SUPERMAN VS THE AMAZING SPIDER-MAN, the first of the real DC and Marvel crossovers (putting aside the WIZARD OF OZ co-produced Treasury) was an enormous success for both companies. Despite being priced at $2.00 as a time when regular comic books were only 30 cents, it sold in huge quantities–enough to make DC look for other ways in which to mimic its success in-house (SUPERMAN VS MUHAMMAD ALI, SUPERMAN VS THE FLASH, etc). And, of course, it led a few years later to a series of additional team-ups between different DC and Marvel super heroes. However, within that gap, there was one other project that combined the champions of the two rival companies–one that was obscure at the time, and is all-but-forgotten today, despite boasting some noteworthy talent just at the beginning of their careers.
POW! BIFF! POPS! was a special commemorative comic book produced for a single comic strip-themed performance at the Boston Pops Orchestra, priced at $10.00 a copy–making it the most expensive single-issue comic ever released (at least in the US) when it came out.. The print run was limited to 250 copies, and by contract, all unsold and remaining copies had to be destroyed following the conclusion of the performance–which they were. Accordingly, few fans have ever seen this lost crossover for themselves. Additionally, during the intermission of the performance, the whole comic was projected on a large screen, with narration, dialogue and FX done by “The Hour of the Wolf Matinee,” a local radio ensemble headed up by Robert Desiderio, who went on to a lengthy TV career. The book was produced in 1978.
POW! BIFF! POPS! was written by a very young and pre-professional Kurt Busiek. The pages were laid out by a young Scott McCloud, and lettered by a young Richard Howell. All were fans in the Massachusetts area during this time (Howell worked at the local comic book shop, the Million Year Picnic.) The finished artwork was done by Chris Bing, who didn’t go on to a career in the field, but he became a professional illustrator and a Caldecott Honor award winner for his picture-book adaptation of CASEY AT THE BAT.
The story concerns the Symphony Orchestra being kidnapped, with the super heroes of both Marvel and DC called upon to locate and recover the purloined musicians. Thanks to the reputation of the Boston Pops, both Marvel and DC gave permission for their characters to be used in the joint venture, provided (as mentioned earlier) that all remaining copies were destroyed immediately thereafter. DC President Sol Harrison was in attendance for the performance–and presumably to make sure that the terms of the deal were met. According to Busiek, “He was seated at the same table as Scott, Chris and me, but he wouldn’t talk to us. I expect he just liked the idea of attending the Pops opening concert of the year, which was a reasonably-prestigious event.”
The whole thing is the work of fans, albeit fans who would go on to prominence within the field in the coming decade. But it’s noteworthy less for the strength of the story than for the unique circumstances surrounding it, and the specific talent involved.
The Tom Brevoort Experience 
To add to and/or correct this a bit:
If I remember correctly, there were 250 copies printed, and as you note, all unsold copies were destroyed, so between that and the people who lost or threw out their copies after the show, there are doubtless very few left. I used to have two copies; I think I’ve only got one left.
The book happened because Chris suggested it to his mother, who was on the BSO’s Junior Committee (doing fundraising), and she didn’t know it was a crazy idea so she got the BSO involved, and they didn’t know it was a crazy idea, so they approached Marvel and DC, who said yes, likely because it was the BSO.
And Chris roped in Scott (who lived down the street) and me, because he knew. we wanted to do comics, so we’d be up to do the most comics-focused part of the work, letting him just illustrate. Although he altered Scott’s layouts sweepingly.
This may also have been the most expensive single-issue comic ever released (at least in the US) when it came out.
Images of the comic weren’t quite “flashed” on screen with musical accompaniment — the whole comic was projected during intermission, with narration, dialogue and FX done by “The Hour of the Wolf Matinee,” a local radio ensemble headed up by Robert Desiderio, who went on to a lengthy TV career.
Scott and I were the only ones who were in high school — Chris had graduated the previous year, I think, and Richard had already graduated from Harvard.
Chris never went further in comics, but he’s been a professional illustrator since the early 1980s, and a Caldecott Honor award winner for his picture-book adaptation of CASEY AT THE BAT. As a group, we all seem to have gone on to success, in one way or another.
Sol Harrison was indeed there — I expect he just liked the idea of attending the Pops opening concert of the year, which was a reasonably-prestigious event. He was seated at the same table as Scott, Chris and me, but he wouldn’t talk to us.
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Thanks, Kurt! I’ve gone back in and incorporated much of this material into the actual piece.
