Tagged: Pulp Fiction


PulpEmpire.com is proud to offer our newest anthology Pirates & Swashbucklers, a seventeen story collection of great pirate pulp fiction! Pirates & Swashbucklers author Kameron W. Franklin interviewed his fellow writers of the new Pulp Empire anthology out now!

Today he sits down with Pam Bitner, author of “The Mark of the Brotherhood”.

When did you first realize you were a writer?
In middle school, though my writing back then would better serve as toilet paper. By high school, I only allowed my close friends to read anything and they encouraged me to go beyond that.

What authors influence or inspire you?
First and foremost, David Morrell. He was the first author I really, really started looking forward to the next book to come out. Lately, Brent Weeks has caught my attention. Not only is he a great guy, he tells a great story. Both make reading a joy.

What book(s) have you read more than once? What drew you back?
Brotherhood of the Rose by David Morrell. The characters drew me back. It’s the only book I’ve ever read twice.

Do you consider yourself a “pulp” writer? Why? Is there another genre you like to write?
I’ve written pulp, but it’s not the only genre I write, so I don’t consider myself exclusively ‘pulp’. I have a couple of alter egos out there writing anything from young adult and beyond. For me, it’s not about writing in one genre. It’s about taking it and writing a story well. I haven’t found a genre I didn’t like yet.

In 25 words or less, how would you define “pulp” as a genre?
Gritty. It’s got that character you sometimes love to hate, and perhaps to some level, it’s got a bit of cliche cheese, but in a good way. A femme fatale doesn’t hurt either.

What made you decide to submit a story for the Pirates & Swashbucklers anthology?
I belong to a private writer’s site called Scribophile. A couple of the ladies and I have a group there and when a good anthology waggles its bum in our direction, we announce it. I’ve always liked the arrogance of a swashbuckler and how, no matter what, they get out of trouble and snag the girl in one swoop.

Read more of Kameron’s interviews at PensAndSwords.com.

Pulp Empire Presents: Pirates & Swashbucklers is now available at Pulp Empire.com. Until October 10th, use the code “62QUSQGC” at our CreateSpace bookstore to receive 15% off on the book!



To celebrate “Talk Like a Pirate Day”, PulpEmpire.com is proud to offer our newest anthology Pirates & Swashbucklers, a seventeen story collection of great pirate pulp fiction! Pirates & Swashbucklers author Kameron W. Franklin interviewed his fellow writers of the new Pulp Empire anthology out now!

Today he sits down with Jason Kahn, author of “Voyage of the Hangman”.

When did you first realize you were a writer?
It changes depending on my mood. Sometimes I think it was when I sold my first short story. Sometimes I think it was my first (and thus far only) professional short story sale. Sometimes I don’t really consider myself a writer at all because I don’t write fiction for a living. Sometimes I think that’s ridiculous because I do make a living writing and editing, just not fiction. Then there are other times when I think that if and when I have an actual novel published, like I hopefully will with the one I just finished writing, I can then honestly look in the mirror and say, Chum, you’re a writer, you are.

What authors influence or inspire you?
Early on, I would say authors like Raymond Feist and David Eddings influenced me the most as I tried to write fantasy-adventures, but lately, much more James Ellroy, Elmore Leonard, Joseph Wambaugh, and Donald Westlake as I’ve been writing more noir crime fiction. I read several detective fiction authors as I worked on some of my recent pieces. Raymond Chandler, Peter Lovesey, and then I read Ellroy. The Black Dahlia, L.A. Confidential, and many more. I wasn’t prepared, my mind exploded. I could not put them down.

Do you consider yourself a “pulp” writer? Why? Is there another genre you like to write?
Some of the writing projects I’m involved with currently are very pulp-ish, noir detective type stuff, so at the moment I definitely feel that way. But I also write fantasy and hard scifi, so it varies. Basically I just like to write a good story. Whatever style fits is okay with me.

What book(s) have you read more than once? What drew you back?
The first book I remember reading more than once was A Wizard of Earthsea by Ursula K. Le Guin. I read it when I was a boy, and it was my first real introduction to fantasy literature. Quite a primer, right? I re-read it constantly, the language, the world-building, the characters. It was all there.

In 25 words or less, how would you define “pulp” as a genre?
Pulp as a genre takes me back to the old serials: over the top heroes and villains, nonstop thrill-ride action. That’s only 20!

What made you decide to submit a story for the Pirates & Swashbucklers anthology?
I always wanted to write a sword-and-sorcery adventure on the high seas with people who go “argh!” This was the perfect opportunity.

Read more of Kameron’s interviews at PensAndSwords.com.

Pulp Empire Presents: Pirates & Swashbucklers is now available at Pulp Empire.com. Until October 10th, use the code “62QUSQGC” at our CreateSpace bookstore to receive 15% off on the book!


Readers of ALL PULP saw it announced here first.  An initiative to bring creators and publishers of what many consider the modern version of Pulp fiction together under one banner, a branding plan that would make Pulp publishers and creators easily identifiable, regardless if it was a Western pulp tale or a sci fi pulp opus, something that would link these various modern Pulpsters together.  A way to advertise, to unite, to push what Pulp is today without concerns of competition, sales, and who writes what for who.  A true recognition of ‘If it helps one of us, it can help all of us.’ that was first expressed in a statement on ALL PULP and not only gained quick support, but led to a brand that is now sported on books from various publishers, including Moonstone, Airship 27, Pro Se Press, Pulpwork Press, and others.  A brand and an idea that has grown quickly into a Movement.

New Pulp.

In an effort to capitalize on the support and involvement New Pulp has garnished since the man who initiated the organization of the Movement, Tommy Hancock, announced it, Hancock announces today a next step in the evolution of New Pulp.  While in many ways nothing will change, in other areas, improvements are being made and plans moving forward to insure that the New Pulp Movement isn’t just something among like minded fans, but a major part of literature and social consciousness.

“New Pulp is still New Pulp,” Hancock states, “just as it was outlined in my original statement and just as its sort of organically developed since then.   It’s that development, that growth, that has sort of spurred the next step.  We could let New Pulp basically remain this open source thing that just anybody can pick up and use as a brand on their products and have a ‘New Pulp’ project here and there and most likely it would limp along forever and be okay that way.  But that’s not what this whole thing was about, jsut sort of doing it halfway.  It’s about getting recognition for creators and publishers of modern Pulp.  It’s about increasing awareness, readership, and involvement in New Pulp, so creators can get their stories told, publishers and producers can get their product sold, and society as a whole can experience some of the best durned literature for the masses anyone could read.

