Early 90s heavy metal group (amusingly containing five people); the songs that got some airplay where "Nobody Said It Was Easy" and "Rockin' Is My Business." They were formed by "Haggis" (born Stephen Harris, formerly known as "Kid Chaos" in the British band Zodiac Mindwarp and the Love Reaction) in 1988 in Los Angeles, and did fairly well locally on the strength of an EP. But their lead singer Frank Starr was arrested and jailed on drug charges and they were not able to record the album Nobody Said It Was Easy (with Rick Rubin as producer) until 1991.

This album did well on the hard rock/heavy metal scene, but Starr's parole violations and eventual re-arrest kept them from following up. In 1994 drummer "Dimwit" lived up to his name by dying from a heroin overdose. The band recorded a sort of tribute album, Gettin' Pretty Good at Barely Gettin' By, with Dimwit's brother Chuck Biscuits (formerly of Black Flag and Danzig), but then Frank Starr was hit by a drunk driver. He was in a coma for some time (and died in 1999, a year after the band had broken up).

Source: AllMusic.com

The Four Horsemen was also a name given to 4 players on the 1924 national champion Notre Dame college football (American football) team by famed sportswriter Grantland Rice.

Rice wrote after Notre Dame, coached by the legendary Knute Rockne, beat powerhouse Army 13-7 in New York City on October 18, 1924:

"Outlined against a blue-gray October sky, the Four Horsemen rode again. In dramatic lore, they are known as famine, pestilence, destruction and death. These are only aliases. Their real names are Stuhldreher, Miller, Crowley and Layden."

The four were quarterback Harry Stuhldreher, halfbacks Don Miller and Jim Crowley, and fullback Elmer Layden.

Several days later, a Notre Dame student publicity manager arranged for the four to have their picture taken on horseback.

On May 28, 1998, the United States Postal Service issued a commemorative stamp with the Four Horsemen photo, as part of their Celebrate the Century program.

Rice's use of "The Four Horsemen" helped to popularize Notre Dame and college football in general. It's also a frequently cited example of early sports journalism.

Four Horsemen is a shot containing equal parts Tequila (Traditionally Cuervo Gold), Bacardi 151, Rumple Minze, and Jaegermeister. It is so named because it will bring the apocalypse upon you, and it contains four alcohols. Drinking a lot of these is an advanced technique; If you are not used to getting seriously smashed, be gentle. There's something about this combination that is unusually explosive.

Some claim that a Four Horsemen contains Jack Daniels, Jose Cuervo, Ron Bacardi and Johnnie Walker. Some of those people believe that it should be layered, as well. However, that is an obvious hack of the Three Wise Men.


Website: Untitled (http://www.student.virginia.edu/~pepband/CSRU/atthebar.html)

Website: Webtender (http://www.webtender.com/db/drink/1705)

Maxim magazine, September 1998

Similar to a Liquid Cocaine shot, the Four Horsemen is a 3 oz cocktail comprised of:
   3/4 oz Jägermeister
   3/4 oz Rumple Minze
   3/4 oz Bacardi 151
   3/4 oz Goldschlager

All ingredients (except the 151) are pre-chilled, combined, and served in an old-fashioned glass.

A popular serving variant involves shaking the ingredients with ice in a cocktail shaker capped with the old-fashioned glass (thus cooling it), before straining and serving. This yields a reasonably potent drink that is palatable to most drinkers (compare ethanol, Mixed drinks you come up with when you're drunk).

Final proof ~102 (51% ABV)
43.4g Alcohol
284 kcal
24.9g carbohydrates
6mg Sodium
Fat free!

Update via http://www.drinksmixer.com/

Why you would add Jose Cuervo *.* to anything and then drink it, is beyond me. But in the interest of completeness:

Four Horsemen, alternate #1
   3/4 oz Jose Cuervo gold tequila
   3/4 oz Jägermeister
   3/4 oz Rumple Minze
   3/4 oz Bacardi 151 rum

Shaken, not stirred with ice. Pour into a small rocks glass (Old Fashioned).
Alcohol (ABV): 50% (100 proof)

Four Horsemen, alternate #2
   1/4 oz Jim Beam bourbon whiskey
   1/4 oz Jack Daniel's Tennessee whiskey
   1/4 oz Johnnie Walker Red Label Scotch whiskey
   1/4 oz Jose Cuervo Especial gold tequila

This is a shot (compare shooter), serve straight up.
Alcohol (ABV): 40% (81 proof)

Further information available at Everything Bartender.

