Leave Me Alone!, a Jazz Opera by Harvey Pekar and Dan Plonsey, to Premiere at the Oberlin Conservatory Of Music and via Webcast on Jan. 31, 2009
American Splendor Icon Pekar Focuses His Sardonic Wit on the Everyday Struggles of Avant-Garde Artists, with Music from Cleveland-born Composer and Saxophonist Plonsey
OBERLIN, OHIO (December 10, 2008) —The iconic underground comic book author Harvey Pekar will make his operatic debut at the Oberlin Conservatory of Music in Leave Me Alone!, an autobiographical jazz opera. A collaboration by two Cleveland natives, the opera combines a libretto by Pekar with music by saxophonist and composer Dan Plonsey. Leave Me Alone! depicts the lives of its creators in quotidian detail while asking big questions about the place of cutting-edge art in our society. Amidst the demands and interruptions of day-to-day life, Pekar and Plonsey wonder, how can artists carve out time for their creative work? More importantly, they ask, how do we cultivate a society that is receptive to the avant-garde? The opera, which is presented by Oberlin in cooperation with Real Time Opera, will receive its world premiere in a free performance on Saturday, January 31, 2009, at 8 p.m. in Finney Chapel. The performance will also be streamed live to an international audience online at www.LeaveMeAloneOpera.com.
Finney Chapel is located at 90 N. Professor Street in Oberlin, Ohio, just 40 minutes southwest of Cleveland.
"There ought to be a place for cutting edge work," says Pekar, who believes that many major cultural institutions have shirked their responsibility to support contemporary art and challenge audiences. "I thought there wasn't much out there being said about this, and I wanted to open up some discussion."
Called "the blue-collar Mark Twain" by Variety, Pekar is best known for his autobiographical comic book series American Splendor, in which he elevated the mostly mundane details of his life as a working-class Clevelander to the level of art. The series won the American Book Award and a film adaptation took top honors at the Cannes and Sundance film festivals. Composer Plonsey, who was born and raised in Cleveland Heights, has been a lifelong proponent of new music, and has founded several new music series in and around his current home in El Cerrito, California.
"The opera, simply put, is the non-fictional account of its own creation," says Plonsey. In the story, Pekar and Plonsey engage in discussions about music, the state of the avant-garde, and the creation of the opera itself from their Cleveland and San Francisco Bay Area living rooms. A taped conversation between Pekar and comics illustrator Robert Crumb provides an additional perspective on the opera's themes. The wives of Plonsey and Pekar, Mantra Ben-ya'akova Plonsey and Joyce Brabner (who portray themselves in the production), enter the plot, as does Josh Smith, the opera's music director. Oberlin Conservatory students will also be involved in the production; four singers will double the protagonists on stage and an ensemble of six jazz musicians will back them in the pit, playing alongside Plonsey and Smith.
Plonsey and Pekar are deeply committed to the notion that art transcends distinctions of class and hence ought to be available to all. Accordingly, both the live performance and the webcast of the opera will be offered free of charge. Those wishing to support the production may do so by purchasing a comic about the opera, written by Pekar and illustrated by Joseph Remnant, at www.LeaveMeAloneOpera.com. The comic is available as a signed, limited-edition print ($300) or digital download ($5). Visitors may also purchase a cell-phone ring tone featuring Harvey's inimitable voice ($5) on the site.
Performers and Production Team
Several of the performers in the opera will play themselves, including Dan Plonsey, Harvey Pekar, Mantra Ben-ya'akova Plonsey, and Joyce Brabner. Oberlin Conservatory and College singers Patty Stubel '09, Kate Rosen '11, Joanna Lemle '10, and Christopher Rice '10 will double the characters on stage; students, including dummer Noah Hecht '10, trombonist Aaron Salituro '11, saxophonist David Schwartz '12, and trumpeter Gregory Zilboorg '13, will also play in the band.
The production team includes Paul Schick, executive producer for Real Time Opera; Josh Smith, musical director; Associate Professor of Opera Jonathon Field, stage director; Robert Katkowski, set designer; Barry Steele, lighting designer; Victoria Vaughan, stage manager; and Dan Michalak, musical preparation. The webcast will be produced with help from Oberlin professional staff and students, including Associate Dean of Technology and Facilities Michael Lynn, Director of Audio Services Paul Eachus, Director of Networking Barron Hulver, and Technology Consultant Todd Brown.
About the Librettist: Harvey Pekar
Harvey Pekar, a native of Cleveland, Ohio, is best known for his autobiographical comic book series American Splendor. Pekar began self-publishing the series in 1976, at the urging of friend and noted illustrator Robert Crumb. Unique among comic books of the time, Pekar's stories documented the minutiae of his daily life: working as a file clerk in the VA hospital, grocery shopping, or simply searching for a lost set of keys. In 1987, Pekar was honored with the American Book Award for his work on the series, and in 2003 American Splendor was adapted as a movie to widespread critical acclaim. An avid record collector, Pekar began his writing career as a book and music critic, with a particular interest in jazz. His reviews have been published in the Boston Herald, the Austin Chronicle, Jazz Times, Urban Dialect (Cleveland), and Down Beat magazine. Pekar's commentary for public radio station WKSU, starting in 1999, won him several journalism awards, including the 2001 Regional Edward R. Murrow Award for Best Writing. Pekar was a frequent guest on Late Night with David Letterman in the late 1980s; his infamous on-air criticism of General Electric got him temporarily banned from the show, although he did make two more appearances in the early 1990s. In 2001, Pekar retired from his job as a file clerk at the local VA Hospital. He lives in Cleveland Heights with his wife Joyce and their foster daughter Danielle.