“What’s going to be happening as far as the Movement is concerned is some extra hands have been brought on and given formal positions within New Pulp to help facilitate more exposure, more material, more chances for New Pulp and all of us involved to get noticed, and more ways to make any creator’s or publisher’s association with New Pulp a positive and successful experience.  One thing New Pulp is committing to is that New Pulp will attend all three major Pulp Cons next year-Pulp Ark (The only official New Pulp Convention’Conference), Windy City, and Pulpfest.  Also, since people pretty much have already been asking me before they can use the New Pulp logo, that’s a practice we’re going to formalize for a couple of reasons.  One, so we can keep up with everybody who is involved in New Pulp and two, so we can at least have a say in quality control and make sure that the New Pulp logo is being applied appropriately.  It’s still free and being a part of the whole New Pulp Movement still doesn’t require you to take on extra work (unless you want to help out) or to sign your first born away.   This is just part of the evolution.”

Provided below is the roster of Staff of the New Pulp Movement.  Hancock points out that, “This list is incomplete, although that’s only by one or two spots.  And there can be more of almost everything on here as well, so if you want to help out, we can put you somewhere.  But remember, even when we start selling merchandise or producing books or whatever, that money doesn’t go into anyone’s pockets.  It goes back into New Pulp or to a charity New Pulp has partnered with.”

Tommy Hancock-Coordinator
Megan Smith-Coordinator’s Assistant
Sean Ali-Design/Advertising
Barry Reese-Online Promotions
Joshua Reynolds-Recruitment
Derrick Ferguson-Recruitment
Andrew Salmon-Merchandising
Mike Bullock-Editor in Chief, www.newpulpfiction.com
Columns Editor – Hank Brown
Columnists –
Michael May “Pulptacular”
Jim Garrison “Pulp Magnet”
Sean Ellis – Title to be determined
Reviewers –
Andrew Salmon

The New Pulp Movement also has a Staff of Advisors, a board of three that will provide advice and insight to Hancock as needed and provide a vital support in that fashion.   Two of the three positions have been selected and accepted.

Ron Fortier
Wayne Reinagel

“New Pulp is about the creators and publishers that make it up,” Hancock states.  “We’re just trying to make it something they benefit from and are glad they are a part of.”

Anyone interested in helping out with New Pulp or using the New Pulp logo can email Hancock at proseproductions@earthlink.net



New Pulp, a recently organized Branding Movement to unite creators and publishers of modern Pulp fiction under a collective banner, announces today its first collective New Pulp publication. According to New Pulp founder Tommy Hancock, this project is a twenty chapter novel currently being written in a round robin style, that meaning each chapter is written by a different author. This multiple author narrative, entitled PARIAH AND THE PURPLE PRINCE, is the inaugural project of writers and publishers under the New Pulp Banner.

“New Pulp,” according to Hancock, “is a designation that applies to creators and publishers who, having found their inspiration in the stories and style established by the writers of classic Pulp stories in the early Twentieth Century, are continuing to write, draw, and publish tales of action and adventure in that tradition. New characters, new stories, new ideas, all owing a debt to the Pulp greats, but also written to be the two fisted, high octane adventure stories of today and the New Pulp classics of tomorrow.”

“This current project,” Hancock states, “actually sprouted out of the first New Pulp convention, Pulp Ark, held this past May in Arkansas. Possibly the single largest gathering of New Pulp creators to date, more than 25 creators representing at least nine publishers attended this convention and, of course, many ideas and concepts were discussed and debated. One of those discussions centered around how this collection of writers, artists, and publishers, now standing together under the banner of New Pulp could not only present and produce a unified product, a work representative of all the variety that New Pulp has to offer, but also a way that we could contribute something worthwhile, not just great stories. That desire quickly became an idea for a novel, round robin style.”

PARIAH AND THE PURPLE PRINCE is a novel in progress that started with a bare bones minimalist plot suggested by Hancock. Twenty authors were invited to participate in this project, their names being written individually on single strips of paper. As these names were drawn, each writer was assigned a chapter in the order their name was selected, the first writer getting Chapter 1 and so forth. Each writer gets a month to complete their chapter, although Hancock reports that the fourth writer is nearly done with Chapter Four and the project is just over a month along. “We are all taking this very seriously,” Hancock reports, “not only because we want the world to see what New Pulp is about, but also we are excited about the opportunity to give of ourselves, our time and effort and whatever money this novel might raise to not only a worthy cause, but toward something we all have a stake in-Improving education and literacy.”

All proceeds resulting from the sale of PARIAH AND THE PURPLE PRINCE will go to The Stan Lee Foundation. Founded to carry on the legacy of Stan Lee, the creative genius behind Marvel Comics and creator of a literal universe of iconic characters, the Stan Lee Foundation’s primary goal is to make literacy, education, and involvement in the arts accessible across America. A non-profit organization, The Stan Lee Foundation develops, designs, and sponsors programs and events with the singular purpose of bringing literacy, knowledge, and artistic enrichment to Americans from coast to coast.

“It is an honor,” Hancock states, “for each and every writer and creator involved in this project to be a part of giving something to an organization started by a man that has given us as fans and the world itself so much. The chance to contribute to The Stan Lee Foundation, to help this group further the fantastic efforts into education it has already initiated, to be just a little part of the progress and success that its various endeavors will see, is the best payday any of us could receive. With the opportunity of New Pulp working with the Stan Lee Foundation in other ways in the future also being possible, we truly want to give our best to this novel project and intend for this work to benefit future artists, learners, and readers everywhere.”

PARIAH AND THE PURPLE PRINCE will be published by Pro Se Press, the New Pulp publisher Hancock is a partner in. The writers contributing a chapter each to the novel include Hancock, Joshua Reynolds, Ron Fortier, Barry Reese, Thomas McNulty, Megan Smith, Wayne Skiver, Terry Alexander, Sean Ellis, Van Allen Plexico, Derrick Ferguson, Nancy Hansen, Adam Garcia, Wayne Reinagel, Mike Bullock, Andrew Salmon, Jim Beard, Bill Craig, Rich Steeves, and Tim Byrd. Collectively, these writers represent work in nearly every genre imaginable, from western to science fiction to crime to horror and beyond within New Pulp and as a group have worked with multiple prose and comic publishers producing the finest New Pulp has to offer.

