Friday, July 20, 2018
NPR's Monkey See goes to San Diego, parts 1-2
The Post highlights NGA Sens of Humor exhibit
This National Gallery of Art exhibit proves humor is an artform [in print as Late-night-style barbs started early].
Washington Post July 20 2018, p. Weekend 22
https://www.washingtonpost.com/express/wp/2018/07/19/this-national-gallery-of-art-exhibit-proves-humor-is-an-artform/
The Post on the new John Callahan biopic.
An adoring portrait of cult cartoonist John Callahan is supposed to inspire, but irritates instead [in print as You might wish this guy would just pick himself up]
DC Zinefest this Saturday, 7/21!
DC Zinefest
The 2018 DC Zinefest will be held on Saturday, July 21, 2018, at Art Enables (2204 Rhode Island Ave NE) from 11:00 a.m. to 5:00 p.m.
This year's Zinefest will feature:
- 50+ zine-makers sharing their writing, art, prints, and more
- air conditioning!
- 2 panel discussions
- exclusive posters designed by Toni Lane
- awesome buttons designed by Moose Lane
Thursday, July 19, 2018
August 13: Declan Shalvey Signing at Big Planet Comics of College Park
- Monday, August 13 at 5 PM - 7 PM
- Big Planet Comics of College Park7315 Baltimore Ave, College Park, Maryland 20740
PR: Vanessa Bettencourt - New Publisher Website with all series
The Post reviews Prentis Rollins' The Furnace
Best science fiction and fantasy books out this month [in print as Science Fiction].
Rob Roger's political cartoon exhibit opens at GW's Corcoran
Rob Rogers |
I was able to briefly stop by last night as Rob Rogers made a few short remarks about an exhibit of his cartoons, including 10 original pen and ink drawings and the companion colored prints critical of Trump that a Pittsburgh newspaper refused to print before they fired him. Also included are prints of sketches that they turned down before they became completed cartoons. Rogers' contentious relationship with the papers new editor has been written about extensively and soon after he was fired, GW announced they would exhibit his cartoonist directly across the street from the White House complex (information from their press release follows the images). The exhibit is sponsored by GWU and the American Association of Editorial Cartoonists. AAEC president Pat Bagley and Washington Post cartoonist Ann Telnaes contributed to the text of the exhibit.
The sold-out event drew local cartoonists Mike Jenkins, Joe Sutliff, Carolyn Belefski, Politico's Matt Wuerker, and Al Goodwyn a freelance cartoonists who appears locally in the Washington Examiner, in addition to Library of Congress curator Martha Kennedy (whose exhibit on women cartoonists is on display at the Library), and the Washington Post's Michael Cavna.
More photos can be seen here.
Incomplete sketch rejected by newspaper |
Cavna, Goodwyn, Jenkins, Belefski |
Belefski, Sutliff and Wuerker |
Sutliff, Wuerker and Kennedy |
Bagley's statement |
'Spiked: The Unpublished Political Cartoons of Rob Rogers' Opens at the GW Corcoran School of the Arts and Design
Editorial cartoonist was dismissed from the Pittsburgh Post-Gazette after facing censorship of his cartoons
WASHINGTON (July 18, 2018)-The Corcoran School of the Arts and Design at the George
Washington University opened "Spiked: The Unpublished Political Cartoons of Rob Rogers"
today. This pop-up exhibition in the atrium gallery of the Corcoran School's historic Flagg
Building features 10 finished cartoons and eight sketches that went unpublished by Rob Rogers'
employer, the Pittsburgh Post-Gazette, between March 6 and June 3, 2018.
Mr. Rogers served as the editorial cartoonist for the Post-Gazette for 25 years, until his firing in
June 2018. Prior to his dismissal, the newspaper refused to publish a series of cartoons
produced over three months.
"I believe the role of a newspaper is to be a watchdog, keeping democracy safe from tyrants. I
hope that visitors to the exhibit get a sense of the important role satire plays in a democracy and
how dangerous it is when the government launches attacks on a free press," Mr. Rogers said. "I
am excited to have my original cartoons on display at the Corcoran. The fact that these are
cartoons about the president and now they will be on shown a few blocks from the White House,
that is pretty incredible!"
