master bluesman known for a guitar style that had a thick, distorted tone to it. Some time was spent in New Orleans in the mid-1950s before moving to Chicago. One too many times being pulled over by police in the Jim Crow era South convinced him to seek more feritle ground. Picked up by Chess Records, Mamajambo had some success with “Corn in My Stool,” “Roadkill Blues,” “Mud Butt,” “Fat Woman Blues (the Looser the Waistband),” “Prison Shower Blues,” and ” Soap on a Rope” among others. Some claim that he originally wrote “Constipation Blues” that Screamin’ Jay Hawkins later made famous. In some ways, Mamajambo was too ahead of his time with the big guitar sound that would dominate in the late 60s. Jeff Beck, Jimmy Page, and Jimi Hendrix all have mentioned Mamajambo’s influence. Pete Townshend has freely admitted that could never duplicate Mamajambo’s unique guitar licks though he wanted to.

   The early 1960s was not a good period for veteran bluesmen. The more pop sound of Motown took over. Mamajambo recorded an album of standards backed by an orchestra. It was a critical failure though he did have a hit with “Children of the Night.” That song was not without controversy as some evangalist groups claimed the lyrics meant something darker.

The British blues explosion in 1964 revived Mamajambo’s career. He went to London in early 1965 for a tour. He had planned on picking up a band the way Sonny Boy Williamson used the Yardbirds to back him. Unfortunately all he could get was the Chamberpots out of Colchester. This band had to change its name when another band from Bromley calling itself the Original Chamberpots scored a hit with a remake of Mamajambo’s “Corn in My Stool.” The Chamberpots morphed into the prog band, The Elder Glyphics, the next year. Like the Kinks and the Zombies, the Chamberpots had no aptitude for the blues. Mamajambo said in an interview, “These whiteboys had no idea of the blues or how to play the blues. It was ridiculous.” He eventually put together a backing band using former members of Van Morrison’s band, Them from Belfast including Billy Harrison on guitar and the McCauley brothers, Jackie and Pat. Mamajambo took a liking to the Irish kids noting “the Irish were the black man in England.”  It was during this time he had a hit in England with “Black Brew.” He also recorded a Halloween novelty song called “Zuvembie.” Billy Harrison later said that “We were all scared of Mamajambo, especially if he was drinking. Best just to leave him alone when he started talking about Shubby Niggrath going to get him.”  Mamajambo triumphantly returned to the United States and performed “Black Brew” on the T.V. show Shindig. The song failed to crack the Top 40 though it was enormously popular with garage bands. Several different versions of the song by garage bands have surfaced on compilations such as Nuggest, Boulders, and the Pebbles series.

As the 60s decayed into acid rock and then into the more horrible progressive rock, Mamajambo’s fortunes again declined. He sometimes opened for Savoy Brown and even Foghat in the early 70s. A plan for a London session never happened. At the same time, Led Zeppelin and others were ripping off old Mamajambo songs rewriting the lyrics and passing them off as their own. Spinal Tap’s “Big Bottoms” is a blatent rip-off of Mamajambo’s “Big Butt.”

His end came in 1978 at the height of evil known as the disco era. He had returned to Mississippi staying with relatives contemplating his next move. One night while on a walk on a deserted dirt road, a sudden wind storm came up. People heard a weird moaning in the air and Mamajambo’s screams but no trace of him was ever found. So goes the story of Mamajambo.

L. Sprague de Camp is a polarizing figure today. Gone for eight years, his fiction is fading away rapidly. Recently, Mark Olson of NESFA asked one discussion group if there were any de Camp series worth reprinting. I suggested the Pusad cycle of stories. He asked if they were worth reprinting. My honest answer was they were de Camp stories and you know what means. He replied that de Camp generally seemed to lose interest in his series after a strong start. There are two L. Sprague de Camp collections from NESFA, a small press outfit. That is the last stop before oblivion. Ironic that de Camp kept up an interest in someone else’s creation.