About the Composer: Dan Plonsey
Saxophonist and composer Dan Plonsey was born and raised in Cleveland, Ohio. Drawing inspiration from musicians as diverse as Sun Ra and Charles Ives, Plonsey's music defies easy categorization. "No doubt," writes All About Jazz, "Plonsey is a creative soul who possesses a Renaissance spirit." In recent years Plonsey's instrumental work has focused on large ensembles of mixed instrumentation and ensembles of multiple saxophones. His more than 200 works for large and small ensembles include commissions from Bang on a Can, the Berkeley Symphony, and New Music Works in Santa Cruz. He has written numerous operas, including three collaborations with Paul Schick of Real Time Opera. From 1994-99, he was the resident composer and chief librettist for Disaster Opera Theater in El Cerrito, California, where he currently lives. He also founded the weekly Beanbender's creative music concert series in Berkeley, which is ongoing on an occasional basis. Plonsey earned a Bachelor of Arts degree in math and music from Yale University and a Master of Arts degree in composition from Mills College. He has studied composition with Martin Bresnick, David Lewin, Anthony Braxton, and, more briefly, Roscoe Mitchell and Terry Riley. He currently lives in the San Francisco Bay Area with his wife Mantra and their two sons, Cleveland and Mischa.
About the Director: Jonathon Field
Jonathon Field is one of America's more versatile and popular stage directors, having directed more than 100 productions in all four corners of the United States. He served as artistic director of Lyric Opera Cleveland for six seasons, where he presented the operas of Mozart, Rossini, and Donizetti as well as the Ohio premieres of works by John Adams, Mark Adamo, and Philip Glass. Several of Field's productions for the Lyric Opera of Chicago were so successful they were repeated at the Illinois Humanities Festival with Stephen Sondheim as keynote speaker. His productions for San Francisco Opera's Western Opera Theatre and Seattle Opera have played in more than 20 states. Over the past eight years Field has directed 10 productions with the Arizona Opera, being deemed by the press "their most perceptive stage director." In February 2007, Field directed—at Oberlin and at Miller Theatre in New York City—the critically acclaimed U.S. premiere of Lost Highway, a dramatic music theater work by noted Austrian composer Olga Neuwirth based on the David Lynch film. This is Field's 11th season as director of Oberlin Opera Theater.
About Real Time Opera: Artistic Director Paul Schick
Under the artistic direction of Paul Schick, Real Time Opera (RTO) has presented world premieres of new operas in New York, San Francisco, and New England, where the company is based. In 2005, RTO premiered Feynman (2005), a chamber opera by composer Jack Vees, with a libretto by Schick, about Nobel Prize-winning physicist and cult figure Richard Feynman, with SO Percussion as the pit orchestra. The opera premiered at the Norfolk Chamber Music Festival and was reprised in Brattleboro, Vermont at Dartmouth College, in Concord, New Hampshire, and in New York at the Knitting Factory. A future online production of Feynman from Yale is in the planning stages. RTO's debut production, in 2003, was Korczak's Orphans by composer Adam Silverman and librettist Susan Gubernat. Based on the life of Polish pediatrician, orphanage director, and Holocaust martyr Janosz Korczak, the opera was also performed by New York City Opera on their VOX Festival of new American works. RTO's second production, Hawaiian Tan Ratface, a quasi-opera by John Trubee, premiered at San Francisco's Studio Z in 2004. Schick is librettist and producer of the forthcoming music-dance-theater piece A House in Bali by composer Evan Ziporyn, scheduled to premiere in Bali, Indonesia, followed by an international tour, in 2009. As an administrator, Schick has worked with Opera North, Boston Lyric Opera, the American Gamelan Institute, and the composers' collective Frog Peak Music. He earned a Bachelor of Arts degree in English from Hamilton College and a Master of Philosophy degree and PhD in musicology from Yale University.
The Oberlin Conservatory of Music, founded in 1865 and situated amid the intellectual vitality of Oberlin College since 1867, is the oldest continuously operating conservatory in the United States. The Conservatory is renowned internationally as a professional music school of the highest caliber and has been pronounced a "national treasure" by the Washington Post. Oberlin's alumni have gone on to achieve illustrious careers in all aspects of the serious music world. Many of them have attained stature as solo performers, composers, and conductors, among them Jennifer Koh, Steven Isserlis, Denyce Graves, Franco Farina, Christopher Robertson, Lisa Saffer, George Walker, Christopher Rouse, David Zinman, and Robert Spano. All of the members of the contemporary sextet eighth blackbird, most of the members of the International Contemporary Ensemble, and many of the members of Apollo's Fire are Oberlin alumni. In chamber music, the Miró, Pacifica, Juillard, and Fry Street quartets, among other small ensembles, include Oberlin-trained musicians, who also can be found in major orchestras and opera companies throughout the world. For more information about Oberlin, please visit www.oberlin.edu/con.
CALENDAR LISTING
Saturday, January 31, 2009, 8 p.m.
The Oberlin Conservatory of Music and Real Time Opera present
Leave Me Alone!