For more information concerning New Pulp or the round robin novel PARIAH AND THE PURPLE PRINCE, contact Hancock at proseproductions@earthlink.net and follow New Pulp on http://www.newpulpfiction.com/.

Comedy, Mystery, Pulp, and More….all from RADIO ARCHIVES!

July 1, 2011

It’s a Download Bonanza at RadioArchives.com!
* New Downloads: The Lost Episodes of Fibber McGee and Molly
* Python Isle: Reviews Are Coming In
* New in Pulp Fiction
* Who Knows What Evil…
* New: Classic Whodunits with Sherlock Holmes
New Downloads: The Lost Episodes of Fibber McGee and MollyFor over two decades, whenever the front doorbell rang at 79 Wistful Vista, millions of radio listeners could be sure that laughter was soon going to follow. For behind that door lived a memorable couple whose misadventures entertained audiences both young and old for more than twenty years.

Fibber McGee and Molly were an institution on radio, bringing us belly laughs thru the dark days of the Great Depression, the challenging years of World War II, and well into the prosperity of the 1950s. And now, thanks to a new series of Digital Downloads from RadioArchives.com, you can enjoy hour after hour of smiles and chuckles with the irrepressible Fibber, sweet and patient Molly, and all of their bizarre neighbors – including Wallace Wimple, the Old Timer, and McGee’s friend and sometimes nemesis Doc Gamble.
With the discovery of literally hundreds of long-lost NBC master recordings, RadioArchives.com has brought you twelve collections of “The Fibber McGee and Molly Show” on audio compact discs. Now all of these great sets can also be purchased as Digital Downloads – and at a price considerably lower than the comparable CD set! Just visit RadioArchives.com today and browse our new Digital Downloads section, where you’ll find Fibber and Molly, “The Lux Radio Theater”, Orson Welles in “The Lives of Harry Lime”, and many other radio and audiobook favorites. Place your order, download your sets, and in just minutes you’ll be enjoying some great audio entertainment.

Digital Downloads from RadioArchives.com come to you as high bitrate MP3 files to ensure that you’ll enjoy the same sparkling audio fidelity as in our CD sets. You can play them on your computer, on most mobile phones, or on your favorite portable device – and, whether you live in Seattle, Stockholm, or San Juan, each downloadable collection is available worldwide with immediate delivery and NO postal charges to pay!

So stop by RadioArchives.com today and enjoy our new and ever-expanding array of Digital Downloads – and watch out for that closet door!

Python Isle: Reviews Are Coming In At Radio Archives, we always like to please our customers. But we’ve truly been overwhelmed by the compliments we’re receiving about “Python Isle”, the Doc Savage adventure that introduces our new line of pulp audiobooks!

Dale from Littleton, Colorado writes:
Absolutely fantastic! The narrator did all kinds of different voices for all the characters and kept everything very well paced. All audiobooks should be like this one.

Larry Scheflin writes:
I’ve been listening to “Python Isle” and I must say that Michael McConnohie has done an excellent job. His voice characterizations are a joy. Kudos to all and thanks for a wonderful listening experience.

From the All Pulp Blog, reviewer Tommy Hancock writes:
“Python Isle” is the stuff pulp dreams are made of. From fistfights and gun battles to harrowing chases in various locales all the way to an epic conflict aboard a zeppelin, “Python Isle” delivers all the thrills and chills anyone could want. It’s more than a treat, better than a nice surprise. It is simply New Pulp storytelling at its best.

If you thrill to the excitement and suspense that only a great adventure story can provide, you’ll want to visit RadioArchives.com today and pick up your copy of “Python Isle”. Written by Will Murray and directed and produced by Roger Rittner – the same team that brought you “The Adventures of Doc Savage” radio series – this eight hour collection also features two exclusive and newly recorded interviews with the author and striking cover art by Joe DeVito. Priced at just $25.98 for the 8-CD set or $17.98 for the Digital Download, this action-packed tale is one we know you’ll want to share with your entire family. And, next month, be sure to watch this newsletter for our next exciting audiobook, in which the Man of Bronze faces one of his most challenging foes: the mysterious White Eyes!

New in Pulp FictionDuring the 1930s, both kids and grown-ups alike would often rush to their favorite newsstands to anxiously await the delivery of the latest magazines featuring their three favorite adventure heroes: Doc Savage, The Shadow, and The Spider! Now RadioArchives.com offers you a series of double-novel reprints featuring the timeless stories of these crime fighting icons, all featuring full-color covers and many special features! The new arrivals include:

“The Shadow, Volume 50”, priced at just $14.95, an extra-length special issue showcasing three of the Dark Knight’s most thrilling stories: “The Man from Shanghai”, “The Golden Dog Murders”, and “Jabberwocky Thrust”. Then, in “Doc Savage, Volume 45”, priced at just $14.95, The Man of Bronze returns in two of his most engrossing adventures: “Merchants of Disaster” & “Measures for a Coffin”. Finally, The Spider – pulp fiction’s legendary Master of Men – returns in two thrill-packed adventures, combined into one volume for the low price of just $14.95: “Slaves of the Dragon” and “The Spider and his Hobo Army”.

Often neglected and unrecognized in their own time, the stories of these three influential superheroes are now seen as classics of popular culture. If you love pulp fiction – or if you’re just discovering it for the first time – be sure to visit RadioArchives.com today and order copies of these and our other classic pulp fiction titles for your personal library.

Who Knows What Evil… “Who knows what evil lurks in the hearts of men? The Shadow Knows!”…and so does John Olsen, whose insightful reviews share the web pages for every double-novel Shadow reprint offered by RadioArchives.com. John is the only fellow we know who has read, re-read, and re-re-read every adventure of this crime fighting foe of the underworld – all 325 of them – and, thanks to his generosity, he regularly shares his thoughts and opinions about the novels of the Knight of Darkness with the visitors to RadioArchives.com.

If you share John’s love of The Shadow, you may or may not share his opinions, but you’re sure to agree that he knows his subject and writes about it very well. If you’re only casually acquainted with this iconic vigilante of justice, we know you’ll appreciate John’s insightful reviews of his many adventures. And if you’ve never read a Shadow novel – well, there’s no one like John Olsen to entice you to get started right away!