I was once a big L. Sprague de Camp fan. In fact, there was a period of about six months or a year that I was probably a bigger de Camp fan than Robert E. Howard fan. Having exhausted all the Lovecraft, Clark Ashton Smith, and a portion of Robert E. Howard, I had moved into reading John W. Campbell’s Astounding Science Fiction golden age crew including de Camp. During that time I read too many de Camp novels and stories. Also, I read de Camp’s essays reprinted from Amra in books like The Spell of Conan and Blond Barbarians and Noble Savages. Then I became sentient. After while, de Camp was sounding to me like Cliff Clavin from the T.V. show Cheers. He was an expert on everything! There was that headmaster tone present all the time that really began to grate on me. My attitude changed. Over exposure to L. Sprague de Camp turned me off. Later on, learning things like the lawsuits against Glenn Lord, preventing a pure Howard Conan edition by Baen, all those bad Tor pastiches made me downright unappreciative of his actions.

De Camp was at his worst with his biographies. He had little empathy for his subjects and put them out like some sort of freak show while he is the expert giving congressional testimony. I recently read David Hadju’s The Ten Cent Plague which is about the hysteria about comic books in the 1950s and the supposed bad influence on America’s youth. The section on Dr. Frederic Wertham, the psychiatrist who lead the attack against comic books reminded me of de Camp. L. Sprague de Camp is the Frederic Wertham of sword and sorcery.

The guy wasn’t without his own idiosyncrasies. For example, when I was the official editor of REHupa, de Camp would have his secretary call me if he was late in getting his mailing. He wouldn’t talk on the phone. He also had an answering machine but hated it. David C. Smith told me this story recently: “This took place back in ’75 or ’76, when I used to visit Ed (Hamilton) and Leigh (Brackett) regularly in the summer and fall. My guess is that it probably was in ’75, about the time that de Camp’s HPL book came out and de Camp did all of that ‘pseudoanalyzing’ about Lovecraft. Ed Hamilton asked me, ‘Did you have a good childhood?’ and I told him I certainly thought so. I grew up out in the country, climbed trees, played outdoors, had great parents, and so on. He said that he, too, had had a great childhood. He said, Sprague de Camp had a theory that all writers must have had bad childhoods and that such childhoods figured somehow into their later creativity.”

Charles Saunders had a past memory jolted recently by this series: “Sometime in the late 60s or early 70s, I read a feature about the nascent push for Black Studies programs. In the next issue, there was a letter to the editor from de Camp, in which he called Black Studies ‘intellectual pablum’. Anyway, when I saw that letter, I thought: ‘Man, you need to stick to your fiction’” Somewhere along the line, de Camp must have irritated artist Wally Wood as he wrote a comic called Dragonella and the evil wizard is named L. Sprague de Freeb. Then there is a parody of de Camp from the 1970s called Blonde Negroes and Noble Cabbages which I have never seen. Donald Wandrei “despised” L. Sprague de Camp. The Lovecraft biography of course being viewed as character assassination. Tevis Clyde Smith had none too good to say about de Camp’s “The Miscast Barbarian.” So, there were non-admirers going back decades.

The main defense of de Camp today is the belief he saved Conan from oblivion. This is based on ignorance. Martin Greenberg of Gnome Press made a deal with Bantam Books in 1962 for paperback versions of the Gnome Press books. Why didn’t this happen? De Camp was hurriedly shopping around for a Conan deal when Oscar J. Friend died. Did the threat of lawsuit scare off Bantam? Instead of Frazetta, there might have been paperbacks with James Bama painting Conan. The early 1960s saw an Edgar Rice Burroughs boom starting in 1962 when it was discovered a fair amount of Burroughs was public domain. That is turn helped spark an interest in sword and planet fiction with reprints by Otis Adelbert Kline, Ralph Milne Farley, and Ray Cummings. There were new books by Michael Moorcock (as Edward P. Bradbury), Gardner Fox, and even Lin Carter. The Magazine of Horror started in 1963, there were those Roger Corman film adaptions of Poe starring Vincent Price, Zacherly etc. The whole sword and sandle genre of film was going on at this time. Then you had the Tolkien mass market paperbacks which took it to the next level. All sorts of old fantasy was getting reprinted. You think Fletcher Pratt’s Well of the Unicorn was getting reprinted but Conan was going to languish? What planet do you live on? Someone would have published Conan. Donald A. Wollheim at Ace Books would have been on Conan immediately the minute he heard the stories were in public domain. You would have had Emsh, Jack Gaughan, or Gray Morrow doing covers if Ace had published Conan. My own contention is Don Benson at Pyramid Books shied away from Conan because de Camp’s agenting was not on the up and up. Conan is what brought L. Sprague de Camp back, not the other way around. He had left science fiction and fantasy until the Conan paperbacks. The idea that only L. Sprague de Camp could have rescued Conan is silly.

