Sheena Queen Of The Jungle Theme Song

[Pablo Tatts]

SheenaQueen of the Jungle, is a fictional American comic book jungle girl heroine, originally published primarily by Fiction House during the Golden Age of Comic Books. She was the first female comic book character with her own title, with her 1941 premiere issue (cover-dated Spring 1942) preceding Wonder Woman #1 (cover-dated Summer 1942). Sheena inspired a wealth of similar comic book jungle queens. She was predated in literature by Rima, the Jungle Girl, introduced in the 1904 William Henry Hudson novel Green Mansions.

An orphan who grew up in the jungle, learning how to survive and thrive there, she possesses the ability to communicate with wild animals and is proficient in fighting with knives, spears, bows, and makeshift weapons. Her adventures mostly involve encounters with slave traders, white hunters, native Africans, and wild animals.[1]

Sheena debuted in Joshua B. Power's British magazine Wags #46 in January 1938.[2][3] She was created by Will Eisner and S. M. "Jerry" Iger.[2] One source says Iger, through his small studio Universal Phoenix Features (UFP), commissioned Mort Meskin to produce prototype drawings of Sheena.[4] UFP was one of a handful of studios that produced comics on demand for publishers and syndicates, and whose client Editors Press Service distributed the feature to Wags.[4] To help hide the fact their studio consisted only of themselves, the duo signed their Sheena strip with the pseudonym "W. Morgan Thomas".[5] Eisner said an inspiration for the character's name was H. Rider Haggard's 1886 jungle-goddess novel She.[6] Iger, who maintained that Eisner had nothing to do with the creation of the character, claimed that he picked the name because his mind wandered to the derogatory name "sheenies" that Jewish people were sometimes called in his early days in New York.[7]

Dynamite began publishing Sheena comics in 2017.[10] Co-written by Marguerite Bennett and Christina Trujilo, with art by Moritat (issues 1-4) and Maria Laura Sanapo (issues 5-10), it ran for ten issues. A special 25 issue 0 preview comic surpassed 100,000 pre-orders.[11] A new Sheena comic series came out in November 2021. It is written by Stephen Mooney and drawn by artist Jethro Morales.[12] Another new comic was announced in 2023 with writers co-writers Steven. E. De Souza, Wes Clark Jr and artist Ediano Silva.[13]

Sheena is the young, blonde daughter of Cardwell Rivington, who is exploring in Africa with his daughter in tow. When Cardwell dies from accidentally drinking a magic potion made by Koba, a native witch doctor, Sheena is orphaned. Koba raises the young girl as his daughter, teaching her the ways of the jungle and various central African languages. The adult Sheena becomes "queen of the jungle" and acquires a monkey sidekick named Chim.[1]

According to Jess Nevins' Encyclopedia of Golden Age Superheroes, "Assisted by the great white hunter Bob Reynolds, Sheena fights everything under the sun, including but not limited to: hostile natives, hostile animals, giants, a super-ape, the Green Terror, sabre-tooth tigers, voodoo cultists, gorilla-men, devil-apes, blood cults, devil queens, dinosaurs, army ants, lion men, lost races, leopard-birds, cavemen, serpent gods, vampire-apes, etc."[14]

In time, Sheena's home village is destroyed, leaving Sheena with a white safari guide named Bob Reynolds (alternately called "Bob Reilly" or "Bob Rayburn"), who becomes her mate.[15] In later incarnations, Sheena's mate is Rick Thorne.[1]

Model Irish McCalla portrayed the titular character in Sheena: Queen of the Jungle, a 26-episode TV series, aired in first-run syndication from 1955 to 1956.[17] McCalla told a newspaper interviewer she was discovered by Nassour Studios while throwing a bamboo spear on a Malibu, California beach, famously adding "I couldn't act, but I could swing through the trees."[18] Although the Sheena character was often called "the Queen of the Congo,"[citation needed] the TV series clearly located her in Kenya,[citation needed] which is hundreds of miles from the Congo River. Though the character was created in comic books by Will Eisner and Jerry Iger many years earlier, a 1956 New York Times obituary for Claude E. Lapham, a 10-year editor at Fiction House, says, "His story 'Sheena' was the basis for the television story of that name."[19]

Sheena was revived by Hearst Entertainment in October 2000, portrayed by Gena Lee Nolin. In this version, the character's real name is Shirley Hamilton. Sheena was given a new power in this 35-episode Columbia/TriStar series: the ability to adopt the form of any warm-blooded animal once she gazed into its eyes. She was also depicted as a ferocious killer, capable of becoming a humanoid creature called the Darak'Na; this form killed numerous individuals, though in her regular form she was also seen in numerous episodes stabbing soldiers and other villains to death. As with Tanya Roberts, Nolin's Sheena spoke whole sentences.

