Showing posts with label Joel Pollack. Show all posts
Showing posts with label Joel Pollack. Show all posts

Monday, July 11, 2016

Joel Pollack on 30 years of Big Planet Comics stores (UPDATED)

by Mike Rhode

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Thirty years ago today, Joel Pollack opened Big Planet Comics in Bethesda, Maryland. I became a regular customer soon afterwards. I'm glad to count Joel as a friend and to be able to run this 'thank you and congratulations' interview with him all these years later.

MR: When and where did the first BP store open?

JP: My first business partner, Gene Carpenter, and I opened the Bethesda Big Planet Comics on July 11, 1986. Our first location was on the second floor of 4865 Cordell Avenue, just 100 feet from our current location (at 4849). After one year, I decided that Gene's focus on back issues/collectibles was incompatible with my vision of what a modern comic shop should be, and I bought him out. It was an amiable split, and Gene and I remain friends.

MR: Why did you decide to open the store?

JP: I had worked in my father's drapery business since the age of twelve, and when he retired I found myself unemployed. I had toyed with the idea of opening a comic shop for at least ten years before I made my move.

101_9088 Dave Lasky and Martha Burns at Big Planet Comics
Dave Lasky and Martha Burns at Big Planet Comics Bethesda, 2014.



MR: You'd been active in fandom and publishing before that. Can you tell me about some of your work, like selling Bernie Wrightson's original art?

JP: I became a part of "organized" comics fandom as early as 1963 when I discovered my first fanzine, "Rocket's Blast". I was a charter member of Biljo White's "Batmania." In 1965, I had my first letters published in Detective Comics #342 and 343. That same year, My aunt Kitty Goldberg introduced me to her friend, Ira Schnapp, who was a letterer and designer at DC Comics. Ira invited me to visit DC's offices (twice) and I met Curt Swan and Murphy Anderson. It was those visits that made me determined to work in the comics field.

I attended my first convention (the first major comic convention) in 1968. Phil Seuling ran that convention and many subsequent July 4th conventions. At those conventions, I met many of my artistic heroes, as well as several up-and-comers who were my age. I became friends with several, including Bernie Wrightson, Jeff Jones, Michael Kaluta, Howard Chaykin, and Walt Simonson. I dabbled in publishing, first with Bob Lewis on "Colour Your Dreams," a fantasy coloring book, and later, the ill-fated "Wet Dreams" portfolio.

Bruce Jones, Kansas City, 1976
UPDATED 2/1/2022:

Why I described the Wet Dreams portfolio as ill-fated:

The project started out as a collaboration between Ron Barlow and me. Ron was a well-known fan, having published Wrightson's Badtime Stories, co-publishing early EC full-color reprints, promoting the first (and only) EC Comics convention, running the first Star Trek store in NYC, and many other fannish activities.

As the project grew, Ron had a diminishing role, and I eventually published it myself. It was near the end of the portfolio boom, and the explicit nature of the material (really only the Ralph Reese art was problematic) made it that much more difficult to sell. At some point, I just gave up and destroyed the majority of the print run. In 1976, Larry Kenton and I helped move Bernie Wrightson to Kansas City to pursue some gal. Bruce Jones lived in KC. I'm attaching a couple of photos of Bruce Jones taken in KC.


Unknown, Bernie Wrightson, & Bruce Jones, Kansas City, 1976

 

In the early 1980s, I started reselling original art and published four "Fantastique Illustration Catalogs," selling art by Wrightson, KaIuta and Jones, as well as by younger artists like Charles Vess and Jon J. Muth. I sold at least a dozen of Bernie Wrightson's original Frankenstein illos, none higher than $2000. Those same pieces now fetch tens of thousands. A lot of great art has passed through my hands.

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Richard Thompson &Joel Pollack


MR: How did the decisions to eventually expand to four stores happen?