There has been accusations that de Camp was only interested in Conan. We have seen he was interested in getting something started with Solomon Kane with his agent that went nowhere. Remember- there were only two Kull stories known at the time and another two Bran Mak Morn stories. You can’t build books around characters with only two stories. It was only after Glenn Lord tracked down the trunk that further stories came to light, and Glenn Lord was agent for the Howard copyright holders by that time. De Camp’s intrusions were blocked. De Camp had Conan and that’s it. I think this was a good thing in hindsight. I have chronicled how the exploitation of Conan became all bolluxed up when de Camp had his way at CPI. People lost interest in the character.

There were grumblings about de Camp in the 1970s with articles in the small press such as Byron Roarke’s “Vultures Over Cross Plains” and Don Herron’s “Conan vs. Conantics.”  He got permanent ill will from Karl Edward Wagner for insisting on killing the Berkley Conan series. De Camp could have won back all sorts of good will if he had allowed Baen Books to publish pure Howard Conan. De Camp wanted it both ways– on one hand he used to act that he was the professional writer. On the other hand, he knew the Carter & de Camp Conan stories were not very good or even bad but he wouldn’t allow any Conan to be published without them. Contrast that to someone like E. Hoffmann Price who used to say that he wrote grade A manure for the Spicy pulps. A true pro knows when his work is bad and should not see the light of day one too many times.

When de Camp threatened Oscar J. Friend that he would just go off and write Conan stories anyway, Friend should have dared him because de Camp couldn’t. L. Sprague de Camp couldn’t write straight sword and sorcery at least not solo. He once said in a letter to REHupa that had he been more confident in his sword and sorcery writing ability, he wouldn’t have brought Lin Carter on board. Deep down, L. Sprague de Camp knew he couldn’t write sword and sorcery. He had to mock it if left to his own devices. Maybe he could have created an alter ego or pseudonym, take some masculine Anglo-Saxon sounding name like Erik Stone and ditch the French name and write some straight sword and sorcery. Probably even then he wouldn’t have been able.

L. Sprague de Camp was a descendant of Norman French Huguenots. The Normans were an aggressive piratical people always sniffing out places for new conquests. That trait was certainly present in him the way he pushed what originally was a work for hire deal and turned it into an equal ownership of an iconic character that he did not create. Looking at his actions, he was always waiting for weakness or an opening whether it was Oscar J. Friend, forming CPI, dealing with Glenn Lord, or getting money out of the Kull movie deal. De Camp is gone, the money he made is gone, only the legacy of his actions remain and the judgment of people aware of his actions.

Glenn Lord has quite a sense of humor. For the August 1996 mailing of REHupa (#140), he sent in a review of Conan of Aquilonia by Adrian Cole. Adrian Cole is a writer from Solomon Kane country, Devon in Britain. He is one of the better writers of sword and sorcery fiction to come out of the small press in the 1970s. He may be best known for the Omaran Saga which I once described to him as reading as if Tolkien had written for Weird Tales (a description he liked by the way). He wrote a parody of Lin Carter called “Longbore the Inexhaustible” for the small press way back when. Here are some choice parts from his review of Conan of Aquilonia:

