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Friday, October 12, 2012
PR: PEDESTRIAN update
Thursday, October 11, 2012
Weldon on Sailor Twain
The Refreshingly Murky, Mysterious, Mist-Shrouded 'Sailor Twain'
by Glen Weldon
October 11, 2012
http://www.npr.org/blogs/monkeysee/2012/10/11/162629786/the-refreshingly-murky-mysterious-mist-shrouded-sailor-twain
Richard Thompson - Cyborg
Richard Thompson's a good friend of mine, and he's undergoing brain surgery tomorrow to control his Parkinson's disease. We at ComicsDC send our besh wishes.
OT: David Wasting Paper 2013 Young Cartoonist Contest
My friend David Paccia has started his David Wasting Paper 2013 Young Cartoonist Contest.
The contest is in honor of his mother (who didn't throw away his comics), and provides art supplies and how-to books for the winning teenage submission.
The contest is in honor of his mother (who didn't throw away his comics), and provides art supplies and how-to books for the winning teenage submission.
Rafer Roberts' Kickstarter campaign
Local bon vivant and cartoonist Rafer Roberts is Kickstarting his next collection of his Plastic Farm comic book. I'm in.
The Post on the National Gallery's Lichtenstein exhibit
Art Preview: "Roy Lichtenstein: A Retrospective" at the National Gallery of Art
The East Building's new show is a vibrant, thoughtful celebration of the artist's work.
Washington Post's After Hours blog October 11, 2012
Wednesday, October 10, 2012
The Post on tonight's Green Arrow tv series
'Arrow' review: A vigilante with good aim
By Hank Stuever,
Washington Post October 10 2012
http://www.washingtonpost.com/entertainment/tv/arrow-review-a-vigilante-with-good-aim/2012/09/13/6c973962-fdcf-11e1-a31e-804fccb658f9_story.html
Daumier and Oliphant at the Phillips
DAUMIER AND OLIPHANT, MASTERS OF POLITICAL SATIRE, ON VIEW AT THE PHILLIPS THROUGH INAUGURATION 2013
WHAT: Political Wits, 100 Years Apart: Daumier and Oliphant at the Phillips
Art thumbs its nose at politics in this election-inspired gallery, featuring works by Honoré Daumier (French, 1808–79) and Patrick Oliphant (Australian, b. 1935) from the museum's permanent collection.
A master of caricature and satire, Daumier so lampooned King Louis-Philippe that the artist was charged with sedition and imprisoned for six months in 1832. Pulitzer Prize-winning political cartoonist Oliphant—whose work has been exhibited at the National Portrait Gallery and the Library of Congress and published in the New Yorker, New York Times, and Washington Post—had a deep and longstanding admiration of Daumier. During a Daumier retrospective at the Phillips in 2000, Oliphant produced a lithograph inspired by the exhibition and proclaimed in his Washington Post review, "Monsieur Daumier, you certainly are a humbler."
A master of caricature and satire, Daumier so lampooned King Louis-Philippe that the artist was charged with sedition and imprisoned for six months in 1832. Pulitzer Prize-winning political cartoonist Oliphant—whose work has been exhibited at the National Portrait Gallery and the Library of Congress and published in the New Yorker, New York Times, and Washington Post—had a deep and longstanding admiration of Daumier. During a Daumier retrospective at the Phillips in 2000, Oliphant produced a lithograph inspired by the exhibition and proclaimed in his Washington Post review, "Monsieur Daumier, you certainly are a humbler."
WHEN: On view through the Presidential Inauguration, Jan. 20, 2013
COST: Weekends (Sept. 18–Oct. 5, 2012, and Jan. 7–20, 2013):
$10 for adults, $8 for visitors 62 and over and students, free for members and visitors 18 and under
Weekends (Oct. 6, 2012–Jan. 6, 2013):
$12 for adults, $10 for visitors 62 and over and students, free for members and visitors 18 and under
Weekdays: by donation
$10 for adults, $8 for visitors 62 and over and students, free for members and visitors 18 and under
Weekends (Oct. 6, 2012–Jan. 6, 2013):
$12 for adults, $10 for visitors 62 and over and students, free for members and visitors 18 and under
Weekdays: by donation
WHERE: The Phillips Collection
1600 21st St., NW. Metro: Dupont Circle (Q St. exit)
1600 21st St., NW. Metro: Dupont Circle (Q St. exit)
A flea market miscellany
Here's some of the oddball stuff I picked up last weekend:
Bull of the Woods by J.R. Williams cartoon desk blotter / calendar from Vogt Roller Co, Chicago, IL in March 1953.
Bill Clinton superhero caricature on an Inauguration '93 button.
A counterfeit Bart Simpson saying "I belong to The Johns Hopkins Health Plan. Why In The Hell Don't You!" on an advertising button.
Nutty Awards #4 postcard by Jack Davis. Topps produced 30 of these in 1965.
Bull of the Woods by J.R. Williams cartoon desk blotter / calendar from Vogt Roller Co, Chicago, IL in March 1953.
Bill Clinton superhero caricature on an Inauguration '93 button.
A counterfeit Bart Simpson saying "I belong to The Johns Hopkins Health Plan. Why In The Hell Don't You!" on an advertising button.
Nutty Awards #4 postcard by Jack Davis. Topps produced 30 of these in 1965.
Frank Cho to draw Wolverine... and Shanna
Tuesday, October 09, 2012
Rethinking Rascally Roy (Lichtenstein, not Thomas)
Around the time Roy Lichtenstein starting painting his canvases influenced by comic book panels, editor Stan Lee was giving everyone at Marvel Comics a nickname to make the company appear more homey. Since Lichtenstein usually appropriated images from DC Comics, he probably wouldn't have qualified for one, but if he did, he probably should have gotten the 'Rascally' that eventually settled on writer Roy Thomas. Lichtenstein seems to have spent his entire career engaging with other art forms, appropriating them, making sport of them, but also in some odd way, respecting them.