Not as fast or maneuverable as today's Thunderbirds F-16's or the Navy's Blue Angels F-18's but still one of the most impressive aerial demonstration teams of all time.

Formed in early 1957 with four aircrews from the 774th Troop Carrier Squadron, The Four Horsemen intended to show the maneuverability of the U.S. Air Force's new C-130A cargo plane. The 774th was the first squadron to receive the new plane.

One day a training mission had been cancelled and with time to spare and four ready aircraft Jim Aiken, Gene Chaney, David Moore and Bill Hatfield decided to practice some tight formation flying. They took off and moved closer and closer in a tight diamond formation, a staple of today's demonstration teams. Next they returned to the airfield and made several low altitude passes in tight formation.

They returned to their home base and pitched the idea of taking their team to bases where more squardrons were getting the new C-130 and show them what experienced aircrews could do with the plane. The brass approved and soon they had named themselves "The Four Horsemen," after the legendary members of the 1924 Notre Dame football team.

While other Air Force demonstration teams did aerobatics, The Four Horsemen decided that they would focus more on demonstrating the tactical capabilities of the C-130, although, the airplane was capable of aerobatics. Formations were flown as close as 7 feet from the leader's aircraft, and several different formations were flown in the course of a show. The arrow was a line astern formation with each aircraft slightly higher than lead, followed by the arrowhead where three and four would take position to the left and right of two and slightly behind and above. Echelon formation is with each plane to the right behind and above the leader, from echelon they would end the show with a bomb burst where one and three would break high and left and two and four would go right, then they would re-form and land in diamond formation. These maneuvers, though less wild than the high performance fighter demonstration teams, were impressive nonetheless due to the C-130's immense size and weight. During one performance the number three plane lost an engine. The crew quickly went through the engine shutdown checklist, secured the engine, and continued the show without ever losing their place in formation.

By 1960 the C-130 had been in service for two years and the team had been performing for almost as long, as well as keeping up a normal training schedule. They were also ripe for deployment overseas. The team was disbanded, three of its members received overseas orders and one left the Air Force. They remained in close contact for many years however and the squardron patch of the 774th was changed to reflect the team's effect on the squadron.

"Wetched mowtahl! Yuuwd wiw make you watch whiwe he sucks the mawwow fwom yuh bownes!"
---Famine ("Yuurd") follows Fudd after being super-punched in the mouth.

DC Comics' influential series 52 introduced the Horsemen, incarnations of the Four Horsemen of the Apocalypse or, rather of Apokolips, since their essence came from that dark, alien world.

Although physically destroyed in that series, Death ("Azraeuz"), War ("Roggra"), Famine ("Yurd"), and Pestilence ("Zorrm") recreated themselves in time for one of 52's several spin-offs. 52 Aftermath: The Four Horsemen pits the title characters against DC's greatest heroes: Superman, Batman, Wonder Woman, and... Snapper Carr. The team also receives assistance from a handful of heroes and villains in this six-issue mini-series. While the story has potential, especially for the opportunity it gives to examine the personalities of several iconic characters, it fails to fill those six issues in a worthwhile manner.

It does, however, feature a number of comic-book fight scenes, especially in the final three issues.

Writer: Keith Giffen
Art: Pat Olliffe, John Stanisci
Hi-Fi: Colors

The fictional country of Bialya, laid waste by Black Adam in 52, refuses all but the most basic international aid and definitely does not want metahuman assistance. Nevertheless, Superman, Wonder Woman, and Batman involve themselves and realize that the Four Horsemen live on. In their battle against the monsters, they receive help from others, including the current Mr. Terrific, Doom Patrol, and the evil Dr. Veronica Cale. Cale, of course, has ulterior motives, but she remains untouchable, as she has established herself as the ruler of Oolong Island, which has become a sovereign state.

Their most interesting helper, however, is former sidekick Snapper Carr, who here appears more competent than ever before and now works for an organization called Checkmate. Carr and the others engage in some witty though not always friendly banter. Batman, in particular, wishes the former Justice League hanger-on and plot device would just go away. Carr has grown arrogant, and we almost see a plausible1 portrayal of a man who spent his youth associating with and learning from demigods. However, this is left underdeveloped, and by the end, I was as irritated with Carr as his mentors.

The story also does nothing new with its major players. The Four Horsemen, unlike 52 has only a handful of leads, and Giffen clearly wanted to develop them. He gives us some snappy, character-driven dialogue and an epilogue with DC's cliquey Big Three (the fannish nickname "the Trinity" has apparently been given to them in-universe by Lois Lane Kent) sharing dinner. These constitute interesting dressing, but little more. The Horsemen themselves are largely undifferentiated arrogant comic-book villains who talk like Victor Von Doom on grain fungus. Again, opportunity is wasted.