JP: It started when my protege, Greg Bennett, graduated college, and we opened the Vienna store together in 1992 (still in its original location). I mostly acted in an advisory role, while Greg did all of the hard work. In 2001, when it looked like an existing Georgetown comic shop was going to fold, Greg and I decided the time was right to make our foray into DC (I was born in DC). After years in our charming old rowhouse location in Georgetown, the building was sold, and we decided to move the shop to U Street for better Metro access and a younger population demographic.

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The now-defunct Georgetown store
Our long-time store managers Jared Smith and Peter Casazza bought Liberty Books & Comics in College Park and turned it into the fourth Big Planet location, and now own the Vienna and U Street shops as well, allowing Greg to focus on Bethesda as I have been approaching retirement age. College Park is the only one I had no hand in, other than giving moral support, and licensing them the Big Planet Comics name.

MR: How have you survived the ups and downs of the comic book market?

JP: By mostly ignoring the collector in favor of the reader. Early on, we saw the future of contemporary comics in the collected editions, the so-called graphic novels/trade paperbacks. We eliminated 90% of our back issue stock, and gave over 75% of our rack space to collected editions. To this day, Big Planet Comics has the most comprehensive selection of comics in book form of any store in the area. The only back issues we carry in Bethesda are some vintage comics from the silver age.
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Gene Yang & Joel Pollack in 2008


MR: How has the store changed over the 30 years? How is it the same?

JP: The main change is what I described above: a focus on collected editions and graphic novels. Our market has evolved from a primarily male collector-driven business to a much more diverse reader-driven base - especially with the tremendous growth in graphic novels for kids and young adults in the last decade.

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Greg Bennett, Gary Panter, Steve Niles and Joel Pollack at Big Planet Comics, July 20, 2008

What has stayed the same is our focus on customer service. We constantly upgrade our inventory, and we're happy to fill special orders.

MR: What's next?

JP: For me, it's retirement. Even after retirement, I hope to continue in an advisory role, and spend a few hours weekly in the Bethesda store. I've made a lot of good friends there through the years, and I consider Big Planet Comics the high point of my life.

(Click here for more of my photographs at various Big Planet Comics stores and events)

Friday, January 03, 2014

Jef Thompson let go from Big Planet Comics Bethesda (revised)

I'm updating this as some of the material I tried to quote from Facebook didn't appear, nor did other material that I had in the draft version. My apologies to my readers.

Jef Thompson has reported on Facebook that he's been let go from Big Planet Comics Bethesda, after working there for sixteen years. The decision is purely a financial one according to the store's owners. Jef was the most recognizable employee behind the counter since former employee Peter Casazza purchased Liberty Comics & Books (nee Closet of Comics) and turned it into Big Planet Comics College Park. Joel Pollack, founder and co-owner of the store with Greg Bennett, said on Jef's Facebook page, "I assure you, it was a sad day for me. A simple"thank you" cannot express my gratitude for all you did for Big Planet and for me personally. This wasn't an easy decision." The store will be solely staffed by the two owners for the near future.

Both Joel and Greg have assured me that Big Planet Bethesda is financially healthy, and making a profit, but noted they're both taking a salary from it. Joel also needs to plan for the future as he approaches retirement age -- which is hard for me to believe, but when I think about it, I've been going to his store for over 25 years now.

Jef works as a professional illustrator and his website is http://www.jefthompson.com/ - you can also buy his original artwork online from him on Etsy. He noted that the job "gave me a cushion cash wise to earn money as an artist." I've got some of his art decorating my office and home, and will be buying more now, I'm sure.

All three people in this posting are friends of mine, but I feel this was worth noting both because Jef's been a regular presence at the store for so long on comic book day (aka Wednesday) and will be missed. The long-term viability of comic book stores is regularly debated, but Newsrama reported today that some stores are reporting that sales are up. Assumptions are dangerous, but the federal government's sequestration and the following shut-down affected salaries in the area, and may very well have affected sales at the store; I know that I cut back on my personal spending in the summer and fall due to those events.

In any event, my best wishes go to everyone involved.