So the next time you come to RadioArchives.com for entertainment, visit the Pulp Fiction section and read a few of John Olsen’s reviews. If you’re like us, we bet you’ll soon be just as big of a fan of The Shadow as he is – and understand completely that “The weed of crime bears bitter fruit. Crime does not pay! The Shadow Knows!”
New: Classic Whodunits with Sherlock HolmesIn the annals of detective fiction, there are many investigators who could lay claim to legendary status. But, for many, the most famous, the most unique, and the most emulated would be the pipe smoking, violin playing, and deer-stalker clad gentleman known as Sherlock Holmes.

Created by Sir Arthur Conan Doyle, Holmes and his faithful friend and companion Doctor Watson have been a significant part of popular culture ever since their adventures first appeared in the Strand Magazine in 1887. In the years that have followed, Holmes and Watson have made their way to the stage, the movies, television, and even graphic novels – but, for fans of classic radio, “The New Adventures of Sherlock Holmes” remains among the best interpretations of these two unforgettable characters and their often baffling cases.

The two actors most associated with the roles during radio’s Golden Age were, of course, Basil Rathbone and Nigel Bruce. But Rathbone’s departure from the series in 1946 resulted in another actor taking on the part: Tom Conway, the suave and handsome leading man who had recently been seen as The Falcon in the popular RKO movie series. Though long-time fans were understandably dubious of the change, Conway’s talents fit the role like a glove and he, along with Nigel Bruce, continued to broadcast the series from Hollywood for another successful season.

In “The New Adventures of Sherlock Holmes, Volume 1”, RadioArchives.com brings you ten exciting and fully restored episodes from this little-known chapter in the life of the World’s Greatest Consulting Detective, just as originally aired in 1946 and starring Tom Conway and Nigel Bruce. Priced at just $14.98 for the five audio CD set, or $9.98 for the digital download, this collection also features original cover art by Timothy Lantz. Visit RadioArchives.com and add Sherlock Holmes to your personal library of mystery favorites right away!

(Note for long-time customers: this 5-hour collection is a repackaged re-release of the first half of a 10-CD set which we previously offered in our catalog. In addition to new cover art, all of the shows in this collection have been newly restored from the original masters to ensure outstanding audio fidelity.)
We’d love to hear from you! Send an e-mail to Service@RadioArchives.com or call us toll free at 800-886-0551 with your comments, questions, or suggestions.

Listen to this Newsletter!

Sit back, relax, and enjoy this newsletter as an Audio Podcast! Click anywhere in the colorful banner at the top and you’ll automatically hear the Radio Archives Newsletter, enhanced with narration, music, and clips from our latest collections! This audio version of our regular newsletter is a pleasant and convenient way to hear all about our latest products, as well as the newest pulp fiction reprints, special offers, and much, much more!

The releases we’ve described in this newsletter are just a small fraction of what you’ll find waiting for you at RadioArchives.com. Whether it’s pulp fiction classics, our new line of audiobooks, colorful and exciting items from Moonstone, timeless movies and television shows on DVD, or the over 150 compact disc collections and downloads containing thousands of sparkling and fully restored classic radio shows, we hope you’ll make RadioArchives.com your source for the best in timeless entertainment.


June 3, 2011
See What’s New at RadioArchives.com!
* Now Available: Digital Downloads!
* New in Old Time Radio: The Unexpected, Volume 2
* Coming June 10th: Doc Savage Returns in “Python Isle”
* New in Pulp Fiction: Doc Savage Volume 48 and The Shadow Volume 49
* Pick Up a Bargain in the Treasure Chest
* Also New in Old Time Radio: Joe Palooka

Now Available: Digital Downloads!

You asked for it – and now it’s here: the first Digital Download from RadioArchives.com! Our newest CD set, “The Unexpected, Volume 2”, is now available to you in two ways: mailed to you as an audio CD set  OR delivered to you immediately as a digital download!

And purchasing the digital version is easy: when you go to the webpage for “The Unexpected, Volume 2”, you’ll see the option to instead go to the product page for the downloadable version of the collection. Once you’re there, just add the download version to your shopping cart, proceed with check-out, and you’ll instantly be able to download a ZIP file containing MP3s of all of the shows in the set . In just a few seconds, you’ll be enjoying the exciting tales of “The Unexpected”!

From this point forward, all of the new CD sets released by RadioArchives.com, as well as every release in our new line of audiobooks, will be available to you as downloads on the same day they are released as CD sets – and, in the weeks to come, you’ll find that more and more of our other great sounding CD sets will also be downloadable. Be sure to visit the “Digital Downloads” page on our website regularly to check out the new products as they become available.

Digital Downloads from RadioArchives.com – a new way to bring you the very best in audio entertainment!

New in Old Time Radio: The Unexpected, Volume 2
Fifty years from now, should some intrepid archaeologist happen to come across a stack of radio and movie scripts from the postwar years, he or she is bound to end up with an interesting take on our culture. It’s likely, in fact, that American society circa 1947 will be interpreted as paranoid, suspicious, and steeped in fear and dread. And if, in that pile of crumbling paper, that archaeologist also happens upon scripts for a little-known radio series titled “The Unexpected”, his or her impression of a society in psychological crisis would be even more certain.

“The Unexpected” was produced by Hamilton-Whitney Productions, a Los Angeles-based company creating programs for syndication. Unlike big-time network dramatic shows, Hamilton-Whitney couldn’t afford the price tags attached to “A” list celebrities – but this actually proved beneficial, since busy radio and movie character actors like Barry Sullivan, Jack Holt, and Lurene Tuttle were used to playing a multitude of parts with very little rehearsal. The budgets may have been small but, thanks to experienced hands both before and behind the microphone, the results were quite impressive.

Then as now, every show that hoped for success had to have some sort of hook or gimmick that differentiated it from other shows. In the case of “The Unexpected”, the series specialized in tense stories of mystery and suspense, usually centering on the thoughts or actions of a single person. A prison inmate, fed up with the verbal abuse of the guards, suddenly snaps and makes his escape…a counterfeiter, fearing capture, gets involved in a card game with the intention of losing all of his phony currency…a ship captain, owing money to a gambling syndicate, plans to sink his own ship for the insurance money – all were simple but engaging plots for this enterprising series. But the fascinating thing about the shows – and the “hook” designed to attract and retain the interest of listeners – was the twist ending that came with each program. You’ll be listening along to the story and then, just about the time the plot is being resolved, the program’s announcer will say “You think the story is over, don’t you? But wait! Fate takes a hand. Wait…for the Unexpected!” Well, after that, what can a listener do but sit through the commercial to find out the REAL ending to the tale?