The plot doesn't break any ground, either. Heroes face an adversary based on an old mythic concept, one of the heroes has been compromised, they all have to work alongside villains for a common cause, the adversary has a vast videogamesque army of walking dead to assist them, and the most important person in the fight may be the representative of the average man. Sound familiar? The setting, a country truly laid waste, is unusually grim for a mainstream comic, but it recalls the worlds of a thousand "dark" pop culture stories and videogames.

I doubt I’m spoiling anything to say that the story unfolds as follows:

  • After a suitable build-up, the villains appear
  • The heroes engage in many fight scenes which produce bombastic sound effects
  • Things turn desperate, and it appears the villains might win
  • With a clever twist, the Good GuysTM win after all
  • An epilogue suggests the villains could return some day

DC's output also suffers from Event Comic Fatigue. When we know the world isn't going to end, threatening the world every month wears thin, and at this point creates less suspense than a story where we care about the fate of an individual or, say, a threat to Old Saybrook, Connecticut or Bwlch, Powys.

Now, the lack of originality and the artificiality of the stakes need not be a problem. This is a superhero comic book. However, the writers and artists have to do something interesting with these familiar elements if they want to justify six much-hyped issues or the inevitable trade paperback.

In a few early panels, we see the kinds of lower-level crimes that plague disaster areas. How do superheroes deal with after-effects of a world-threatening disaster? With some thought, a better comic might have been written about that topic, rather than yet another world-shattering menace. The series also reminds us (particularly in the conclusion) that the Horsemen represent greater, ever-present threats to humanity. Unfortunately, it fails to really make effective use of their metaphoric significance.

The artwork, which varies in quality, does not save the series. Some of the battle scenes have been effectively illustrated. The art team obviously rushed other panels. Limitations become especially apparent in comics printed on slick paper in full colour.

In short, The Four Horsemen presents some interesting opportunities for a mainstream comic, but it fails to deliver anything really memorable.

1. References to plausibility in a review of a superhero comic must be taken in their proper context .

they stirred no air nor any sound did they make
they left no prints and raised no dust in their wake

in suits cut by expert hands and kept spotless
and which showed no stain, wrinkle, or tear
each unto himself a fortress
indomitable on silent nightmares
they covered every inch of the earth on horses
whose coats gleamed with immaculate grooming
the embodiments of unstoppable forces
their shadow over doomed lands looming
they gave no warning of their imminent arrival
galloping across the earth with a soundless tattoo
man had proven himself unworthy of survival
and they'd come to give him what he was due
their coat buttons polished to the highest shine
their fingernails and hair trimmed and cropped to perfection
they had returned once again to punctuate time
and destroy life to facilitate its own resurrection

every land bore the mark of their having visited
and man had gotten his reminder that his time had always been limited

in place of hoofprints they left behind greed
which could only see want and was blind to prosperity
and concentrated man's wealth into hands with least need
by the irresistible force of military gravity
thus there was domination behind which crawled hunger
on bony knees into lands it had left weakened
in their numbers the hungry summoned the death bringer
calling her forth to their mighty beacon
greed had taken other forms besides substantiating
in illusory want which behind it dragged following
the bullying, battery, and burglary of nations
that reduced a proud species to a wretched lot cowering
that was a greed that might have been sustained
but it couldn't keep satisfied its ever-growing appetite
it devoured all things in a voracious campaign
then sat gnawing the bare earth glinting in the sunlight
man hadn't merely made his home unsightly
by mining its bases hollow for their glitter and gilt
he'd reduced to rubble and dust the once mighty
pillars on which he'd so confidently built

into his world along crumbling pillars
on her putrid belly smirking death slithered

once all of man's riches had been wrapped up and sold
it dawned on him that he had nothing to eat
he tried to learn how to live on gold
but his mastery over nature wasn't quite complete
so here again arose bloody war and domination
and uncounted things left destitute
dying, all gazed on him with fascination
who could imagine such a shameless prostitute?
now man was trapped like a rat unable to flee
the ship he'd scuppered for the wood of its planks
as he pawed through the splinters and debris
the ship he knew was unsinkable sank
the horsemen paused to carve another notch
to celebrate their work then geed up each horse
and each set an alert for the next job on his watch
which were of solid gold and swiss design, of course
congratulating each other on a job well done
they waved good bye to the earth that now stinketh
and raced back whence they'd come
confident that she was now stronger in death

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