Libretto by Harvey Pekar
Music by Dan Plonsey
Josh Smith, music director
Jonathon Field, stage director
Live on stage:
Finney Chapel
90 North Professor Street
Oberlin, Ohio
Online:
www.LeaveMeAloneOpera.com
FREE
Oberlin Conservatory 24-Hour Concert Hotline: 440-775-6933
Friday, December 12, 2008
The Interview: Pixar Animator Angus MacLane
By Michael Cavna
Washington Post Comic Riffs blog December 11, 2008;
http://voices.washingtonpost.com/comic-riffs/2008/12/the_interview_pixar_animator_a.html#more
Washington Post Comic Riffs blog December 11, 2008;
http://voices.washingtonpost.com/comic-riffs/2008/12/the_interview_pixar_animator_a.html#more
Thursday, December 11, 2008
My local Borders is pushing Watchmen
Sorry for the crappy quality of these cellphone photos. I just got it and don't quite know what I'm doing. I think you can tell that the Borders at Baileys Crossroads, VA is making a major push on Watchmen though. They've also recently separated the 'graphic novels' from the manga.
Local cartoonist Eiserike on the price of comics
"The tipping point is $4 for a comic book," By Josh Eiserike, December 11, 2008.
Posy Simmond's new book recommended
My friend Chris Mautner recommends Posy Simmond's new book (which I loved) in "Graphic Lit: Tamara Drewe," Panels and Pixels blog Wednesday, December 10, 2008. I think she's got 3 books available in the US now and you should buy them all.
Remember when the Post's Weekend section used to run Tom the Dancing Bug?
Yeah, me too. I actually read the Weekend section back then. Of course they also ran separate movie reviews and not Reader's Digest versions of the Style section ones. Anyway, here's Bolling on creating the strip that we won't see in print this week: This Week's Comic -- And It's Origins, In Excrutiating Detail, December 02, 2008
Staake tops Time's list
Art Cafe (really?), Bob Staake's webmaster, wrote in to remind me that Staake's New Yorker cartoon was picked as the year's best magazine cover by Time Magazine.
I must say, Staake can work in a bunch of styles. This cover is nothing like what he does for the Post on Sundays, and I've got some of his how-to books which are well-worth having.
I must say, Staake can work in a bunch of styles. This cover is nothing like what he does for the Post on Sundays, and I've got some of his how-to books which are well-worth having.
Jan 9: Tom Toles on stage and t-shirts
See "D.C.'s 'Journopalooza' Tickets Go on Sale," By E&P Staff, December 10, 2008 for details and Journopalooza's site for the tickets and t-shirt sales and the Suspicious Package section for more information on Toles' second career.
Dec 15: KAL on stage in Baltimore
From "Pan & Praise: Put a wrap around Christmas," By Emily Campbell, Jessica Novak, Examiner Staff Writers 12/11/08:
JESS’ PICKS:
» Stoop Holiday Hoopla: The phrase “holiday high jinks” usually makes me vomit. But in the hands — or rather mouths — of seven Stoop Storytellers such as cartoonist Kevin “KAL” Kallaugher and Mayor Sheila Dixon, their true, personal stories of holiday high jinks should amuse, entertain or at the very least make you feel better about your own personal lows during the most wonderful time of the year. Details: 7 p.m. Dec. 15 at the Joseph Meyerhoff Symphony Hall, 1212 Cathedral St., Baltimore; $20; 410-783-8021; www.stoopstorytelling.com.
JESS’ PICKS:
» Stoop Holiday Hoopla: The phrase “holiday high jinks” usually makes me vomit. But in the hands — or rather mouths — of seven Stoop Storytellers such as cartoonist Kevin “KAL” Kallaugher and Mayor Sheila Dixon, their true, personal stories of holiday high jinks should amuse, entertain or at the very least make you feel better about your own personal lows during the most wonderful time of the year. Details: 7 p.m. Dec. 15 at the Joseph Meyerhoff Symphony Hall, 1212 Cathedral St., Baltimore; $20; 410-783-8021; www.stoopstorytelling.com.
French animation in DC
See "Azur & Asmar," By Tricia Olszewski, Washington City Paper December 12, 2008 for a review.
Wednesday, December 10, 2008
Speaking of lewd comic strips... 9 Chickweed Lane cartoonist deflowers characters
One of the strips I really like that's not in Washington papers has had some hot moments lately. The main characters of 9 Chickweed Lane, Edda (the girl) and Amos (the boy) rather obviously lost their virginity during the week of November 4th. IIRC, their virginal status was a main point in the news a couple of years ago. However, no one else picked this story up and I thought I might be way off in spite of strips like November 8th.
You can follow the whole story, including the voyeurism of the whole city of Brussels (November 13th) and quickies in the men's room (November 24th), at this link. It'll take a while to load.
Bob Harvey confirmed the story on his subscription website's Rants and Raves column.
Bob wrote:
McEldowney displayed the same surpassing skill in October and November, when Edda and Amos succumb to the inevitable. McEldowney handles this delicate matter with great humanity and comedic agility. He's an authentic storytelling master in the medium. No one can surpass him; Trudeau has, on various matters, equaled McEldowney in skill, subtlety and flair, but no one has surpassed him...
The visual device by which McEldowney depicts the deflowering of Edda and Amos is sheer genius—entwining hands. Breath-taking...