If you’re a fan of suspenseful mysteries – and particularly if you love surprise endings – you’ll find “The Unexpected, Volume 2” to be a real delight. Transferred directly from original transcription recordings and fully restored for sparkling audio fidelity, this second collection features such talented performers as Lurene Tuttle, Lyle Talbot, Barry Sullivan, and Virginia Gregg.

What’s more, this new collection is now available in two formats: you can get the five-CD set for just $14.98 or, if you prefer, you can get “The Unexpected, Volume 2” as a digital download for just $9.98! Stop by RadioArchives.com and order your copy right away!

Coming June 10th: Doc Savage Returns in “Python Isle”

On June 10, 2011, RadioArchives.com will inaugurate a new and exciting era in pulp fiction entertainment. On that day, for the very first time, The Man of Bronze will come to vivid life in the first of a new series of audiobook adventures.
Written by Will Murray and produced and directed by Roger Rittner – the same team that brought you “The Adventures of Doc Savage” radio series – “Python Isle” will feature narration by Michael McConnohie, known for his work on some of the most popular audiobooks, anime features, and video. This team of professionals, and many other talented performers and technicians, have joined together to create a new series of pulp audiobooks for RadioArchives.com – a series that, in the months to come, will also feature the thrill-packed adventures of The Spider, Secret Agent X, and many other timeless favorites.

The quality of these new releases, which will be available as both audio compact disc sets and as digital downloads, is truly impressive. To hear an audio clip featuring Michael McConnohie reading from “Python Isle”, click here: Audiobooks from RadioArchives.com

For eighty years, the name Doc Savage has meant excitement to millions of readers worldwide. On June 10th, join with us and experience his exploits in a whole new way as we introduce pulp audiobooks from RadioArchives.com!

New in Pulp Fiction: Doc Savage Volume 48 and The Shadow Volume 49

Back in the 1930s, it was common to find teenagers and grown men alike gathering around their neighborhood newsstand, anxiously awaiting the arrival of the latest adventures of their favorite pulp heroes. Nowadays, however, it’s far easier for fans of Doc Savage and The Shadow to get the latest tales of these two timeless adventure favorites: just stop by RadioArchives.com and you’ll find two brand new and just released reprints featuring the Man of Bronze and the Knight of Darkness waiting for you!
In “Doc Savage Volume 48”, priced at just $14.95, you’ll thrill to the classic adventures of the Man of Bronze in two original novels by Lester Dent, writing as Kenneth Robeson. First, what is the bizarre connection between the appearance of “Red Snow” and the disappearance of a United States senator? Our national security may depend on Doc Savage’s discovery of the sinister secret! Then, in “Death Had Yellow Eyes”, Monk Mayfair is abducted while the Man of Bronze is framed for bank robbery and murder. This classic pulp reprint is available in two editions: one features the original color pulp covers by Walter M. Baumhofer and Modest Stein, while the alternate edition features an impressive painting by Bantam artist James Bama. Both feature Paul Orban’s classic interior illustrations and historical commentary by Will Murray, writer of seven Doc Savage novels which are soon to be released as audiobooks by RadioArchives.com.

Next, the radio origins of the Knight of Darkness are showcased in “The Shadow Volume 49”, priced at just $14.95 and featuring two classic pulp novels by Walter Gibson, writing as Maxwell Grant. First, the Dark Avenger teams with Secret Service agent Vic Marquette to investigate a far-reaching counterfeiting ring in “The Shadow Laughs!”, the landmark novel that introduced the real Lamont Cranston. Then, how can The Shadow prove that an innocent man is not a murderer when several witnesses have identified the young man as the “Voice of Death”? This instant collector’s item features the original color pulp covers by Jerome Rozen and Graves Gladney, classic interior illustrations by Tom Lovell and Edd Cartier, and commentary by popular-culture historians Will Murray and Anthony Tollin.

Both of these collectable publications are now available at RadioArchives.com – and, to get one or both, you’ll pay just $3.00 flat rate shipping, delivered anywhere in the United States. If you just can’t get enough of these two exciting heroes – as well as The Spider, The Avenger, and The Whisperer – stop by RadioArchives.com and place your order right away.

Pick Up a Bargain in the Treasure Chest

 At RadioArchives.com, we love to reward our customers for their business – and that’s why, every day of the week, we offer you our Treasure Chest Bonus offers. These special deals are always featured on our home page and give you the chance to add something special – and bargain priced – to each and every order you submit. Get out your calendars now and circle the dates for the deals coming your way this week:
* Today through Monday June 6th, you can get our newest CD set – “The Unexpected, Volume 2”, a $14.98 value – for Just 99 Cents when you submit an order of $35.00 or more.
* On Tuesday June 7th, pulp fiction’s legendary Man of Bronze returns in “Doc Savage Volume 3”, featuring two classic stories by Walter Gibson. In “Death in Silver”, ruthless terrorists launch a series of attacks that leave Manhattan in flames. The Man of Bronze, his Iron Crew, and Doc’s beautiful cousin Patricia Savage must unmask the leader of the Silver Death’s-Heads before they achieve their murderous goals. Then, in “Golden Peril”, an international band of mercenaries invades the Republic of Hidalgo to usurp the source of Doc’s secret wealth in the sequel to the first Doc Savage novel. This beautifully reformatted double-novel reprint is normally priced at $12.95 – but you can enjoy these two exciting adventures for Just 99 Cents when you submit an order of $35.00 or more..
* On Wednesday June 8th, the Robin Hood of the Old West rides again in “The Cisco Kid, Volume 1”, a ten-CD collection featuring twenty exciting tales of action, adventure, and excitement. Transferred from a series of long-lost recordings and fully restored for sparkling audio fidelity, this timeless compact disc collection normally sells for $29.98 – but, for one day only, it can be yours for Just 99 Cents when you submit an order of $35.00 or more.