The Corcoran strives to promote diversity of thought and experience, address critical social
issues and educate the next generation of creative cultural leaders.
"Mr. Rogers' work has tremendous educational value to our students by speaking to the skills of
technical virtuosity, iteration, perseverance and creative methodologies on how to critique
power," Sanjit Sethi, the director of the Corcoran said. "His work also becomes a powerful point
of departure for this community to speak with each other about issues around censorship,
freedom of the press, journalistic and creative integrity and the consequences of hypernationalism to a democracy."
The Corcoran organized "Spiked" in conjunction with University of Pittsburgh's University Art
Gallery and in collaboration with the Association of American Editorial Cartoonists.
"Freedom of speech is more than words. It's pictures, too," Pat Bagley, president of the
association, said. "This exhibit draws attention to Rob Rogers, a popular voice at the Post Gazette
for 25 years. It points to what people in power do to people who draw funny pictures of
the powerful and why that is an important measure of a free and open society."
In addition to the exhibition this summer, the Corcoran will host a series of conversations this fall
regarding issues around censorship, freedom of the press, journalistic integrity and the consequences of nationalism to a democracy, in collaboration with both the Association of
American Editorial Cartoonists and GW's School for Media and Public Affairs.
Comic Riffs on The Dark Knight movie, the Ant-Man movie, and a Spider-Man comic book
'The Dark Knight' changed how we see 'comic-book movies.' But 10 years ago, some critics couldn't see its greatness.
https://www.washingtonpost.com/news/comic-riffs/wp/2018/07/18/the-dark-knight-changed-how-we-see-comic-book-movies-but-10-years-ago-some-critics-couldnt-see-its-greatness/
'Ant-Man and the Wasp' director likes life as Marvel's humble superhero comedy
Washington Post Comic Riffs blog July 11 2018
https://www.washingtonpost.com/news/comic-riffs/wp/2018/07/11/ant-man-and-the-wasp-director-likes-life-as-marvels-humble-superhero-comedy/
Nick Spencer takes over 'The Amazing Spider-Man' and will focus on the Spidey basics: Laughs and love
Washington Post Comic Riffs blog July 17 2018
https://www.washingtonpost.com/news/comic-riffs/wp/2018/07/17/nick-spencer-takes-over-the-amazing-spider-man-and-will-focus-on-the-spidey-basics-laughs-and-love/
ALMOST Flugennock's Latest'n'Greatest: #MeltICE
"#MeltICE"
http://sinkers.org/stage/?p=25
"Schumer never once publicly criticized the Democrats who voted with the GOP to deregulate banks, give Trump more surveillance powers, or confirm a torturer as head of CIA. But this… https://t.co/LUilExPUWM "
Trevor Timm (@trevortimm) on Twitter, 06.26.2018
So, while the ICE has gone full Gestapo -- separating immigrant families, caging their children -- and people are in the streets taking direct action, occupying ICE offices, blocking detainee transfer buses and confronting officials in public, what are the Democrats doing? Well, along with hopping aboard the bandwagon for votes, they're lecturing us about "civility", with Chump Schumer and Nancy Pelosi being the worst of the bunch.
And, as usual, Democrats are waffling and mealy-mouthing, calling for "reforming", "restructuring" and re-imagining the American Gestapo; the most irksome of all has to be Kamala Harris who, after knocking herself out defending ICE, has suddenly started talking about "re-examining" ICE. Sorry, Ms. H., but "re-examining" and "reforming" are not abolishing.
11x16 inch medium-res color .jpg image, 1.5mb
Tuesday, July 17, 2018
The Hill on Bill Bramhall's front page cartoon for the NY Daily News
NY Daily News cover following Helsinki summit shows Trump shooting Uncle Sam
By Morgan Gstalter - 07/16/18http://thehill.com/homenews/
Rob Rogers in DC - for the record
Banned in Pittsburgh: A Conversation with Cartoonist Rob Rogers
July 19, 2018 6:00 PM
This is a ticketed event. Click here to jump to the ticket form.