...Yet Chickweed Lane is in fewer than, oh, 70 papers. The rest of America doesn't know what it's missing.
When I asked McEldowney about this episode, he e-mailed back: "I'd been thinking about this sequence for a long time, mainly because the characters were edging that way all on their own. A lot of reader commentary has erupted over it, in particular warring camps representing love and romance vs. morality (with a smattering of concern over cartoon characters as role models). Me? I just think it is fiction, two characters, and a story. Getting away with it has been the tricky part. Not a word was ventured by my syndicate, United Feature, much to their credit—and it must have caused them moments of concern. The thing is, the story is not over yet. I'm still
tiptoeing along the tight rope."
I like this strip. We need it in the Post. And then they can censor it.
Weingarten's chat on 38-year-old Dennis the Menace panel
Gene Weingarten's chat yesterday had quite a bit on a 38-year-old Dennis the Menace panel and it's possible racism.
The cartoon is here.
The poll based on the cartoon is here.
Here's Weingarten and his chatters on the cartoon. For what it's worth, Weingarten's right, the gag is ok, but just ok.
Missing Option in Survey: The first question does not provide an option for those of us who didn't find the cartoon offensive in the slightest.
Gene Weingarten: We don't care about you.
_______________________
Postraci, AL: I can't imagine the cartoonist intended the Dennis piece to be hurtful, but it is hard to believe that in 1970 someone could be so ignorant and/or oblivious as to be unaware that this was in bad taste. In comparison, consider the character of Franklin in Peanuts who was introduced about the same time, maybe even a bit earlier. Clearly black, but drawn and scripted without any stereotyping characteristics at all.
Gene Weingarten: Franklin debuted in 1968. The amazing thing is that his race was, to my memory, never mentioned. He was just another Peanuts kid.
It was an intelligent and gracious act by Schulz. He once got a letter from a southern newspaper editor asking him not to put Franklin in a schoolroom with white kids.
Franklin always sat in front of Peppermint Patty in the classroom. Schulz never changed that.
_______________________
Race Relatio, NS: It was 38 years ago, which puts me in high school, but I remember that cartoon. I don't think I remember any other Dennis the Menace cartoons, since it was the Garfield of its day, still running in a lot of newspapers though never funny, clever or insightful at all. I remember my jaw dropping. I could visualize it even before using the link to confirm my memory.
By 1970, we'd come a long way since Amos and Andy were played by white guys on the radio in the 30s. All in the Family premiered just one year later, with George Jefferson as a regular character, so the sensibilities of the times had most certainly passed Hank Ketchum by even in the cultural arena. And this was seven years after the I Have A Dream speech, and two years after Memphis. It was appalling then, and it's appalling now.
Gene Weingarten: It was appalling then, yep. Ketcham had to issue an apology, though it was grudging and half-hearted. See next post.
_______________________
Curacao, Netherlands Antilles: The absolute worst thing about that comic in the poll is that it JUST ISN'T FUNNY.
I mean the punchline is delivered in such a way as to totally trip over the joke. I mean that if it were delivered correctly, the joke can't even aspire to a "Family Circus" level of lame humor. I mean that even if I were like a KKK member or something, I wouldn't see the laughs in saying "This other kid runs faster than me!"
The only way that joke works is if you find the drawing laugh-worthy. Since I found the drawing horribly offensive, I hope you'll agree with me that this may well be the unfunniest strip I've ever seen on the comics page.
Gene Weingarten: Now, I disagree with this, and with most of you in the poll.
I believe that if Ketcham had drawn Jackson as a normal kid, this cartoon would have not only been acceptible, but pretty darn good. A worthy punchline, and one with a little bit of a social punch.
I'm not sure I've seen, or would have seen by then, a joke relying on confusion between "race" as ethnicity and "race" as running. Imagine a slight tweaking of this comic:
Let's say that Ketcham had drawn it -- as he has been known to do -- in two panels, not one. And in the first, Dennis says that he has a "race" problem with Jackson (again, who looks normal.) And in that first panel, Henry Mitchell looks concerned. And in the second panel, Dennis elaborates: Jackson runs faster than he does, and Henry looks relieved.
Pretty good comic! Raise the specter of something bad, defuse it, make the point that kids don't see race. That is actually what Ketcham was ham-fistedly TRYING to do, though he failed spectacularly.
But even without the two-panel treatment, the joke would have been the same, had Ketcham drawn this thing with a modicum of sensitivity.
What you would be left with was the question of whether it was insensitive to trade in the racial stereotype that black people run faster. I think I could have defended that, because that interpretation would be in the mind of the reader.
I know. Y'all disagree with me on this.
_______________________
Dennis: Gene, people don't disagree with you on the comic. People aren't getting the pun.
Gene Weingarten: Is that it? Did people not get the "race" pun?
_______________________
David Mills: I do kinda disagree, Gene... except that your two-panel alternative improves the joke a whole lot. It also improves it as social commentary, becoming about the father's discomfort.
Gene Weingarten: Right. True. I still think it would have worked, though. Just less well.
The cartoon is here.
The poll based on the cartoon is here.
Here's Weingarten and his chatters on the cartoon. For what it's worth, Weingarten's right, the gag is ok, but just ok.
Missing Option in Survey: The first question does not provide an option for those of us who didn't find the cartoon offensive in the slightest.
Gene Weingarten: We don't care about you.