The Ramones song "Sheena Is a Punk Rocker" was inspired by Sheena, Queen of the Jungle.[21] The song first appeared on the band's third album, Rocket to Russia, in 1977. A cartoon drawing of Sheena appears on the record sleeve of the LP version.[citation needed]

Wussy: Attica! [Shake It, 2014] In which the best band in America remains the best song band in America while passing the Sonic Youth consortium on the outside to become the best distorto-guitar band in America, and although the competition in both categories has thinned out, how many ever dared combine it? Television? Nirvana? The Thompson Couple? That is the territory here. What once seemed the overkill of replacing minimalist Dawn Burman with muscleman Joe Klug opened a thruway to the big beat. What once seemed the neighborly gesture of taking in Ass Ponys steel hand John Erhardt powered sonic dimensions arena-rock dumbos risk tinnitus to achieve with Marshall stacks. The lyrics mix heroic feats of individual transcendence with a romantic striving vexed equally by economics and psychology as the melodies flow on unabated. Gender parity also guaranteed. A+

For 30 years or so my old Village Voice compadre and fellow Flushingite Mark Jacobson has overseen a monthly event at the unusually vertical East 4th Street bar KGB\u2014the KGB Journalist Reading Series, he says it\u2019s called, though if so Google knows naught of it. A few weeks ago he asked me to headline the March 14 edition with some Consumer Guide material, and I said sure without reflecting overmuch on what such a gig might entail. This was naive of me\u2014as I explained to my SRO but not therefore huge audience, it\u2019s one thing to select five or 10 consecutive pages of a recent book or article to read aloud, another to cherry-pick 25 or 30 \u201Calbum briefs,\u201D as arts editors call them, out of the 15,000 or whatever it is you\u2019ve turned out over half a century and counting. Selecting 27 of them, which was the 25 minutes\u2019 worth I ended up with, proved a tougher job\u2014one that took several days further complicated by a dysfunctional printer and a looming appointment with the family accountant.

That said, the hours I put into constructing the list, which is reprinted in full below, paid off\u2014everyone seemed to have a good time, and I sure did. In the audience were Alex Morris, whose comic yet touching New York Magazine report on the very belated teen wannapunks of St. Marks Place I was glad I heard most of; longtime Voice writer and then editor Doug Simmons, now happily retired from a long tour at Bloomberg; my music-savvy physical therapist Joe Spallone, whose Function First operation on 23rd Street I recommend to anyone who asks\u2014\u201Dstrongest hands in the business,\u201D as his client Carola Dibbell once tweeted; and my sister Georgia, who located the climactic Low Cut Connie review on her phone after I discovered I\u2019d forgotten to print it out.

Of course I went for some laughs\u2014the M\u00F6tley Cr\u00FCe and Leonard Cohen closers scored in that department, as did the Master Musicians of Jajouka lead. But the real aim was to construct not merely a supercondensed precis of the mini-reviews that like it or not are my trademark form but a drastically abridged account of the music I\u2019ve devoted my life to for an audience most of whom had given this matter less thought than me or my fanbase. Hence I began with Louis Armstrong and then Chuck-and-Elvis (only Elvis as pop not rock) and ended with Low Cut Connie\u2019s historical overview and four Ukrainians\u2019 struggle to participate in that history (latest news is Selo i Ludy are alive and not unwell and hoping to resume live gigs). But I also wanted to provide some notion of my own critical progress, which includes changing my mind sometimes, as with the Ohio Players (who Carola nominated for the extended joke of their first two entries alone). I wanted something like parity between Black and white music and regret not ending up with more female artists. But I know all too well how partial the achievement of all such goals is destined to be and feel no need to apologize further. So I\u2019ll merely close informing obsessives that the Wild Honey brief is not the official Consumer Guide version I wrote for a Voice lookback at the holy year of 1967 but rather one I later cooked up for a Rolling Stone stab at the same concept.

Louis Armstrong: Portrait of the Artist as a Young Man: 1923-1934 [Columbia/Legacy, 1994] I don\u2019t mean to start a parlor game, but does greatest artist of the 20th century mean anything to you? I mean, who else you got? Picasso? Joyce? Renoir? Elvis? So here\u2019s one $50 item you owe yourself. I doubt it could be winnowed much\u2014expanded would be better (where\u2019s \u201CI\u2019m Not Rough\u201D?), with four-plus hours an ideal introductory length. If some of it is less beatwise than a punk funkateer might hope, try to imagine how startling it sounded in an aural world that was still on the operetta standard, where John Philip Sousa ruled brass and Scott Joplin was jungle music. Then pay attention. Home in on Pops\u2019s trumpet solos\u2014their strength, clarity, daring, ease, humor, swing, melodicism, and endless newness. Enjoy his irrepressible vocals without calling them comic relief\u2014the comic is everywhere in this music. Get to know the brilliant originals. Hear how he takes over blues and hokum, pop classics and pop disposables without belittling his sources. Ask yourself whether high and low mean any damn thing at all. A PLUS

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