Also New in Old Time Radio: Joe Palooka

 During radio’s heyday, it was common to adapt stories and characters from the comic strips into shows for radio listeners to enjoy. In some cases, the results were extraordinarily successful; Harold Gray’s Little Orphan Annie, sponsored by Ovaltine, became a radio legend, while both Jungle Jim and Flash Gordon enjoyed weekly success. But, surprisingly, some of the biggest names in the comics failed to click with listeners – and, in 1945, one of those big names was that of the popular prizefighter of the funny papers, Joe Palooka.

Created by cartoonist Ham Fisher, Joe Palooka had made his newspaper debut in 1930. Since that time, his popularity had grown to the point that his exploits were being carried in 900 newspapers throughout the country – helped, no doubt, by the fact that the pugilist had spent the war years serving in the United States Army. One of the earliest characters to enlist, Joe joined the military in 1940 and spent the next five years fighting the Axis forces in both his daily and Sunday comic strips. Not surprisingly, he was a big hit with GI’s, his adventures printed in both Stars and Stripes and Yank, two newspapers printed exclusively for military personnel.

Realizing that the war had brought fame and respect to the character far beyond his expectations, in 1945, Ham Fisher decided that it was time to bring Joe Palooka back to radio in a new series of peacetime adventures. To bring his comic strip to life, Fisher first contacted Harold Conrad, a former Broadway columnist who had lately turned to press agentry and free-lance writing. There was no question that Conrad had knowledge of the boxing world and Fisher felt that his fascination with the eccentrics and rogues that populated the sport would infuse the radio version with an authentic ringside flavor. Conrad agreed to write a couple of radio scripts for a syndicated series to be produced by Graphic Radio Productions, Inc. Two audition shows were quickly produced by the NBC Radio-Recording Division in their Chicago Merchandise Mart studios, but the series failed to sell.

Undaunted by this, Ham Fisher then took the concept to John Boler, the President of the North Central Broadcasting System, which supplied programming to a number of midsized radio stations. Boler, in conjunction with Fisher’s partners, agreed to produce a five-a-week radio series to be recorded in the studios of the L. S. Toogood Recording Company in Chicago. Recording began in the fall of 1945 and, over the next few months, a total of 130 fifteen-minute episodes were produced – 26 weeks worth of daily shows. As it turned out, however, 1946 was not a good year for North Central Broadcasting; in the summer, the company filed for bankruptcy and, by the end of the year, it was no more. With all of the financial complications, “Joe Palooka” failed to get the publicity and salesmanship that it deserved and, unfortunately, the series never aired outside of a few small local markets.

Though disappointed by the way things turned out, Ham Fisher remained enthusiastic about Joe Palooka’s potential for broadcasting – but radio, it seemed, was not to be his medium. Fisher turned his attention to television and, by 1953, “The Story of Joe Palooka” made its video bow in a syndicated series produced by Guild Films. The radio series, having been heard by very few people, fell into obscurity and has been almost completely forgotten by radio historians – but luckily, a few months ago, Radio Archives acquired twenty episodes of the series, as well as the 1945 audition recordings made by NBC. The result is a brand new five-hour collection containing twenty episodes of “Joe Palooka”, as well as the two NBC auditions. For fans of comic strips, as well as those who grew up with Joe Palooka in the movies and on television, it’s a rare chance to hear this iconic American hero on the air in his own radio series.

For over fifty years, Joe Palooka, his colorful manager Knobby Walsh, his girlfriend Ann Howe, and the many other characters that populated the comic strip brought enjoyment to millions of devoted readers. In this five CD set, priced at just $14.98, you’ll enjoy five full hours of his radio adventures, made available here for the very first time since 1945. It’s a fascinating glimpse into the history of an American icon who entertained and inspired American youth – and it’s now available from RadioArchives.com.

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The releases we’ve described in this newsletter are just a small fraction of what you’ll find waiting for you at RadioArchives.com. Whether it’s pulp fiction classics, colorful and exciting books from Moonstone, timeless movies and televisi on shows on DVD, or the over 150 compact disc collections containing thousands of sparkling and fully restored classic radio shows, we hope you’ll make RadioArchives.com your source for the best in entertainment.
We’d love to hear from you! Send an e-mail to Service@RadioArchives.com or call us toll free at 800-886-0551 with your comments, questions, or suggestions.