_______________________
Postraci, AL: I can't imagine the cartoonist intended the Dennis piece to be hurtful, but it is hard to believe that in 1970 someone could be so ignorant and/or oblivious as to be unaware that this was in bad taste. In comparison, consider the character of Franklin in Peanuts who was introduced about the same time, maybe even a bit earlier. Clearly black, but drawn and scripted without any stereotyping characteristics at all.
Gene Weingarten: Franklin debuted in 1968. The amazing thing is that his race was, to my memory, never mentioned. He was just another Peanuts kid.
It was an intelligent and gracious act by Schulz. He once got a letter from a southern newspaper editor asking him not to put Franklin in a schoolroom with white kids.
Franklin always sat in front of Peppermint Patty in the classroom. Schulz never changed that.
_______________________
Race Relatio, NS: It was 38 years ago, which puts me in high school, but I remember that cartoon. I don't think I remember any other Dennis the Menace cartoons, since it was the Garfield of its day, still running in a lot of newspapers though never funny, clever or insightful at all. I remember my jaw dropping. I could visualize it even before using the link to confirm my memory.
By 1970, we'd come a long way since Amos and Andy were played by white guys on the radio in the 30s. All in the Family premiered just one year later, with George Jefferson as a regular character, so the sensibilities of the times had most certainly passed Hank Ketchum by even in the cultural arena. And this was seven years after the I Have A Dream speech, and two years after Memphis. It was appalling then, and it's appalling now.
Gene Weingarten: It was appalling then, yep. Ketcham had to issue an apology, though it was grudging and half-hearted. See next post.
_______________________
Curacao, Netherlands Antilles: The absolute worst thing about that comic in the poll is that it JUST ISN'T FUNNY.
I mean the punchline is delivered in such a way as to totally trip over the joke. I mean that if it were delivered correctly, the joke can't even aspire to a "Family Circus" level of lame humor. I mean that even if I were like a KKK member or something, I wouldn't see the laughs in saying "This other kid runs faster than me!"
The only way that joke works is if you find the drawing laugh-worthy. Since I found the drawing horribly offensive, I hope you'll agree with me that this may well be the unfunniest strip I've ever seen on the comics page.
Gene Weingarten: Now, I disagree with this, and with most of you in the poll.
I believe that if Ketcham had drawn Jackson as a normal kid, this cartoon would have not only been acceptible, but pretty darn good. A worthy punchline, and one with a little bit of a social punch.
I'm not sure I've seen, or would have seen by then, a joke relying on confusion between "race" as ethnicity and "race" as running. Imagine a slight tweaking of this comic:
Let's say that Ketcham had drawn it -- as he has been known to do -- in two panels, not one. And in the first, Dennis says that he has a "race" problem with Jackson (again, who looks normal.) And in that first panel, Henry Mitchell looks concerned. And in the second panel, Dennis elaborates: Jackson runs faster than he does, and Henry looks relieved.
Pretty good comic! Raise the specter of something bad, defuse it, make the point that kids don't see race. That is actually what Ketcham was ham-fistedly TRYING to do, though he failed spectacularly.
But even without the two-panel treatment, the joke would have been the same, had Ketcham drawn this thing with a modicum of sensitivity.
What you would be left with was the question of whether it was insensitive to trade in the racial stereotype that black people run faster. I think I could have defended that, because that interpretation would be in the mind of the reader.
I know. Y'all disagree with me on this.
_______________________
Dennis: Gene, people don't disagree with you on the comic. People aren't getting the pun.
Gene Weingarten: Is that it? Did people not get the "race" pun?
_______________________
David Mills: I do kinda disagree, Gene... except that your two-panel alternative improves the joke a whole lot. It also improves it as social commentary, becoming about the father's discomfort.
Gene Weingarten: Right. True. I still think it would have worked, though. Just less well.
Post review of Little Spirit: Christmas in New York
Tom Shales didn't like tonight's new animated Christmas special Little Spirit: Christmas in New York. You can read why here. Should you still be curious about the movie, here's a video interview with one of the animators.
John Alvin exhibit at ArtInsights
This just came in from Leslie. ArtInsights is a nice gallery out in Reston - they've got a lot of cool things on the wall. For example, last time when I was reviewing Chiarello's Negro Leagues show, I saw an original Snow White cel. Cool stuff.
In addition to the following PR, Leslie writes that she's put some video interview footage on the web as well:
Here are the links to the 4 segments of the John Alvin interview:
http://www.youtube.com/watch?v=Vghyb6KqcF4
http://www.youtube.com/watch?v=iXRJWVVHw5Y
http://www.youtube.com/watch?v=yq2F09ioVtM
http://www.youtube.com/watch?v=9Jw5x_uZF8I
and I think they got a young hipster to set up a myspace page.
PRESS RELEASE
FOR IMMEDIATE RELEASE
December 10th, 2008
CONTACT:
Leslie Combemale
703-478-0778
ARTINSIGHTS GALLERY TO PRESENT TRIBUTE SHOW WITH NEVER BEFORE SEEN ORIGINAL ART SPANNING THE CAREER OF FAMED CINEMA ARTIST JOHN ALVIN
Reston, VA - ArtInsights Animation and Film Art Gallery, one of the only three galleries worldwide to represent original art of top cinema artist John Alvin, has curated a show of original art highlighting the career of the famed illustrator, who died unexpectedly on February 6th of this year. The art is representative of his estate, and includes graphite concept and mixed media originals, as well as limited editions and interpretive works from a variety from the over 200 movie campaigns on which he worked. In addition to Star Wars, art from Jurassic Park, Lord of the Rings, The Lion King, Blade Runner, Darkman, Mulan, Dragonheart, Band of Brothers, and other film campaigns he influenced, on will be in the show. There will be art available for purchase. The exhibit will be on display through February 6th.