-- Mike Rhode

Thursday, August 08, 2013

The ultimate fantasy coloring book

Back in 1972, Joel Pollack--who later founded Big Planet Comics of the greater Washington, D.C., area--co-published a rather interesting fazine with Bob Lewis. Colour Your Dreams, a 32-page fantasy coloring book, featured full-page art by--hold onto your hats--Jeff Jones, Berni Wrightson, Phil Trumbo, Henry Pitz, Howard Chaykin, Howard Pyle, Mike Nally, Frank E. Schoonover, Lawrence Kamp, John Linton, J. Allen St. John, Barry Smith, Robert Lewis, Dennis Fujitake, Yvon Sovereign, Michael W. Kaluta, Joel Pollack, Fred H. Ball, Arthur Rackham, Eric Friedrichs, Marc Cheshire, Dave Cockram, Walt Simonson, Norman Lindsay, Verlon Vrana, Maxfield Parrish, Roy G. Krenkel, John Lawson, Sherry Ives and Steve Hickman. Want a copy for your collection? A copy is on sale at eBay.

 

Sunday, April 22, 2012

Joel Pollack on moving Big Planet Comics' Bethesda store

Big Planet Comics Bethesda just moved for the second time in 25 years, once again staying within two blocks of its previous location. In fact, it's within fifty feet of its original 1986 location now. Chain founder Joel Pollack showed me the store yesterday, and answered a few questions by email.

Mike Rhode: How come you moved the store?

Joel Pollack: My cute answer is we either had to clean or move. The real answer is we've known for several years that our landlord intended to raze our building to build a 14- (or 17-) story condo. When we were given notice (subsequently rescinded) to vacate at year 2011's end, we realized it was time to go.

Why did you want to stay in the Woodmont triangle?

We briefly considered "North Bethesda" (really south Rockville) near White Flint Metro, but we always preferred the Woodmont Triangle, and were lucky to find a space 100 feet from our original second story location. I couldn't be happier.

What are the advantages of the new store?



Immediately, larger space, cheaper rent. Also, with Fairmont Ave. likely to be a construction mess for the foreseeable future, Cordell Ave.now becomes the per-eminent shopping/dining street in the Triangle.

How was the move?
Couldn't have gone better. Agent Tyke Papanicolas greased the wheels, every contractors' promise was fulfilled (special shout-out to Carlos Sanchez who did our build-out), the landlord granted us numerous concessions, and Carlos (not a mover by trade) got us moved with minimal problems. We did the entire move in three days, packing with the help of volunteers and employees on Sunday, moving on Monday, unpacking on Tuesday, and re-opening on Wednesday. Store monkey (his choice of words), Jef Thompson, did at least 70% of the unpacking. I'm convinced I used up any accrued good karma I had.

How many times have you moved the store?

The old location with the proposed condos sign.


This will be the second time - we previously moved from Cordell Ave. in March of 1991.

Will you be participating in Free Comic Book Day on May 5th?
But of course - it's our favorite comics-related event of the year.

What can people expect?
We will again have our kid's packs - a pre-pack of at least ten comics. Also, a nice variety of freebies for the so-called grown-ups. And another specially imprinted DC Comics sampler, with a terrific coupon, guaranteed to save customers money.

Anything else you'd like to mention?

Everything about the move has been positive, and I'm re-energized for another ten years of comic book sales.


Joel Pollack

Big Planet Comics
Bethesda
4849 Cordell Ave
Bethesda, Maryland 20814
301-654-6856


Wednesday, April 15, 2009

Walt Simonson and Joel Pollack

Joel Pollack of Big Planet Comics and I were talking today, and Walt Simonson's name came up in passing. Joel met him when Simonson was working at the Maryland Book Exchange, and drew a sign for their science fiction section that Joel asked about. Joel says that when Simsonson decided to go to NYC to make it in comics, Joel passed along Howard Chaykin's phone number. A little bit of comics history there for you, brought up by the fact that NYC Graphic Novelists blog has a Simonson interview up this week.

