It's Comic Book and Animation Historian Mark Arnold's reviews on every song ever recorded by The Beatles, group and solo, released and unreleased. Don't like my reviews? Then, write your own book.

(Paperback Edition) A sampling of the best material from the long-running "Harveyville Fun Times!" fanzine featuring articles about various Harvey Comics characters such as Casper, Richie Rich, Hot Stuff and Sad Sack. Edited by Mark Arnold.

Here is the Beatles story as it really was. Throw away what you think you know and start afresh.

This is the HARDBACK version. Think Pink! The Depatie-Freleng Story In 1963, Warner Bros. closed down their long-running cartoon facility that had produced such memorable merrymakers as the Looney Tunes and Merrie Melodies cartoons. Director/producer Friz Freleng and executive David H. DePatie faced unwanted early retirement. A generous parting gesture from a Warner executive allowed Freleng and DePatie to lease the former Warner cartoons studio on California Street in Burbank, complete with equipment and supplies, for a few dollars each year. They teamed up to create animated cartoons for advertising, but not everything behind their enterprise was enchanting. They struggled to keep their small animation studio running against odds and obstacles such as rising costs, heavy competition, outsourcing of labor to other countries, strikes, death, changing directions, and buyouts. They never anticipated how they would soon style a series of cartoon characters that would paint memorable colors over movie animation history. When director Blake Edwards produced The Pink Panther starring David Niven, Peter Sellers, Robert Wagner, Capucine, and Claudia Cardinale, he envisioned a cartoon character of the same name to illustrate the opening credits sequence. Edwards hired Freleng and DePatie, together with artists at their DePatie-Freleng Enterprises studio, to design the animated sequence. The crafty magenta furry feline minced his way into moviegoer's hearts. The inspiration behind the ink was the people that worked at the DePatie-Freleng Enterprises (DFE) animation studio. Their hilarious cartoons caused a generation of moviegoers to rock theaters with laughter. Author Mark Arnold returns you to the nostalgic memories of the exhilarating Pink Panther series and other cartoons DFE created. Discover the craftsmen behind the cartoons in an exciting exploration of the Pink Panther, Inspector Clouseau, Ant and the Aardvark, Cat in the Hat, The Grinch, The Lorax, Doctor Dolittle, Spider-Man, Spider-Woman, Mr. Magoo, The Fantastic Four, Planet of the Apes, Doctor Snuggles, Baggy Pants, The Nitwits, The Barkleys, The Houndcats, The Grump, The Super Six, Super President, Spy Shadow, Hoot Kloot, Blue Racer, Crazylegs Crane, Misterjaw, Tijuana Toads, The Dogfather, The Oddball Couple, Charlie the tuna, David DePatie, Friz Freleng, Blake Edwards, Peter Sellers, and various animators. Over 400 photos and illustrations. Indexed. Appendixes. About the author: Mark Arnold is a comic book and animation historian. He has written for various magazines, including Back Issue, Alter Ego, Hogan's Alley, Comic Book Artist, and Comic Book Marketplace. He is the author of seven other books, including two about Harvey Comics, two about Cracked magazine, one about TTV (Underdog), one about The Beatles, and one about Disney. He also helped Craig Yoe with a book about Archie. He has also performed commentary for the Underdog, Tennessee Tuxedo, and Casper DVD sets for Shout Factory. He is currently at work on a book about Dennis the Menace. He lives in Eugene, OR. ." . . DFE's cartoons will continue to bring amusement and delight to millions of future cartoon enthusiasts to come! I would like to thank Mark for including me in the writing of his fantastic book." - Art Leonardi, Animator, DePatie-Freleng Enterprises. "Think Pink! is an impressive result of exhaustive research . . . Arnold's efforts help the reader to further connect the dots from Yosemite Sam to the Pink Panther to Spider-Man." - Bryan Stroud, writer, Back Issue magazine.

Heard about Mad? Sad? Don't be! Get GLAD with this new collection of rarely seen art by one of their greatest illustrators, done outside their work at Mad magazine. The book is a treasure trove of rare humor comics mostly unseen for over 30 years from the pages of Mad's #1 competitor, Cracked magazine. They are curated by two folks with Cracked bona fides, Mark Arnold, author of the definitive two volume history of the magazine If You're Cracked, You're Happy!, and Mort Todd, the former Editor-in-Chief of the magazine during one of its most creative periods. The comics presented are from the 1950s and 1960s during the title's early years and while Jack Davis was at the top of his game as a creator. There are TV and movie parodies, tons of celebrities, along with satire on current events, trends and culture of the era.Bhob Stewart, author of The Life and Legend of Wallace Wood, has an in-depth overview of the career of the artist in The Comedy of Jack Davis. The book features an afterword by Mort Todd reflecting on Davis and the magazine's legacy. The Comedy of Jack Davis is 100 pages, all in glorious vintage black & white! The book features a gorgeous array of his work, showcasing the many mediums they work in, from pen and ink, wash, guoache, duoshade paper, zipatone and color paintings as they applied it to tweaking a variety of amusing topics. Also available: The Comedy of John Severin.

A real breakthrough in terms of applying a theoretical protocol to biographical material has come with Henry W. Sullivan’s unpromisingly titled The Beatles With Lacan: Rock’n’Roll as Requiem for the Modern Age. Sullivan provides an excellent analysis of the Beatles’ career – perhaps, along with Ian MacDonald’s Revolution in the Head (Fourth Estate, 1994), the best so far available. But in using the work of Lacan, Sullivan offers a psychoanalytic framework to discuss personality and creativity. He also provides a provocative analysis of the roots of rock’n’roll, arguing that the paternal guard of the time, born in the first two decades of the twentieth century, were traumatized on a subconscious level by the mistakes of their parents and, in losing respect for them, turned a blind eye to, and as a result tacitly supported, the flaunting of moral codes by their own sons and daughters in the 1950s and 1960s ‘without having been placed under any real obligation to do so’ [p. 13]. It is out of this that the Beatles’ individual biographies are discussed. Furthermore, Sullivan argues that what gives the Beatles and their music their real distinction is their location, temporally, between the modern and the postmodern world views. The albums ‘between Rubber Soul in 1965 and Abbey Road in 1969 constitute ... the first popular post-Modern classic’ [p. 172]. This is an innovative though never obtuse piece of writing, and stands as the first real attempt to theorize the Beatles’ life and work. The Year’s Work in Critical and Cultural Theory covering the year 1995 (vol. 5, section 14, pp. 196-97) by the young British film score composer David Buckley