John Alvin is responsible for some of the most famous movie posters from the last 30 years, including E.T., Blade Runner, The Lion King, and Young Frankenstein, as well as more than 130 other films. He created art for numerous Star Wars film promotions and events. "The sale of art by John Alvin has very much effected the popularity of celebrity and film inspired art in the fine art market. John's career has influenced many of the illustrators and cinema artists working today, as they themselves will tell you", says Michael Barry, co-owner of ArtInsights. "He was collected by George Lucas, Steven Spielberg and Mel Brooks from the beginning of his career." His partner, Leslie Combemale, adds, "In the years we worked with John, we became close friends, but our respect for his place in film art history also continued to grow. We are sad for his loss as a friend, and as an artist. We are so proud and honored to have this retrospective of his career in our gallery." As part of the tribute, there is also an interview conducted by Leslie Combemale filmed in 2007 that is being released for the first time. Ms. Combemale says, "I never thought it would be the last interview he would do. John and I just did it for fun. We are putting the interview on YouTube so the greatest number of fans and film lovers can see it."
John Alvin worked as an illustrative artist in the film industry for over 35 years. He came into prominence by creating the art for the poster for Mel Brooks' Blazing Saddles in 1974. He went on to design art for many films including E.T, which won the Hollywood Reporter Key Art Awards grand prize, and is the only movie art honored with the Saturn Award from the Academy of Science Fiction, Horror and Fantasy Films. He has created more images for Spielberg films than any other single artist, including the poster art for "Empire of the Sun", "The Color Purple", "Always", "Jurassic Park", and, of course, "E.T". He also created a lot of specialized work for George Lucas and the "Star Wars" saga. Mr. Alvin's "Star Wars Concert" and "Star Wars Tenth Anniversary" posters are among the most collectible Star Wars art on the market today. Additionally, the Smithsonian Museum exhibited Alvin's "The Phantom of the Paradise" as one of the best posters of the 20th century. Later in his life he created exclusive images of Lord of the Rings, Star Wars, Alien, and Predator, among others, that were used for limited editions. John Alvin's name belongs to a short list of cinema art masters whose works have become icons in Hollywood's history.
ABOUT ARTINSIGHTS
ArtInsights, established in 1994, is a privately owned gallery located in Reston Town Center, in Virginia. With their collaboration with John Alvin, they added the art of the cinema to their specialization of creating and developing collections of animation art from Disney, Warner Brothers, Hanna Barbera, and all other major studios. With more than 30 combined years of experience in the animation art field, owners Michael Barry and Leslie Combemale work closely with individuals and corporations to ensure the integrity of their collections. ArtInsights is Virginia's only animation gallery and is the only gallery in the Washington Metropolitan area authorized to represent Warner Bros. and Hanna Barbera animation art to the public. They also have exclusive rights to sell original illustrative art by Harry Potter book cover artist Mary GrandPre, Heroes of the Negro Leagues artist and DC Comics art director Mark Chiarello, and Marguerite Henry and Phantom Stallion book cover artist John Rowe.
In addition to the following PR, Leslie writes that she's put some video interview footage on the web as well:
Here are the links to the 4 segments of the John Alvin interview:
http://www.youtube.com/watch?v=Vghyb6KqcF4
http://www.youtube.com/watch?v=iXRJWVVHw5Y
http://www.youtube.com/watch?v=yq2F09ioVtM
http://www.youtube.com/watch?v=9Jw5x_uZF8I
and I think they got a young hipster to set up a myspace page.
PRESS RELEASE
FOR IMMEDIATE RELEASE
December 10th, 2008
CONTACT:
Leslie Combemale
703-478-0778
ARTINSIGHTS GALLERY TO PRESENT TRIBUTE SHOW WITH NEVER BEFORE SEEN ORIGINAL ART SPANNING THE CAREER OF FAMED CINEMA ARTIST JOHN ALVIN
Reston, VA - ArtInsights Animation and Film Art Gallery, one of the only three galleries worldwide to represent original art of top cinema artist John Alvin, has curated a show of original art highlighting the career of the famed illustrator, who died unexpectedly on February 6th of this year. The art is representative of his estate, and includes graphite concept and mixed media originals, as well as limited editions and interpretive works from a variety from the over 200 movie campaigns on which he worked. In addition to Star Wars, art from Jurassic Park, Lord of the Rings, The Lion King, Blade Runner, Darkman, Mulan, Dragonheart, Band of Brothers, and other film campaigns he influenced, on will be in the show. There will be art available for purchase. The exhibit will be on display through February 6th.