I sat down to write this…what you are reading…as an announcement and it is that, of course.  But it’s not an announcement of a new Pro Se magazine or book, although Pro Se Productions will obviously be involved…obvious when you finish reading this, that is.  It’s not a new ALL PULP column even though ALL PULP and any other news site, blog, page, etc. that is interested in Pulp will be a part of it if they choose to be.  And it’s most definitely not a Tommy Hancock project.  I hope to be pivotal to its execution as I hope many others are, but I’m simply the guy who hopefully is the spark that starts the fuse that leads to the revolution.
Heady words, right?   But I don’t feel like they’re the wrong words. 
Pulp Fiction has many layers.  More than a genre or a field of writing, Pulp is a historic event, has been since the first cheaply made, quickly written magazines hit the newsstands so many decades ago.   Was it necessarily a whole new form of literature, then?  No, not when you take into account the dime novels and such that preceded pulps.  What it became, however, is an unstoppable force, an unbelievable influence on writers of the era and especially writers, both famous and unknown, of every year since.   The simplistic, yet layered storytelling, the one-two punch of the dialogue and the action, and the over the top antics, characters, and resolutions that made readers believe in the amazing, the fantastic, and the incredible have leaked into modern literature in ways that no one expected. 
As a writer of New Pulp, something that has been going on really since the original era of the Pulps ended, I have heard many people say and have even said myself that we are in the midst of a Pulp Renaissance.   That now with the advent of things like the internet, Print on Demand, and an overall increase in interest, Pulp is becoming more and more popular and noticed every day.  I believe this simply because of the number of writers, artists, and especially publishers I am aware of that have  set up shop in the last 5 or so years, creators who are simply out to do one thing-write Pulp.  And even before this new crop of artisans, Pulp still had a strong foothold.  Collectors, dealers, and fans of the original works and legendary stories have been active enough over the decades that Pulp has shown up at a variety of conventions and venues, even so much so that there are at least two major Pulp conventions a year, not to mention smaller dealer shows and other events throughout the year.
It’s a proven fact.  Pulp, if it ever really went away, is back and with a Norvell Page like vengeance. And out of this resurgence in interest, out of the dedication of dealers and collectors keeping the love of Pulp alive, and out of the creative, inspired minds of modern creators thirsting to express their ideas, stories, thoughts through the prism of Pulp, something else has arisen.  Something innovative, yet not disconnected for the established work.  Something original, yet grounded solidly in inspiration and influences past.    Something novel, but familiar at the same time.
This is the era of New Pulp.
Pulp will never die.  What has come before will never change.  Dent, Gibson, et al. will continue to be the almost mythic purveyors of this most awesome fiction.  But they have descendants in spirit, authors and artists who have picked up the banner and carried the standard of Pulp forward.  The past of Pulp will be preserved by the historians, touted by the collectors, distributed by the dealers, and reprinted by the fantastic resources that have taken that on.   Those unbelievably great adventures will thankfully never fade away. 
And out of that legacy, out of that history, out of that imaginative period and body of work has come New Pulp.  
It is time to define New Pulp as its own entity.  Not separate from Pulp as a whole, but as something defined within the genre.  What is New Pulp?  Well, as far as my definition goes, the explanation is fairly simple.  New Pulp is fiction written with the same sensibilities, linear storytelling, pattern of conflict, and creative use of words and phrases of original Pulp, but crafted by modern writers, artists, and publishers.  New stories with either completely original characters or new tales of established characters from Pulp past.   It’s really that simple.  New Pulp is Pulp written today.
So much New Pulp is now available, including work from noted pulp historians such as Will Murray and Tom Johnson as well as the entire Wold Newton family of creators and beyond.   Add to that the literal multitude of mavericks and new guns that have stepped forward, myself thankfully included, and New Pulp is suddenly more than just a group of guys and gals telling stories like the ones we grew up on.  It’s  its own movement, its own subgenre, within Pulp as a whole.   And that doesn’t mean it is set apart from Pulp as we’ve all known it until now.   New Pulp will always be a part of Pulp conventions, dealers shows, and the continuing appreciation and discussion of classic Pulp and all that made it what it was.
But I think it can be that…and much more.
Here’s what I’m proposing.  And understand, this is a proposal, an idea…a suggestion.  Having said that, I have discussed this line of thinking with other writers and creators, even if they didn’t know what my intent was at the time we discussed it, and feel that this is the right time for a defining of New Pulp.  So, I bring this to you with some ideas and concrete plans.   And with an invitation, but that’ll come later.
In order to define New Pulp, to bring in new audiences, to find and take on new markets, and to shine light on this wonderful literary form that thus far has been shined elsewhere, the first step is coming together.  As a publisher myself, I know that there’s a certain level of competition, that ‘my stuff has to outsell your stuff’ mindset and that’s okay.  That’s healthy.  But we are at a point that if we want to break out, if we want people to walk by a bookshelf and see a New Pulp title and say, ‘Hey what is this?’ and in some instances if we even want to get on some bookshelves, then we have to recognize that although we are individual creators and companies, we are also invested in the same genre.  We are all a part of New Pulp.
With that in mind, here’s what I’m proposing.  A push for New Pulp.  Getting the word out that New Pulp exists, that it is both a part of something classic and great and is its own movement.   To establish an identity for New Pulp, a way that when someone encounters a tale published, written, or drawn by a New Pulp creator, that they know they have a New Pulp work in their hands. 
One way to do this is combined advertising.   We need to come together and work up some ads, print, net, and otherwise, that tout New Pulp, not just as a concept, but with creators, publishers, and product from various New Pulp purveyors.  Pro Se, Airship 27,Wild Cat, White Rocket, Granton City Press, Seventh Realms, Moonstone, and the list goes on.   Advertising, either free or paid (with each party tossing in a share of course) is crucial to any endeavor breaking beyond its established fanbase, but it is particularly critical for a field wanting to establish itself.   To that end, I had Sean Ali, a great friend and Pro Se’s designer, develop a logo that will be free for any publisher of New Pulp to use.  A handful of writers and publishers have already agreed to participate in efforts under this logo and anyone else in the New Pulp field is welcome to join in. 
Also, I’ll announce that PULP ARK, the writer’s conference/convention that Pro Se is hosting May 13-15, 2011 in Batesville, AR, will be the first NEW PULP Conference/Convention.   At current count, 25 writers, publishers, and artists of New Pulp will be in attendance at Pulp Ark, the biggest gathering of New Pulp creators in one place to date.  Dealers and collectors are also welcome and several will be present, moving everything from classic pulp magazines to reprints to cds to all sorts of Pulp related material.  But Pulp Ark will focus on New Pulp creators with panels, classrooms, and programming designed to promote New Pulp and welcome fans and new readers into the world New Pulp has established.
If Pulp Ark makes the mark we feel it will, talks are already in works for adding a convention in a different location under the New Pulp banner as early as next year.  This would be done in an effort to give New Pulp creators who can’t make it to Arkansas every year to have at least one other venue, maybe even two eventually, to be a part of.  And of course, it would also open up New Pulp to new fans and readers.
Another aspect of this is that shared, cooperative pages can be established.  Already in the works are ideas for a NEW PULP site that spotlights all New Pulp creators who wish to participate and hawks their wares, either print or e-books.  That piece will take a bit to get set up, but it is in development.
These few ideas and plans are just the tip of the iceberg.   As I said at the start, this is not a Pro Se or a Tommy Hancock project, but I did feel and was encouraged by others that someone had to sort of step up and take the reins.   The yahoo group PulpDefined, that some of you have requested membership, will be a major workplace for the New Pulp movement.  If you are interested in participating, email me at braedenalex@centurytel.net that you are a writer, artist, or publisher and wish to be a part of Pulp Defined.  Or if you just have questions or comments, the same email is good for those, too.
Of course, there is no rule that says you have to identify with, work with, or even support what I’ve proposed.   This is one person, with the encouragement of a few others, who has recognized a need and hopes we can come together to fill it.   We are all individuals, but we are also all New Pulp.  It’s time to let the world know that we not only exist, but that we are here to stay and will provide them with endless fantastic tales and exciting adventures.  That is our world.  That is New Pulp.
Tommy Hancock