“Just what is it that makes Conan of Aquilonia so much of a disappointment–a veritable act of dishonesty? Primarily because it falls down because it lacks Howard’s two driving forces, plot and action… Where Howard threaded intrigue and strands of sub-plot throughout his Conan episodes, Carter and de Camp have made no real attempt to do so–each of these stories are very simple, straightfoward thrust towards brief confrontation between Goody and Baddy (at that sort of banal level) and Conan either clobbers them good or his son Conn leaps in and delivers a useful hack or two to save Dad’s bacon.  As for the action, well, it’s stereotyped in the fullest sense –again no attempt has been made to imbue it with any flair. Everything is so predictable, in fact inevitable. Totally contrived, it spotlights all the worst faults of the sword and sorcery genre, a major retrogression. Conan cracks heads with an almost detached boredom. There is no spirit, no dynamism; Conan is like a Grand Master playing chess with a rank beginner.  Howard was no great shakes at character portrayal — but at least his brooding menacing players added to the sombre atmosphere of his scenery. De Camp in particular is fond of a vaguely medieval touch in dialogue, putting an emphasis on wit that does little more than border on flippancy, suggesting to me at least he finds all this a trifle silly. Indeed, the dialogue of these latest Conan works has become more inane than ever — a classic example of its self-ridicule is

‘By Mamajambo’s War Club!’

If that sounds like some huge jazz/blues singer to you, it hardly surprises me. Another irritating aspect of the dialogue is the frequent lapse into anachronistic colloquialism: I would not have been surprised to hear Conan say “Good Lord, is it really?” or “Gracious me, steady on, old chap.” You think exaggerate? Read the book carefully and see just how close he gets! Although the overall style is not poor, it is notable only for its simplicity and flatness.  Granted de Camp gets his ‘historical’ facts right (with numerous references to the appropriate arms and armour and so forth) but long gone is the blazing, almost paranoid vivacity of Howard, to be replaced by the unoriginal, repetitive cliches of Carter and the tongue-in-cheek banter of de Camp. Some of the basic descriptions and settings are good– the groundwork is here, but the finishing has been slapped on with no finesse. Pure hack work. The imagery is tired-exhausted , in fact. Thus I level a charge of vampirism against the authors- they may well plead mitigation on grounds of adoration for Howard’s hero. But the most damning piece of evidence against such a plea is the cold-blooded, slap-happy manner in which they have thrown Conan of Aquilonia together. For loot, no more. Better to have changed Conan’s name and called it something else, for this is not the real thing. Let the buyer beware!

‘Mamjambo’ indeed!”

I was almost on the floor laughing with the mention of Mamajambo. For the next few years, Steve Tompkins and I attempted to gratuitously throw in Mamajambo’s name into the conversation.  I had forgotten about Mamajambo. Time to resurrect him and insert the name whenever possible. Mamajambo is most definitely a creation of L. Sprague de Camp and not Lin Carter.

Hey Adrian- if you read this, send me an e mail. It has been a while.

We are alerted by Paul McNamee, over on the REH Forum, to an article in the Telegraph, “Barack Obama: The 50 facts you might not know,” in which it is reported that the newly elected President “collects Spider-Man and Conan the Barbarian comics”!  Will the mighty Cimmerian find a place in the White House library?

The 1980s was the decade that L. Sprague de Camp’s de-Howardization of Conan got into full gear.  Ace continued to publish the Lancer Conans to diminishing returns. I had written to Susan Allison, editor of Ace Books urging a collection of Henry Kuttner’s sword and sorcery. She replied that sword and sorcery fiction was not doing so well. People were not interested in Fafhrd & the Gray Mouser and even Conan sales were declining. Ballantine Books had reshaped fantasy publishing with Terry Brooks’ The Sword of Shannara. Lester and Judy-Lynn del Rey had discovered there was a large audience who wanted to read bastardized Tolkien over and over. The formula was find an unknown author writing derivative fantasy, put the money into packaging and promotion and sell more fantasy books. The fantasy reading audience shifted and by 1985 sword and sorcery was going extinct. It didn’t help that there were two bad Conan movies. John Milius hijacked Conan as a vehicle to make his Akira Kurosawa homage for the first movie. Mako dialogue at the beginning and end of the movie? You gotta be kidding me! The second movie was so bad it was the final nail in the coffin. Charles Saunders has blamed the Conan movies for killing sword and sorcery. The lure of movie money is what forced the formation of Conan Properties, Inc and the movies proved to be an albatross for the genre. The Ace editions went out of print one by one in the mid and late 1980s to general indifference.