John Alvin is responsible for some of the most famous movie posters from the last 30 years, including E.T., Blade Runner, The Lion King, and Young Frankenstein, as well as more than 130 other films. He created art for numerous Star Wars film promotions and events. "The sale of art by John Alvin has very much effected the popularity of celebrity and film inspired art in the fine art market. John's career has influenced many of the illustrators and cinema artists working today, as they themselves will tell you", says Michael Barry, co-owner of ArtInsights. "He was collected by George Lucas, Steven Spielberg and Mel Brooks from the beginning of his career." His partner, Leslie Combemale, adds, "In the years we worked with John, we became close friends, but our respect for his place in film art history also continued to grow. We are sad for his loss as a friend, and as an artist. We are so proud and honored to have this retrospective of his career in our gallery." As part of the tribute, there is also an interview conducted by Leslie Combemale filmed in 2007 that is being released for the first time. Ms. Combemale says, "I never thought it would be the last interview he would do. John and I just did it for fun. We are putting the interview on YouTube so the greatest number of fans and film lovers can see it."
John Alvin worked as an illustrative artist in the film industry for over 35 years. He came into prominence by creating the art for the poster for Mel Brooks' Blazing Saddles in 1974. He went on to design art for many films including E.T, which won the Hollywood Reporter Key Art Awards grand prize, and is the only movie art honored with the Saturn Award from the Academy of Science Fiction, Horror and Fantasy Films. He has created more images for Spielberg films than any other single artist, including the poster art for "Empire of the Sun", "The Color Purple", "Always", "Jurassic Park", and, of course, "E.T". He also created a lot of specialized work for George Lucas and the "Star Wars" saga. Mr. Alvin's "Star Wars Concert" and "Star Wars Tenth Anniversary" posters are among the most collectible Star Wars art on the market today. Additionally, the Smithsonian Museum exhibited Alvin's "The Phantom of the Paradise" as one of the best posters of the 20th century. Later in his life he created exclusive images of Lord of the Rings, Star Wars, Alien, and Predator, among others, that were used for limited editions. John Alvin's name belongs to a short list of cinema art masters whose works have become icons in Hollywood's history.
ABOUT ARTINSIGHTS
ArtInsights, established in 1994, is a privately owned gallery located in Reston Town Center, in Virginia. With their collaboration with John Alvin, they added the art of the cinema to their specialization of creating and developing collections of animation art from Disney, Warner Brothers, Hanna Barbera, and all other major studios. With more than 30 combined years of experience in the animation art field, owners Michael Barry and Leslie Combemale work closely with individuals and corporations to ensure the integrity of their collections. ArtInsights is Virginia's only animation gallery and is the only gallery in the Washington Metropolitan area authorized to represent Warner Bros. and Hanna Barbera animation art to the public. They also have exclusive rights to sell original illustrative art by Harry Potter book cover artist Mary GrandPre, Heroes of the Negro Leagues artist and DC Comics art director Mark Chiarello, and Marguerite Henry and Phantom Stallion book cover artist John Rowe.
Tuesday, December 09, 2008
Tatulli of Lio interviewed by his syndicate
Lio's one of my favorite strips in the Post. Universal editor John Glynn just posted 14 questions in "And now ... a very special interview with Mark "Lio/Heart of the City" Tatulli," December 8 2008. Tatulli speaks very well of Our Man Thompson's Cul de Sac therein.
Lewd melons joke in Luann
Actually I liked yesterday's Luann strip and its melons joke, but I'm sure that Greg Evans lost a bet somewhere along the line and had to do it.
Monday, December 08, 2008
OT: Francoise Mouly's Holiday Reading
Here's another essay from the Book Reporter blog: "Francoise Mouly: Holiday Reading," December 8 2008.
QUICK REVIEWS FOR COMICS DUE 12-10-08
QUICK REVIEWS FOR COMICS DUE 12-10-08
By John Judy
30 DAYS OF NIGHT: TIL DEATH #1 written and drawn by David Lapham. The old guard vampires are thinning out the new herd of reckless punks and one of them has gone to ground. What could go wrong? The creator of STRAY BULLETS and YOUNG LIARS brings his uniquely twisted perspective to the universe, post-Barrow.
ACTION COMICS #872 by Geoff Johns and Pete Woods. The original Creature Commandos are back. How great is that? Recommended.
ASTONISHING X-MEN: GHOST BOXES #2 of 2 by Warren Ellis, Clayton Crain and Kaare Andrews. Dark, dark alternate future stuff from that nice Mister Ellis, just the way you like it. Recommended.
BPRD: WAR ON FROGS #2 by Mike Mignola, John Arcudi and John Severin. The Bureau takes on Frog-Monsters, drawn by comics legend John Severin!
CAPTAIN BRITAIN AND MI-13 #8 by Paul Cornell and Leonard Kirk. Really clever super-team adventures in the English way. Worth a butcher’s, wot?
FINAL CRISIS #5 of 7 by Grant Morrison, J.G. Jones and Carlos Pacheco. Evil is triumphant! Anti-Life holds dominion over all! Kegger at Darkseid’s! Whoooo!!!
FINAL CRISIS: REVELATIONS #4 of 5 by Greg Rucka and Philip Tan. If you’re a fan of Rucka, the Spectre and/or the new Question you’ll feel bad if you don’t read this. Hot Spear of Destiny action!
HERBIE ARCHIVES, VOL. 2 HC by Shane O’Shea and Ogden Whitney. Collecting issues #6-14 of the original Fat Fury, Herbie Popnecker, the most powerful endomorph ever to walk the Earth. Fun for all ages!