DIAGNOSIS: PULP by Tommy Hancock
If you’ve written or read Pulp for a while, then you’ve been asked the question…Just What is Pulp??  Although there is no definitive answer and likely never will be, the purpose of this column is to look at stories, books, movies, audio shows, etc., and to determine, in this columnist’s opinion if works covered qualify as pulp. If they do, why and of course if they don’t why not?  Now, I am the same individual who put forth a few months ago why the movie THE WIZARD OF OZ could be considered Pulp.  Some of you agreed, some of you were neutral, and some of you still think I should be strung up for such an opinion.   Well, we’ll see if I can please all of you at some point.  Yeah, right.
In order to do this column, though, I had to find or devise a definition, a set of parameters to follow that I could apply to whatever I was looking at and determine its level of Pulpiness.  A newly formed group designed in part to do just that, PULP DEFINED, has come up with a definition that I think fits Pulp well and will be the one I use for this column.  By this definition, Pulp is-
fast-paced, plot-orientated storytelling of a linear nature with clearly defined, larger than life protagonists and antagonists and creative descriptions and clever use of turns of phrase, words, and other aspects of writing that add to the intensity and pacing of the story.

Now, there will be some more specific points I bring out that will flesh out this definition, but overall this is the standard by which DIAGNOSIS: PULP will be looking at various tales of derring do…or don’t…and diagnosing them as Pulp…or something else…. Stay tuned!

Another question just as myriad and varied as ‘What is Pulp’ came crashing down on me in various ways this weekend. For those who don’t know, among the many hats I wear, I am the Editor in Chief and a partner in Pro Se Productions, a company who is focused on producing quality pulp fiction by various creators.  In pursuit of selling said fiction, Pro Se plans to spend some time at conventions, conferences, and other venues (including our very own PULP ARK).  Our first such event was the Arkansas Literary Festival, held this weekend (April 9-10 for vendors) in Little Rock.  This event, which brings in authors of all sorts from all over, boasted over 7,000 guests last year and expected 9,000 this year.  I didn’t see anywhere near that walk by our badly placed vendors’ table or anyone else’s.  But something I did discover, both from the scattered passers-by we had as well as fellow vendors is that many do not know that a majority of fiction they grew up reading or even read today could qualify as Pulp Fiction AND many of them don’t feel even today that Pulp Fiction should be considered literature. 

Now in all truthfulness, I knew that this mindset of people looking down on Pulp and considering it non literature or worse existed and has since Pulp began.  But discovering it face to face in several people all at once over two days was a bit staggering.   And got me to thinking of the question myself, which leads me to make this the topic, albeit briefly, of my first diagnosis…Pulp- literature or something else?
Instead of giving you in depth analysis and my opinion, I’m going to approach this diagnosis a tad differently.  First, a smattering of comments I heard this weekend.
“Pulp fiction?  You mean stuff that reads like that Travolta movie watches?  That’s mixed up crap!”
“Pulp achieves nothing for the reader except escapism.  There are no levels, there is no higher purpose for Pulp like there is in literary works.”
“Heroes are cool, but Pulp gives us unattainable ideals.  No one can be The Shadow or lives a life that’s as rapid fire as Pulp is.”
“Pulp?  You mean that stuff hack writers wrote so they could eat back in the Depression?  People still like that stuff?”
“Pulp aspires to nothing.  That’s why it can cross so many genres, because in the end, unlike real literature, Pulp aspires to nothing.” (This last comment was made by an author at the Festival who writes detective stories.)

OK, again, no deep philosophy and such on this one, but let me comment on each of these-
1.       Yeah, heard this one a lot.  Even had discussions about why the movie is a Pulp movie beyond its title.  This one won’t go away for awhile.
2.      We don’t read to escape??  I missed the memo.  Also, if Pulp doesn’t have layers, can anyone explain to me how Phillip Jose Farmer pulled enough out of Doc Savage and Tarzan to give birth to the Wold Newton Family (And that’s just one example)
3.      We live in a world where people really are putting on masks and tights and going to try to save their little bit of the world.   And maybe it’s not bullet riddled, but the last time I checked I’m living faster than Lamont Cranston could fly.
4.      Yes, people still like it, as is evidenced by all the new publishers coming out as well as conventions for such work!
5.      Pulp aspires to good storytelling, interesting characters, and fascinating, thought provoking plots.  Much like the blurb on the back of this person’s book read.  Yep, no aspiration here.
I also heard things about Pulp being overly descriptive, too purple prose-y, long on flower and short on substance, etc.
Now in response, I will throw in two different definition of literature-
          Literature is-
•The body of written works of a language, period, or culture.
•Imaginative or creative writing, especially of recognized artistic value: “Literature must be an analysis of experience and a synthesis of the findings into a unity” (Rebecca West). (American Heritage Dictionary)

LITERATURE-literature  (ˈlɪtərɪtʃə, ˈlɪtrɪ-)  — n   written material such as poetry, novels, essays, etc, esp works of imagination characterized by excellence of style and expression and by themes of general or enduring interest  (World English Dictionary)

Hmmm.  Written work of a certain period.  Imaginative and creative writing.  Artistic.  Works of imagination.  Style and expression.  Themes of general or enduring interest.
Wow.  Sounds like Pulp to me.

ALL PULP’S SITE SPOTLIGHT-The Vintage Library!!!


From the site’s introduction-

Welcome to the Vintage Library! We are a specialty, online bookstore featuring the fantastic worlds of Pulp Fiction, Old Time Radio and Cliffhanger Serials. We have over a thousand different, brand new books, magazines, fanzines, audio cds and dvds for you to choose from. We also carry a limited selection of used and rare books, original pulp fiction magazines and other collectors items. Online since May 10, 1997, we realize that this is a hobby for you and we want to make ordering as easy and hassle free as possible. If you are unhappy with what you receive, we’ll make it right!

Tim Roth in Incredible Hulk 2

Tim Roth, who played favorite characters in Reservoir Dogs, Pulp Fiction, and Planet of the Apes, has been cast as The Abomination in the upcoming Incredible Hulk movie, according to Variety.

Roth will star opposite Edward Norton and Liv Tyler, as Bruce Banner and Betty Ross respectively.  The movie is scheduled to be released next summer, on June 13. 

Abomination is the alter ego of Emil Blonsky, a Russian spy who Hulks out. If you want to see Tim Roth before June, he stars in Youth Without Youth this fall, directed by Francis Ford Coppola. 

(Artwork copyright Marvel Characters, Inc. All Rights Reserved.)