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From Wikipedia, the free encyclopedia

Heart Throbs
Heart Throbs #1 (Aug. 1949) by Bill Ward.
Publication information
PublisherQuality Comics
DC Comics
Schedulevaried: Bimonthly and 8x/year
FormatOngoing series
GenreRomance
Publication dateAug. 1949 – Oct. 1972
No. of issues146
Creative team
Written byBob Kanigher, Barbara Friedlander
Artist(s)Jay Criton, Gene Colan, Ogden Whitney, Mort Drucker, John Romita, Sr., Win Mortimer, John Rosenberger
Penciller(s)John Forte, Jay Scott Pike
Inker(s)Vince Colletta, Bernard Sachs, Gene Colan, Russ Jones, Tony DeZuniga
Letterer(s)Ira Schnapp, Gaspar Saladino
Editor(s)Whitney Ellsworth, Phyllis Reed, L.M. Nadle, Jack Miller, Barbara Friedlander, Joe Orlando, Dorothy Woolfolk
Collected editions
Heart Throbs: The Best of DC Romance ComicsISBN 0671252364

Heart Throbs was a romance comic published by Quality Comics and DC Comics from 1949 to 1972. Quality published the book from 1949–1957, when it was acquired by DC. Most issues featured a number of short comics stories, as well advice columns, text pieces, and filler. The long-running feature "3 Girls—Their Lives—Their Loves", drawn by Jay Scott Pike and inked by Russ Jones, ran in Heart Throbs from 1966–1970.

In addition to Pike and Jones, regular contributors to Heart Throbs during its run included Bob Kanigher, Barbara Friedlander, Jay Criton, Gene Colan, John Romita, Sr., John Forte, Vince Colletta, Bernard Sachs, Win Mortimer, John Rosenberger, and Tony DeZuniga.