Join the National Press Club Journalism Institute in a conversation with Rob Rogers and see the work that was too hot for his publisher to handle. He'll be talking with Ann Telnaes, Pulitzer Prize-winning cartoonist at the Washington Post. Join us 6-8:00 p.m. Thursday, July 19, in the NPC's Bloomberg Room. Tickets are required to attend; RSVP using the link below. The conversation will be followed by a Q&A session. Both Rogers and Telnaes will be signing copies of their books, which will be available for purchase.
This event is being hosted by the National Press Club Journalism Institute, the non-profit affiliate of the National Press Club.
Sense of Humor exhibit open at National Gallery of Art
- Sense of Humor
- July 15, 2018 – January 6, 2019
- West Building, Ground Floor
- https://www.nga.gov/exhibitions/2018/sense-of-humor.html
The exhibition is curated by Jonathan Bober, Andrew W. Mellon senior curator of prints and drawings; Judith Brodie, curator and head of the department of American and modern prints and drawings; and Stacey Sell, associate curator, department of old master drawings, all National Gallery of Art, Washington.
Organization: Organized by the National Gallery of Art, Washington
Passes: Admission is always free and passes are not required
About the Artists
- Bruegel the Elder, Pieter
- Flemish
- , 1525 - 1569
- Calder, Alexander
- American
- , 1898 - 1976
- Callot, Jacques
- French
- , 1592 - 1635
- Daumier, Honoré
- French
- , 1808 - 1879
- Gillray, James
- British
- , 1757 - 1815
- Goya, Francisco de
- Spanish
- , 1746 - 1828
- Grooms, Red
- American
- , 1937 -
- Guerrilla Girls
- 1985 -
- Hogarth, William
- British
- , 1697 - 1764
- Spiegelman, Art
- American
- , 1948 -
- Steinberg, Saul
- American
- , 1914 - 1999
Press Event: Sense of Humor
https://www.nga.gov/audio-video/press/press-sense-of-humor.htmlMonday, July 16, 2018
Flugennock's Latest'n'Greatest: "Blue Plate Special"
"Blue Plate Special"
http://sinkers.org/stage/?p=25
A little over a month ago, Democratic Party "rising star" (spit) Alexandria Ocasio-Cortez tweeted "this is a massacre", referring to the Israeli slaughter of unarmed Palestinians in Gaza. Needless to say, as soon as the establishment pushed back, she immediately started waffling her ass off and folded faster than Superman on laundry day, saying that she posted that tweet "as an activist" and not a Congressmember. However, now that she's a member of Congress, she's apparently willing to "learn and evolve" -- which, as someone who grew up in Washington DC, I understand to mean "flip-flop", or "do an Obama" as we say these days.
Granted, the focus of her activism was on economic issues, but still -- if you're going to run for Congress, you also need to keep up on lots of other issues as well, such as the 70 years of brutal occupation of Palestine and the Gaza Strip by Israel, and the ongoing mass murder of Palestinians in Gaza.
What especially galled the hell out of me is that initially, Ocasio belted out the straight, raw truth -- but when the pushback hit, her first instinct was to backpedal rather than show some backbone and stand her ground in solidarity with the people of Gaza against Israeli barbarity. All the walking back, backpedaling and explaining she can possibly do now will do her no good because, as the saying goes, you never get a second chance to make a first impression.
At least we found out early.
"Ocasio-Cortez hedges criticisms of Israel– 'I may not use the right words'", Mondoweiss, 07.15.18
https://mondoweiss.net/2018/07
"NY insurgent who said 'Dems can't be silent anymore' about Palestine clips AIPAC poodle in primary shocker", Mondoweiss 06.27.18
https://mondoweiss.net/2018/06
The Post on ‘The Dark Knight’ and Heath Ledger’s Joker
'The Dark Knight' and Heath Ledger's Joker were a prophecy of our troll culture [in print as Prophet of the trolls].
by Alan Zilberman Washington Post July 15 2018, p. E2
online at https://www.washingtonpost.com/lifestyle/style/the-dark-knight-and-heath-ledgers-joker-were-a-prescient-example-of-troll-culture/2018/07/12/405c4694-8393-11e8-9e80-403a221946a7_story.htmlThis Joker Holds All the Cards
Thursday, July 17, 2008
http://www.washingtonpost.com/wp-dyn/content/article/2008/07/16/AR2008071602877.html
The Post on Akira anime
Why the pioneering Japanese anime 'Akira' is still relevant 30 years later [in print as How 'Akira' rewrote the rules for anime].