JUSTICE LEAGUE OF AMERICA #27 by Dwayne McDuffie and Ed Benes. A new arc that “integrates” the heroes of the much-missed Milestone Comics heroes into the mainstream DCU. For those of us who were there in the nineties this is very cool stuff indeed. Recommended, especially for those who like our super-teams visually distinguishable from an Elks Club meeting.
PUNISHER: WAR ZONE#1 of 6 by Garth Ennis and Steve Dillon. Maybe it was the excitement of the new movie but these crazy kids just couldn’t stay away from comicdom’s favorite pistol-packin’ vigilante! Or maybe it was the money. Nonetheless, it’s Ennis back on PUNISHER. Gotta look! Not for kids.
SECRET INVASION: DARK REIGN #1 by Brian Michael Bendis and Alex Maleev. So let’s talk about the New World Order in which psycho-villain Norman Osborn runs everything…
TRANSFORMERS MAXIMUM DINOBOTS #1 by Simon Furman and Nick Roche. Really this is just a reminder to myself to pick one up for my kid. Love those dinobots!
WATCHMEN #1 by Alan Moore and Dave Gibbons. Hey look! That new movie on the internets already has a comic book adaptation! Seriously, it’s a reprinting of one of the most important comics in history at its original 1986 cover price. Beyond recommended.
WOLVERINE: FLIES TO A SPIDER #1 by Gregg Hurwitz and Jerome Opena. Wolvie chops up some bikers for New Years. A tradition is born!
WONDERFUL WIZARD OF OZ #1 of 8 by Eric Shanower and Skottie Young. Bringing the L. Frank Baum classic to sequential paneled life! Good for all ages!
www.johnjudy.net
By John Judy
30 DAYS OF NIGHT: TIL DEATH #1 written and drawn by David Lapham. The old guard vampires are thinning out the new herd of reckless punks and one of them has gone to ground. What could go wrong? The creator of STRAY BULLETS and YOUNG LIARS brings his uniquely twisted perspective to the universe, post-Barrow.
ACTION COMICS #872 by Geoff Johns and Pete Woods. The original Creature Commandos are back. How great is that? Recommended.
ASTONISHING X-MEN: GHOST BOXES #2 of 2 by Warren Ellis, Clayton Crain and Kaare Andrews. Dark, dark alternate future stuff from that nice Mister Ellis, just the way you like it. Recommended.
BPRD: WAR ON FROGS #2 by Mike Mignola, John Arcudi and John Severin. The Bureau takes on Frog-Monsters, drawn by comics legend John Severin!
CAPTAIN BRITAIN AND MI-13 #8 by Paul Cornell and Leonard Kirk. Really clever super-team adventures in the English way. Worth a butcher’s, wot?
FINAL CRISIS #5 of 7 by Grant Morrison, J.G. Jones and Carlos Pacheco. Evil is triumphant! Anti-Life holds dominion over all! Kegger at Darkseid’s! Whoooo!!!
FINAL CRISIS: REVELATIONS #4 of 5 by Greg Rucka and Philip Tan. If you’re a fan of Rucka, the Spectre and/or the new Question you’ll feel bad if you don’t read this. Hot Spear of Destiny action!
HERBIE ARCHIVES, VOL. 2 HC by Shane O’Shea and Ogden Whitney. Collecting issues #6-14 of the original Fat Fury, Herbie Popnecker, the most powerful endomorph ever to walk the Earth. Fun for all ages!
JUSTICE LEAGUE OF AMERICA #27 by Dwayne McDuffie and Ed Benes. A new arc that “integrates” the heroes of the much-missed Milestone Comics heroes into the mainstream DCU. For those of us who were there in the nineties this is very cool stuff indeed. Recommended, especially for those who like our super-teams visually distinguishable from an Elks Club meeting.
PUNISHER: WAR ZONE#1 of 6 by Garth Ennis and Steve Dillon. Maybe it was the excitement of the new movie but these crazy kids just couldn’t stay away from comicdom’s favorite pistol-packin’ vigilante! Or maybe it was the money. Nonetheless, it’s Ennis back on PUNISHER. Gotta look! Not for kids.
SECRET INVASION: DARK REIGN #1 by Brian Michael Bendis and Alex Maleev. So let’s talk about the New World Order in which psycho-villain Norman Osborn runs everything…
TRANSFORMERS MAXIMUM DINOBOTS #1 by Simon Furman and Nick Roche. Really this is just a reminder to myself to pick one up for my kid. Love those dinobots!
WATCHMEN #1 by Alan Moore and Dave Gibbons. Hey look! That new movie on the internets already has a comic book adaptation! Seriously, it’s a reprinting of one of the most important comics in history at its original 1986 cover price. Beyond recommended.
WOLVERINE: FLIES TO A SPIDER #1 by Gregg Hurwitz and Jerome Opena. Wolvie chops up some bikers for New Years. A tradition is born!
WONDERFUL WIZARD OF OZ #1 of 8 by Eric Shanower and Skottie Young. Bringing the L. Frank Baum classic to sequential paneled life! Good for all ages!
www.johnjudy.net
The Interview: "Mutts" Cartoonist Patrick McDonnell
By Michael Cavna, Washington Post Comic Riffs blog December 8, 2008
http://voices.washingtonpost.com/comic-riffs/2008/12/the_interview_mutts_cartoonist.html
http://voices.washingtonpost.com/comic-riffs/2008/12/the_interview_mutts_cartoonist.html
Subscribe to:
Posts (Atom)