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This was entertaining, and an interesting look at early careers. Thank you. I want to see more of the Evil Water Balloons.
Loved the story – However — NAMOR tells someone to relax??
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😅😂 Could be an angry or indignant or arrogant heroes club. Namor & Quicksilver, maybe Moondragon…
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😆
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Replying to myself is downright unprofessional, but I just realized that evidently the slogan “Better call Sol” turned out to be incorrect if he won’t respond.
Shame on me for even thinking it.
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😅🤣
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Wow, I never thought we’d see this comic! Thanks to all involved for making this available.
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Oh, and one more secret of this particular comic revealed: The reason the cover is just big letters, no illustration: Chris forgot to draw a cover until the deadline was very, very hard upon us, and at that point he had no time left.
That’s also why the backgrounds are drawings at first and then turn into photographs for a while (Chris thought it’d save him some time, but since he had to spend a couple of days traipsing around Boston to take those photos, I don’t think it did) and then turn sketchy and abstract for the “underground lair” sequence. Had to get the book done!
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Robin the Boy Wonder; ”Gotham is nice…” In which iteration of the city has that ever been true? Also, in Chapter 2, Page 5, panel 6, can anyone tell me what that is that looks like a skateboard attached to Superman’s cape?
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“Robin the Boy Wonder; ”Gotham is nice…” In which iteration of the city has that ever been true?”
When talking about the architecture, as they are here, always.
“Also, in Chapter 2, Page 5, panel 6, can anyone tell me what that is that looks like a skateboard attached to Superman’s cape?”
That’s the sole of his boot.
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This is such a fascinating piece of comic/literary history. I’m so pleased that you were able to share it with us. Thank you for facilitating that, Mr Brevoort!
I was wondering if Mr Busiek would consider indulging us further, by discussing some of his previous unpublished or proposed (but not brought to fruition) projects, please?
Specifically, I would love to hear more about “The Battle of Lexington”. I know Mr McCloud has shown a panel of his artwork from that on Twitter/X. But more information about the storyline and some of the pages would be greatly appreciated!
Also, any chance you would reveal your plot for the Superman/Star Wars Crossover, Mr Busiek? Just seeing the artwork by Mr Ross makes me sad that it was never fully realised.
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Not at present, Michael. I just don’t have the energy. Maybe someday we’ll talk Marvel and DC into letting us print that for charity, or something.
And the plot to Superman/Star Wars is Alex’s as much as mine, so I wouldn’t want to unilaterally release it. I also don’t like releasing summaries, because it’s too easy for people to imagine it being fleshed out badly and then complaining about the version they imagined.
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I’d also hate if someone saw such a summary and beat you to the punch using it, either reworked or in the wee small chance of the companies doing crossovers again.
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Thank you for your reply.
That’s perfectly understandable, on both counts. But, I was inclined to ask, on the off-chance you might be able to share anything with us!
Out of curiosity, you mention perhaps persuading DC & Marvel to print ‘The Battle of Lexington’ for charity – Does that mean the book also features DC characters?
From what I read online about the story, I always assumed it was a purely Marvel “slugfest”. Admittedly, the information online is pretty scarce. But am I correct in the assumption that during the early ’90s you and Mr McCloud showed the story in slideshow format at some conventions?
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“Out of curiosity, you mention perhaps persuading DC & Marvel to print ‘The Battle of Lexington’ for charity – Does that mean the book also features DC characters?”
No, just conflating BATTLE and POPS in my mind while tired.
“But am I correct in the assumption that during the early ’90s you and Mr McCloud showed the story in slideshow format at some conventions?”
We did, yes. If memory serves, we did it the year after MARVELS and UNDERSTANDING COMICS won so many awards, and we did it at Chicago, London, Dallas and San Diego shows.
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I got to see the Chicago showing of “Lexington”, which was great fun. The story was full of fannish enthusiasm, as you’d expect, but it was also very obvious (perhaps even moreso than “Pops”) that the people involved had some serious chops, and were destined for greater things. I was fascinated by Scott McCloud’s early art — sort of Neal Adams-ish realism, with lots of shading and rendering, a far cry from the style he eventually developed for ZOT!
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Chicago was the first time we did it.
It took SO much longer than we thought it would. And we started after midnight, I think, which just made it comically worse.
I don’t think the ChicagoCon people expected we’d get as many people as we did. We sure didn’t expect it.
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Now that you mention it, I do recall it running into the wee hours of the morning. Totally worth it, though!
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