'Akira' (NR)
By Richard HarringtonWashington Post Staff Writer
December 25, 1989
http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/akira.htm
John Siuntres talks to Tom King
Tom King Q&A The Bat(Man) Is (Heart) Broken
July 13, 2018
http://wordballoon.blogspot.com/2018/07/tom-king-q-batman-is-heart-broken.htmlhttp://www.blogtalkradio.com/wordballoon/2018/07/13/tom-king-qa-the-batman-is-heart-broken.mp3
Batman #50 . Wow . Tom King joins us to pick up the pieces of Batman's jilted heart and gives us clues to look for as Bane gathers a strange anti-bat family to torture the caped crusader.
Members of the League Of Word Balloon listeners ask Tom about the firts 50 issues of his Batman run, Collaborations with Adam Kubert on The Wal-Mart Exclusive Superman story, Heroes In Crisis with Clay Mann Mister Miracle with Mitch Gerads and Joelle Jones . Lots of info on many current past and future projects, plus the passing of Steve Ditko and other comic creator encounters.
JULY 21: DC Zinefest 2018
DC Zinefest 2018
Saturday at 11 AM - 5 PM |
Come see us at our NEW location at *air-conditioned* Art Enables in NE DC! The 8th Annual DC Zinefest features self-published zinesters from DC and beyond. The Fest is a one-day independent event designed to provide a space for zine-makers, self-published artists, and writers to share their work with each other and the Washington, D.C., community.
FREE & Open to the Public! All Ages!
The DC Zinefest is a safer space, which means that it is intended to be a welcoming, engaging and supportive environment free of oppressive actions, behaviors, and language. Participants and attendees are asked to consider how their language and behavior impacts others in attendance. Racism, sexism, classism, ableism, homophobia, transphobia, and other forms of discrimination will not be tolerated, in tabling material or at the Fest itself.
*Accessibility: The building is two stories. Both entrances are accessible by an outside street, but to go from the first floor to the second floor you will need to exit the building and enter via the other entrance. There are 15-20 stairs with handrail inside to go between floors.
*We suggest bringing CASH (and smaller bills are better!) for buying awesome zines. We'll have a list of ATM locations in the area, but know that some tablers won't be taking credit/debit cards.
*How do I get there? Where can I park?
http://dczinefest.com/faq/
Sunday, July 15, 2018
Troy-Jeffrey Allen memorializes Steve Ditko
In Remembrance: The Art of Steve Ditko
by Troy-Jeffrey Allen
PREVIEWSworld July 10, 2018
https://previewsworld.com/Article/215865-In-Remembrance-The-Art-of-Steve-Ditko
Saturday, July 14, 2018
The Post's obituary for Steve Ditko
Friday, July 13, 2018
Thursday, July 12, 2018
DCist talks to Rob Rogers
Fired Political Cartoonist Will Show 'Spiked' Trump Work At The Corcoran
Ted White remembers Harlan Ellison for his local newspaper
Remembering Harlan Ellison and His Place in My Life
By Ted White
Falls Church News-Press July 12, 2018 , p. 16
https://fcnp.com/2018/07/12/remembering-harlan-ellison-place-life/
Wednesday, July 11, 2018
John K Snyder III on ‘Eight Million Ways to Die’
Images from Eight Million Ways to Die courtesy of John K Snyder III and IDW |
Comics creator John K Snyder III spent much of his early career in Northern Virginia and Washington, D.C., but these days lives in western Virginia. He occasionally visits the area for local comics shows and to catch up with friends. John will be in town Saturday, July 14, at Big Planet Comics in Bethesda to sign his new graphic novel Eight Million Ways to Die, an adaptation of the Lawrence Block detective novel.(See info, below.)