Sunday, December 07, 2008

Fabulous Furry Freak Brothers movie? UPDATED

Did you know there was a Fabulous Furry Freak Brothers movie? According to Joel Pollack of Big Planet Comics, Gilbert Shelton's underground comic was adapted into a live action short, The Fabulous Furry Freak Brothers Acquire a Groupie. This was around 1971 by a DC-area filmmaker whose company was Reel Meat. Joel did the promo art and showed it to me today. The filmmakers were Bill Pace and Celia Symbarski aided by Joel Jacobson. The actors were Jeff Wolfe as Fat Freddy, Tom Scott as Freewheelin' Frank, and Dave Eisner as Phineas. Bill Pace would be the only one likely to own a copy, Joel thinks. The movie disappeared when Shelton pulled his approval of the license.

Tuesday, November 11, 2008

Ira Schnapp, the genius that most inspired Joel Pollack's interests in comics

Big Planet Comics founder and owner Joel Pollack sent me a note which he said I could reprint here:

Just found on Wikipedia, an article on Ira Schnapp, the genius that most inspired my interests in comics. Ira was a friend of my Aunt Kitty Goldberg, and hosted me to two long visits to DC Comics offices when I was 15.

Ira's career before comics was amazing. His comic work was unsung, but he helped define the look of DC Comics covers from 1938-68. To what should be DC's great shame, Ira was left out of "The 50 That Made DC Great" commemorative publication.

The ultimate Ira Schnapp article.

The Wikipedia article is interesting, but also of note is the kindness shown to a 15-year-old who ended up making comics his career. I've had a few people do the same for me - my Mom and Dad bought comics we read to death; Mike Violante who married my cousin and shared his collection of Silver-Age DC and Marvel with me; Frank Grembowiec the owner of Collectors Comic Shop formerly in the Bergen Mall in Paramus NJ who sold me comics in my teens, Joel who picked that role up, John Lent who asked me out of the blue to be a part of the International Journal of Comic Art... there's a lot of people I could list and you just never know how things will work out.

Wednesday, June 25, 2008

Jim Dougan in new anthology

I still haven't met local cartoonist Jim Dougan, but Joel Pollack of Big Planet Comics told me today that his work will be appearing in No Formula: Stories from The Chemistry Set vol. 1, (Desperado) and you can order it from the June Previews using Jun083849 as your code. So I ordered it. My buddy Dean Haspiel appears to be in it as well.

Thursday, March 01, 2007

An Interview with Berni Wrightson part 2


continued from part 1

JP: Why haven’t you continued to do the covers for The Roots of the Swamp Thing Series?

BW: Initially, because they wouldn’t let me do paintings, and how many times can you deal with those same situations, and make them different and interesting. It’s leftovers, and I really would rather not deal with leftovers.

JP: Yet on your cover for TROTST #1, you went well beyond anything you had done before.

BW: Yeah, I had fun, because they were letting me do something different. I could play with it and experiment; jump in and do something that didn’t have a black line around it and lots of fancy feathering. I could just use a big brush and have fun and play with color. Everything is a learning process. If you don’t learn, you don’t grow.

JP: You start repeating yourself.

BW: Which I’ve been doing a lot of in the last few years, I’d be the first to admit.

JP: There’s a balance between art and commerce.

BW: Yeah, well, I take things on for the money, because I do this for a living.

JP: You’ve been known to get over-committed before.

BW: Oh yeah. I try to help people out sometimes. Like Creepshow was more of a favor to Stephen King.

JP: It must have been a nice shot in the arm for your career?

BW: Not really. It was certainly not my best work. I think it was several cuts below. I really can’t bear to look at it any more. There were a lot of restrictions; we didn’t have a lot of time.

JP: Have you seen Chaykin’s Shadow?

BW: Very briefly – I’ve only seen one issue. I thought it was pretty entertaining, but it wasn’t the Shadow. I’m not as into it as Kaluta, or the real hardcore fans. I’m sort of indifferent, but still, Chaykin’s thing wasn’t the Shadow. I don’t think the character can be updated.



JP: How about Miller’s Dark Knight?