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Transcription

You’ve seen this before in a TV show or a movie. A patient is on the table in the emergency room, bleeding from a stab wound or having ODed on drugs, when suddenly, an alarm goes off and the beep beep beep on the heart monitor flatlines. It’s cardiac arrest, and you can tell just by that sound that it’s terrible. Doctors swarm around, barking orders, and McDreamy or Dr. Grey -- or whoever the latest foxy doctor is on the TV show that you’re addicted to -- grabs the paddles, pushes them down on the patient’s chest, and is all CLEAR! Then the patient’s chest jumps up, and everyone stares at the monitor waiting for those steady beeps to reappear. That is a pretty classic scene. When it comes to medical crises you see in popular culture, it’s probably only rivaled by the pool-side CPR scene, or someone shaking an unconscious body, pounding on their chest and saying “Don’t you die on me!” Which hopefully you know is no way to keep someone alive. These are classic script tropes, but they contribute to some misconceptions about how defibrillators, CPR, and the electricity of the heart work. Because the truth is, CPR can help prolong heart function during cardiac arrest, but it usually can’t save a life without help from a defibrillator. And when McDreamy -- may he rest in peace -- finally bursts out those paddles, that high-voltage shock isn’t turning the heart back on -- it’s actually stopping it. Confused? Well, I’m here to get your head to understand your heart. We’ll get back to hot TV doctors in a coupla minutes, I promise. But in order to understand what’s actually going on during cardiac arrest, we have to understand some basics about your heart cells. We’ve learned a lot about skeletal muscle tissue -- how it’s striated, and contracts using the actin-myosin sliding filament dance you’ve heard so much about. Your cardiac muscle is also striated, and uses sliding filaments to contract, but the similarities end there. For one, their cells look pretty different. Skeletal muscle tissue has long, multinucleate cells, while cardiac cells are squat, branched out, and interconnected, each one with one or two central nuclei. The cells are separated by a loose matrix of connective tissue called the endomysium, which is chock full of capillaries, to serve up a constant supply of oxygen. Cardiac cells are also loaded with energy-generating mitochondria. In fact, mitochondria take up as much as 25 to 35 percent of each cell, making it resistant to fatigue, which is partly why your heart can beat nearly 3 billion times in a lifetime. Not surprisingly, the differences between skeletal and cardiac muscle tissues are key to understanding their functions. Skeletal muscle fibers are both structurally and functionally separate from each other, meaning that some cells can work while others don’t -- that’s why you can grasp a delicate flower with the same hand that you can use crush a soda can. Cardiac cells, on the other hand, are both physically and electrically connected, all of the time. It takes precise coordination to create the high and low pressures required to pump your blood after all, and cardiac cells need to be linked in order to have that perfect timing. And there’s one more thing you need to know about your heart’s cells: Some of them can generate their own electricity. How in the name of Raymond de Vieussens can that be? Well, rewind your brain to when we explored the electrical marvel that is the action potential, and how it triggers both neurons and muscle cells. That process started by depolarizing the cell -- that is, pushing the cell’s membrane potential from negative toward positive, past a threshold that triggered voltage-gated ion channels to open. Most cells in your body only depolarize after being triggered by an external stimulus, or by a neighboring cell, in a long chain reaction of action potentials that’s set off by the nervous system. But that is not the case for a special group of cells found only in your heart -- ones that can trigger their own depolarization. These are your pacemaker cells. Pacemaker cells are what keep your heart beating at the correct rhythm, and ensure that each cardiac muscle cell contracts in coordination with the others, because you don’t want your brain to have to send a series of action potentials every time you need your heart to beat. Your brain has got other stuff to do. So pacemaker cells are, in a way, your heart’s very own brain, generating the initial spark that sends a current through your heart’s internal wiring system, known as the intrinsic cardiac conduction system. This system transmits electricity along a precisely-timed pathway that ends with atrial and ventricular contractions -- also known as heart beats. And it begins with pacemaker cells generating their own action potentials. In most cells, the action potential starts with the resting potential, which the cell maintains by pumping sodium ions out and potassium ions in, Right? Then, when some stimulus causes the sodium channels open up, the sodium ions flood back in, which raises the membrane potential until it reaches its threshold. Pacemaker cells operate the same way, except for that initial stimulus. They don’t need it. Their membranes are dotted with leaky sodium and potassium channels that don’t require any external triggers. Instead, as their channels let sodium ions trickle in, they cause the membrane potential to slowly and inevitably drift toward its threshold. Since the leaking happens at a steady rate, the cells fire off action potentials like clockwork. And the leakier the membrane gets, the faster it keeps triggering action potentials. The pacemaker cells at the start of the conduction system have the leakiest membranes, and therefore the fastest inherent rhythms, so they control the rate of the entire heart. And those fast, leaky cells are found in the sinoatrial node, or the SA node, up in the right atria. They essentially turn the whole SA node into your natural pacemaker. After those pacemaker cells make themselves fire, they spread their electrical impulses to cardiac muscle cells throughout the atria. The impulses leap across synapse-like connections between the cells called gap junctions, and continue down the conduction system until they reach the atrioventricular node, or AV node, located just above the tricuspid valve. Now, when the signal hits the AV node, it actually gets delayed for like, a tenth of a second -- so the atria can finish contracting before the ventricles contract. Without that delay, all the chambers would squeeze at once, and the blood would just splash around and not go anywhere. So instead, the atria contract and blood drops down into the ventricles, and then a moment later, the signal moves on and triggers the ventricles to squeeze, making the blood flow out of the heart. And there are two tricks to a good ventricular contraction. One, the ventricles are so large that the signal has to be distributed evenly to ensure a coordinated contraction. And two, the ventricles need to squeeze like their squeezing a tube of toothpaste -- from the bottom up -- to accelerate the blood through the big arteries at the top of the heart. So from the AV node, the signal travels straight down to the inferior end of the heart and gets distributed to both sides. The path the electrical impulse takes to the bottom of the heart is called the atrioventricular bundle, also known by the more rad name, the bundle of His, where it branches out to the left and right ventricles. Finally, the signal disperses out into Purkinje fibers, which trigger depolarization in all surrounding cells, causing the ventricles to contract from the bottom up like toothpaste tubes, at which point the whole cycle starts all over again. And everything I just described to you -- from when the SA node fires to when the last of the ventricular cells contract -- takes about 220 milliseconds. So that is how your heart beats. But I know what you want -- you want to get back to talking about TV shows and McDreamy and his paddles. It’s totally understandable. OK, so picture all your individual heart cells as a bunch of musicians in an orchestra. They all sound really great together, but then the conductor suddenly needs to go to the bathroom. And it sounds OK at first, but then the tuba gets a little weird, and the triangle is half a beat off, and soon everyone is playing a different note at a different time, jamming to their own personal rhythm. In the heart, we call this out-of-sync behavior fibrillation, and it can be caused by all sorts of problems, especially ones that affect the pacemaker cells in the SA node. In an orchestra, this just sounds really terrible. In a heart, there’s no coordinated contraction, no lub-dub, no blood moving through the body. Which means you will soon be dead. But then the conductor comes back from the bathroom break, taps her wand, and everybody stops. It’s silent for a second before the wand comes up, and then they all start playing again, this time in unison. If your heart in fibrillation is an out-of-sync orchestra, then a defibrillator is that conductor. It stops the chaotic noise by overriding all the individuals, and hits a sort of reset button so everyone can start again on the same page. The paddles send so much electricity through the heart that they trigger action potentials in all of the cells at once. Then, the cells repolarize, and start leaking again, and then the most leaky cells, in the pacemaker SA node, reach their threshold and fire first, re-setting the rhythm that keeps everyone in harmony so your heart functions properly. And that is how hot doctors and their paddles actually stop hearts to save lives. Now the thing about CPR -- or cardiopulmonary resuscitation -- is that it can’t correct fibrillation. What those chest compressions can do is force a fibrillating heart to keep circulating oxygenated blood until help arrives. But if a person is in cardiac arrest, just breathing into their mouth and compressing their chest won’t deliver the electricity needed to give the pacemaking cells a chance to reset. I think I just figured out why they call those TV doctors heart throbs. That’s a terrible joke. Anyway, today you learned how your heart’s pacemaker cells use leaky membranes to generate their own action potentials, and how the resulting electricity travels through the cardiac conduction pathway from SA Node to Purkinje fibers, allowing your heart to contract. And if you weren't too busy daydreaming about TV doctors, you also learned how defibrillators work to reset the rhythm of your heart. Thank you to our Headmaster of Learning, Thomas Frank, and to all of our Patreon patrons who help make Crash Course possible through their monthly contributions -- not just to themselves but to everyone in the world for free. If you like Crash Course and want to help us keep making these videos, you can visit patreon.com/crashcourse. Crash Course is filmed in the Doctor Cheryl C. Kinney Crash Course Studio. The episode was written by Kathleen Yale, edited by Blake de Pastino, and our consultant is Dr. Brandon Jackson. It was directed by Nicholas Jenkins; the script supervisor and editor is Nicole Sweeney; our sound designer is Michael Aranda, and the Graphics team is Thought Cafe.