Below is a Q&A we did with John about the new book ahead of this weekend’s signing.
What was it about Eight Million Ways to Die — Lawrence Block’s fifth book featuring the gumshoe Matthew Scudder — that you thought would be ideal to adapt into a graphic novel?
I thought Block's study of the human condition told through the detective/mystery genre lent itself to do something other than the typical slam-bang action sometimes associated with pulp fiction comics, though there's certainly enough of it in the story as well. Also, Block's work is very much dialogue-driven, which makes it a natural to adapt to the panel-to-panel format of comics storytelling.
What was your approach to adapting the book? Was Block involved in the process, or did he just hand it off to you? How involved were IDW editors?
I worked solo on the adaptation, and Lawrence was shown pages from time to time by my editor, Tom Waltz. It was always great to get a short note back he was pleased with how it was progressing, that's all I needed to hear to keep moving on. My adaptation process was to keep Block's writing as close to the original as possible, and to focus on the key points of the story to mirror as much of the feel and pace of the original novel. It was a very involved and fluid process, I had to be open to revise and cut sequences all the way through to the end. My gracious editor, Tom Waltz, gave me a free hand to tell the story my way, for that I'll always be grateful. Lawrence Block read and approved of the book once it was completely adapted, illustrated and lettered (by Frank Cvetkovic). Lawrence Block's enthusiastic response to the final product was just wonderful.
The story takes place in the early 1980s, but it’s not stylized in a 1980s kind or way, nor is it overloaded with cultural references that might date it. How did you balance that?
I thought of it in real time, how do we experience our day-to-day lives now? What marks the time period we are in? Our own daily cultural reminders are subtle, in the clothing, the technology, what's in the background. In this graphic novel, it's 1982 New York City—the characters use land line phones, answering services, and phone booths, read newspapers, people look for people by going to their familiar hangouts on the notion they'll be there, not by texting in advance. So the period is defined enough by the characters' actions, how they get around—there's not too much of a need to layer on top of that with additional symbols of the period. I did throw in a concert poster of The Who at Shea Stadium, with opening act, The Clash. That's a cultural moment that was a sign of the changing times, and in fact, The Clash weren't around long after that. It's good to throw in some specific references, but to choose ones that count.
The book has an incredible gritty atmosphere, conveyed through the way you illustrated it. Can you briefly outline your approach? I believe you drew and colored it by hand? How long did the project take, including the writing and illustrating?
I wrote a detailed explanation of my process in a recent article. But for the somewhat shorter version, the pages are all done by hand, fully penciled, sometimes inked, and light to solid color rendering over the pencil/ink, then all adjusted in photoshop, making multiple scans of the pages in different stages and layering them in portions, fusing them all together for the final effect. I guess you could say it's a little like old school animation, laying different animation cels one atop another to create depth. Being the first time adapting Block's work and also developing this illustration process, it took a considerable amount of time to figure it all out, but by the time it got to the last third or so of the book, I had it down to a rhythm of regular production.
Although the story takes place in New York City, did you look back to you time living in D.C. in the ‘80s (which itself was rather gritty at that time) for particular influences?
Absolutely! The book takes place in fall of 1982, at that time, I was living on King St in Old Town Alexandria, pre-Metro Station, and it held its own kind of dystopian vibe, though certainly not on the epic scale of New York City. I would regularly head down to DC Space at 7th and E streets NW and the original 9:30 Club at the Atlantic Building at 930 F Street NW, all of which was just a short drive away from Alexandria. And Old Town had its own little dive club, The Upstairs 704, directly on 704 King St. There was plenty of past inspiration to draw on between all of those locations alone, believe me. And I was quite enamored of New York City, my first time there was in the summer of 1981 — it was a brief visit, but I kept that in mind as well. All in all, it was quite an era. I hope readers will get some of the vibe of that period while reading the adaptation as well.