BW: I saw the second issue, the one with the wrinkled Batman on the cover. I enjoyed that. That was a lot of fun. That was Batman. Batman with teeth. That’s a little bit more like what the character should be. I always thought that Batman fought all of these weird psychos, the Joker, the Penguin, and Batman himself is a psycho. Nobody’s ever really explored that in any depth, and Miller’s got a handle on that.

JP: What do you think of Moonshadow?

BW: Moonshadow I find pretty enjoyable. It tends to ramble a lot; it doesn’t hold my interest a whole lot. Maybe I prefer something with a little more punch. You either like fairy tales or you don’t, and I suppose I don’t. Can’t fault Jay’s art. Even in some of the stuff where he’s obviously rushed, he still pulls it off. He still has that assurance to bring it over.
JP: Kaluta and Lee’s Starstruck?

BW: I find it really fun to look at, as all of Michael’s stuff is; I find it difficult to read. Reading it is fun, and it is well written, but I don’t really think I understand it. I know a bit more than the guy on the street because I know Michael and Elaine, and we talk about it. I’ve seen the play. But even with that background, a lot of it is completely lost on me. I get the feeling, sometimes, that Michael doesn’t understand it. Anything that Michael works on is just wonderful.

to be continued in part 3

Images courtesy of the the Grand Comic Book Database.

Wednesday, February 28, 2007

An Interview with Berni Wrightson part 1

Well, I got slightly over a page of this typed in, and it was at a good stopping point, so here's the start of the interview courtesy of Joel.

An Interview with Berni Wrightson
Originally published in CFA-APA #5 (June 30, 1986)

BERNI WRIGHTSON INTERVIEW conducted by Joel Pollack on May 15, 1986.

JP: Do you have a distaste for barbarian subject matter?

BW: No, the real early stuff I did before ever being published was exclusively barbarian and horror. I did a lot of drawings of these big powerful guys with scars all over them. I did some samples for Conan when Marvel was going to do it, but they already had Barry Smith.

JP: They wanted a more gentlemanly Conan?

BW: I guess. Or someone they could push around more. Barry’ll love that. I might take another swing at it sometime.

JP: After Frazetta did the Conan covers, there’s not a lot left to say about it.

BW: There doesn’t seem to be any need for it. He was at his peak. I don’t think he ever got much better than that.


JP: What was the print run on A Look Back?

BW: I couldn’t really tell you. It turned into such a headache. Poor Chris (Zavisa) went through sheer hell. I just tuned it all out when it was happening. All I know is – it’s out of print; you can’t get it; there won’t be another printing.

JP: Any possibility of an abridged version?

BW: I have absolutely no plans. I really couldn’t be less interested. Please tell the fans I’m sorry, but I’d rather get on with the next project. If somebody came to me and wanted to take the project on and do all the legwork and worry about the reproduction and all of that, and just give me a pot of money, that would be fine. I’m not going to strain myself over that.

JP: What of your work showed up in Ghostbusters?

BW: I worked on the Wardogs and it’s hard to tell anymore. It looks like they kept my proportions for the dogs, and not much else. They originally came to me with drawings that other people had done and the dogs looked very much the way they looked in the movie. They said, “We don’t want this reptilian look, we want something that looks a little more like a dog. Put some fur on it and make it more wolf-like.” So, I worked on that, did a lot of drawings, and when the movie comes out they just changed it back to what they told me they didn’t want in the first place. Something of mind did come through: the faces, the facial expressions, mostly the proportions; high in the shoulders, low in the back. I also worked on the librarian sequence; I did a long sequence of her changing. She went through this long change; the way I saw it, it was to have lasted four seconds. They didn’t do it mostly because they didn’t have the budget for it. Ghostbusters was not really a big budget movie in the effects line. They were trying to save money in this. The only thing that survived is when she hushes the guide. That was in my storyboards.

JP: How many finished Frankenstein drawings did you do?

BW: The original idea was to do a hundred. I did somewhere between forty and a hundred; I’d put it about sixty. There are quite a few out there that are unfinished; a lot of those are versions of ones that did get finished. I really made myself crazy on that stuff.

...to be continued in part 2
and part 3.