Publication history

Quality Comics published 46 issues of Heart Throbs from Aug. 1949–Dec. 1956. Many early issues featured photographic covers. The company closed in 1956, selling most of its assets to National Periodical Publications (now known as DC Comics).

With its acquisition of Heart Throbs, DC continued its numbering, the first issue being #47 (Apr./May 1957). The company published 100 issues of Hearth Throbs, until #146 (Oct. 1972).

With issue #147 (Nov. 1972), DC changed the title of the book to Love Stories, publishing six more issues before cancelling the comic for good with issue #152 (Oct./Nov. 1973).

Collected editions

In 1979, Fireside Books published Heart Throbs: The Best of DC Romance Comics, which featured many stories from the pages of Heart Throbs.

Recurring features

Starting with its first issue as publisher, DC ran the regular text feature "It Happened in Hollywood" in Heart Throbs until the early 1960s.

Starting with issue #102 (June/July 1966), Heart Throbs began the long-running serial "3 Girls—Their Lives—Their Loves". It ran 22 episodes before concluding in issue #123 (Dec. 1969/Jan. 1970).

Advice columns

During the Quality Comics period, Hearth Throbs featured Marilyn Minton's "Advice on Love Problems".

The advice column "Telling It the Way It Is... to Lynn Farrell" began running in 1969. The column was retitled "Like It Is!" (with advice dispensed by "Donna Fayne") in 1972, near the end of the book's run.[1]

Contributors

Notable creators who worked on the title for Quality Comics included Jay Criton, who worked on the title from 1954–56, and Gene Colan, who did spot stories in the 1950s. Ogden Whitney also contributed artwork to the book during this period. Penciler John Forte worked on the title for periods under both publishers.

For a while Mort Drucker supplied illustrations for regular one-page fillers after the title's acquisition by DC. Colan returned as an inker in the DC period, working on the title from 1963–1967. Vince Colletta inked Heart Throbs stories at different times throughout the period 1958–1972. Bernard Sachs inked many covers and stories through the DC period, being particularly active up through 1969.

John Romita, Sr. (who was cover artist for many of DC's romance titles) drew most of the covers from 1960–1963. Bob Kanigher wrote many stories during the later half of the 1960s.

In addition to his work on "3 Girls", Pike drew the majority of the book's covers from 1967–1972. Win Mortimer and John Rosenberger were regular contributors during the same period. Tony DeZuniga inked the book in 1971–1972.

Under the auspices of DC, Heart Throbs' initial editor was Whitney Ellsworth. Phyllis Reed took over as editor in 1959, staying on the book until 1963. Larry "L.M." Nadle edited Heart Throbs until his death in December 1963, after which it was taken over by Jack Miller. Barbara Friedlander was the book's editor, as well as one of its lead writers, during the period 1966-1968. Jack Miller returned as editor in 1968, staying until 1969 when he was replaced by Joe Orlando. Dorothy Woolfolk edited the title from 1971 to the end of its run.

Legacy

In the late 1970s, underground cartoonist Larry Fuller created Gay Heart Throbs, a homosexual homage to Heart Throbs. It lasted only a few issues.

The 1987–1991 comic book series Good Girls, created by Carol Lay, satirizes romance comics conventions, particularly those of Heart Throbs.[2]

In 1999, the DC Comics imprint Vertigo published a four-issue limited series titled Heartthrobs, which spoofed Heart Throbs in an R-rated manner. Heartthrobs featured satirical adult-oriented stories by such creators as Brian Azzarello, Frank Quitely, Ilya, Bob Fingerman, and Richard Corben.

References

Notes

  1. ^ The Grand Comics Database editors tentatively identify Carol Fein as the writer behind "Lynn Farrell" and "Donna Fayne".
  2. ^ Lay, Carol, introduction. Goodnight, Irene: The Collected Stories of Irene Van de Kamp (Last Gasp, 2007). ISBN 0-86719-659-9.

Sources consulted

External links

This page was last edited on 24 September 2023, at 04:49
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