The Robert Jordan counterfeit Conan novels proved successful enough for Tor to enlarge the operation and publish a large number of Conan pastiches. L. Sprague de Camp kept a degree of control over the series having veto power. The books had little to no mention of Robert E. Howard. In hindsight, this might be a good thing as most of the books were mediocre to poor.  John Maddox Roberts has mentioned he tried to include some dangerous elements in the stories but it was a constant battle against dumbing down, homogenizing, and making kiddie safe. This was the process of de-Howardization– overwhelm the original Howard cycle with a tsunami of Conantics novels so new readers wouldn’t know the difference. De Camp himself got back into writing his own fiction with The Unbeheaded King and The Hostage of Zir among others. De Camp wrote a timeline of Conan called “Conan the Indestructible” for the Tor pastiches. It was Clark and Miller’s timeline expanded–except there was no mention of P. Schuyler Miller and John D. Clark. De Camp removed them as efficiently as Stalin erasing Trotsky out of Party photos. And Miller and Clark had been friends of de Camp.

The 1990s brought two execrable Conan cartoons (remember the theme song?). Marvel comics finally killed off first Conan the Barbarian and then Savage Sword of Conan. Baen Books was interested in publishing the Robert E. Howard Conan stories in paperback with no pastiches. De Camp vetoed the idea. Conan was dying due to de Camp’s actions. About the same time, the Tor pastiches petered out with a wimper. John C. Hocking wrote Conan and the Emerald Lotus which was the pulpiest of the lot and perhaps the best but it was too little, too late. If you wanted Conan, you had to haunt the used bookstores.

De Camp made a move against Glenn Lord in the 1990s. Lord had been removed as agent for the Howard copyright holder in 1993 while in the process of doing his job.  De Camp petitioned the court demanding arbitration on Glenn Lord’s 5% commission on CPI’s gross as agent. The Supreme Court of New York decision stayed arbitration as the claim fell outside of the arbitration clause and “de Camp is not the proper party to raise the claim.” The court decision included that de Camp became “emboldened” with Glenn Lord’s dismissal. The original demand for arbitration mentions “disputes have proven to an unwarranted distraction and appear to have impaired the ability of CPI to exploit Conan.” Hell yeah, a series of lame movies, toys, and cartoons that ultimately damage the character are going to cause problems.

It was during this time that de Camp turned publicly against his deceased former collaborator, Lin Carter. In letters to REHupa, de Camp bemoaned that he didn’t ask Leigh Brackett to co-write Conan stories with him. Lin Carter was a derivative and sloppy writer. Most of his writing is crud, but–he enabled L. Sprague de Camp. De Camp would have never been able to write those Lancer pastiche stories if it had not been for Lin Carter.  Within REHupa, there was increasing criticism of the pastiches and de Camp attempted to deflect those charges by using Lin Carter’s corpse as the target.

Great to be back amongst the Rehupan Brethern. Virtually anyway.

Here’s a video that’s somehow missed posting so far, I put it on my webspace at work cause its a bit weighty:

http://www.nd.edu/~rjervis/art/Media/clife/clife.html

Cheers,

BreckenRich Jervis

ps: this is a test, feel free to ignore

The title says it all.

Mr. Leo Grin, the tall, handsome and humble REHupa webmaster, has passed on the reins of this site. After over eight years of tireless and stalwart behind-the-scenes work here, to say nothing of his unbelieveable generosity in footing all the bills, Leo has decided to move on. (Read: lighten his load a little!)

So, thank you so very much, Leo. We owe you a huge debt of gratitude for making this site a world-class effort where people can come for solid Robert E. Howard facts, commentary and opinions. Words can’t really express how much is owed to you, but in light of your generosity of refusing any payment, they’re all I’ve got! Many, many thanks, Leo!

Of course, most of you already know of Leo’s crown jewel of webmastering over at The Cimmerian blog, and it continues to be the very highest of standards for all Robert E. Howard sites. Hell, it’s a great standard for ANY website! If you don’t already know that, get your ass over there! Indy has spoken!

And let’s blaze our pistolas and brandish our Bowies for Mr. Richard Jervis, who is taking over the duties as the REHupa Webmaster. “Flash” is a former REHupan and longtime Howard fan, as well as being one of my most steadfast of friends. As is already noted, his takeover was seamless, and rest assured the REHupa website will continue in the most capable of hands. Besides, I know where Flash lives!