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In a “Special Women’s Lib Issue” Wonder Woman confronts her greatest enemy: cat-callers.
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Trinity Mothers by Yasmin Liang
The colors in this are stunning, and it’s nice to see someone focus on some of the most important but under-utilized characters in comics.
It IS a little disturbing how Martha Wayne doesn’t have a face, but then she always has been defined more by her pearls than anything else. Unless she’s written by Greg Rucka, and then she’s a total bad-ass who calls Batman out on his bullshit. I miss Rucka.
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Words can not adequately describe how amazing this completely insane video is. You just need to watch it. That being said, I will do my best to sum it up.
Lynda Carter (Yes, Wonder Woman) performs a medley of Bad Company’s “Rock and Roll Fantasy”, Tina Turner’s “Proud Mary”, KISS’ “Made For Loving You”, and Bette Midler’s “Friends” that just gets crazier and crazier with each transition. The first minute is relatively normal, which makes the Tina Turner outfit, flesh colored bodysuit with giant pink headdress, and tuxedoed gorilla back-up singers that follow even better. If this is what used to happen on variety shows, their comeback is long overdue.
This version of Made For Loving You makes me wish Kate Bush had covered it, I bet she could’ve rocked that outfit back in the days of the “Babooshka” video.
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Madonna- Get Together (live at Koko Club 2005)
This performance is a bit rough vocally, but it’s really interesting to see Madonna doing a performance with such minimal choreography, letting her be much looser than usual. You can tell how much she loves performing here, that smile on her face while she’s doing those Wonder Woman spins from 3:40-3:46 is one of pure joy. It doesn’t matter that the vocals aren’t perfect, the beat and her presence are strong enough that the crowd’s in rapture and Madge feeds off of it.
It makes me sad Get Together was never a big hit, it’s one of the best tracks off of Confessions On A Dance Floor, and one of the best examples of the “future disco” sound Madonna was going for on that album.