The National Gallery of Art is mounting a large career-spanning retrospective that begins with one of Lichtenstein's first comic-derived images - the Gallery's Look Mickey (1961). At the press preview, curators kept noting that the original image is from Donald Duck Lost and Found, a Little Golden Book from 1960, and not a comic book, but honestly that's a difference that makes no difference. Lichtenstein had come up with a hook, and a look, and together these let him break into the big time. To our eyes, familiar with almost forty years of later works, Look Mickey looks crude. The dots that texture Mickey's head and Donald's eyes are handpainted, and not made by forcing paint through a metal screen with a toothbrush as he would later turn to. The underlying pencil can be seen - something almost inconceivable in his work of just a few years later. Lichtenstein worked by doing a freehand drawing, projecting that piece onto a larger canvas and drawing it there, and then painting that. Examine this painting closely so you're prepared to see his technique evolve and tighten up as he finds his groove.
The Gallery owns 375 pieces of Lichtenstein's art -- one of the largest collections -- and this exhibit has 100 paintings, drawings and sculptures in it. They've borrowed from other museums and the show will travel to England and France after being here in DC. For comics and cartoon fans, after Look Mickey you can skip the rest of the Early Pop Art gallery, and go view the black & white drawing Alka Seltzer (1966) in the next room. To this reviewer, Jack Kirby's influence appears obvious -- and doesn't appear in the rest of the Black and White series. Kirby's Marvel Comics work had settled into its mature phase with the heavy black lines and over the top action that would typify his work. Lichtenstein's drawing of this banal subject produces a glass of Alka Seltzer that would look at home in the hands of Dr. Doom, if he ever stopped trying to conquer the world for a few minutes and looked after himself.
Instead of Marvel Comics, Lichtenstein turned to DC Comics for works in his Romance and War series. 1962's Masterpiece is the first in his Romance series, and he works in a joke about his new status as a darling of the art world. Contrast this work with Ohhh... Alright..., from 1964, and you can see his quoting of the comics medium becoming surer and cleaner, especially after he begins using his technique of painting through metal screens. Unfortunately, looking at the images here produces one of the main problems with Lichtenstein's comic-influenced art. When they are reproduced in a book (or blog) they become the same size as the comic they're taken from and this gives the viewer a false impression. These pieces are big, and the scaling-up while removing extraneous detail, and repositioning graphic elements gives them a... grandeur that insists that you see them in person.
Lichtenstein probably would have been a competent, if uninspiring comic book artist (think Don Heck) -- the original sketch for Ohhh... Alright... is in the exhibit and shows he could have done that, but the path he chose was probably better for all concerned. Bart Beaty's Comics Versus Art (University of Toronto Press, 2012) has a good chapter about the angst that Lichtenstein's work inspires in comic book readers - an angst I share. Lichtenstein was working from then-current comic books like Girls' Romances and Secret Hearts, and titling his works with an attribution such as Whaam! (after Novick) or Whaam! ( All American Men of War #89) rather than simply Whaam! would have been a gesture of respect to other artists who, although working as commercial illustrators in comic books, still considered what they were doing to be art.
His decision not to do this continues to lead to headlines such as 2011's Connecting the Dots Between the Record $43 Million Lichtenstein and the $431 Comic Strip It Was Copied From, and articles that start "Imagine you drew a comic book for a nominal fee and a world-famous artist recreated in paint a panel from that work and sold it for millions of dollars without you receiving any credit or royalties." Deconstructing Roy Lichtenstein is an entire website devoted to tracking the original comic panels that Lichtenstein repurposed / appropriated for his paintings.
His Brushstrokes series began with Brushstrokes (1965), which the exhibit explains came from "The Painting," Strange Suspense Stories #72 (Charlton Comics, October 1964) -- the NGA reproduces the panel, but neglects to mention that the original artwork is by Dick Giordano. This was among his last of this type of work. Instead he began painting large fake brushstrokes over his now trademark dots, or painting the explosions without any intervening war comic scene. The exhibit wall text for Whaam! suggests a reason, quoting him reflecting "If you go through [comic books], you'll find that there are very few frames that... would be useful to you. Most of them are in transition, they don't really sum anything up and it's the ones that sum up the idea that I like best."
Lichenstein then moved completely away from the comics-influenced paintings to do similar paintings with other fine art as the subject, such as a faux woodcut of a Washington by Gilbert Stuart. Picasso and Cezanne and the Laocoon were Lichtensteinized. He painted faux architectural elements and faux mirrors, and did sculptures and paintings quoting art deco. He made landscapes out of dots. All of these can be seen in the show.
But in the 1990s and towards the end of his career, Lichtenstein returned to comic book art and looked back at the romance comic books he had painted from 30 years earlier -- this time, he just left off the clothing for his Nudes series. Without their captions or word balloons, and with a more radical use of dots, these paintings seem further removed from their sources than his earlier works.
A lot has been written on Lichtenstein, and I'm obviously not an expert on his work, but I do think that his 1978 Self-Portrait, in which he depicts himself as a mirror hovering above an empty shirt -- while witty -- may very well also depict a deeper ambivalence about his career.
The exhibit Roy Lichtenstein: A Retrospective runs from October 14, 2012–January 13, 2013 at the National Gallery of Art. I can honestly recommend it to anyone interested in comic art who is willing to think about art, illustration, comics and where they all crash together. I would have preferred to see more of the original source material in the show -- only two comics panels are reproduced in the exhibit text -- and buying a 1960s DC romance comic or two wouldn't bust anyone's budget. An excellent catalog by curators James Rondeau and Sheena Wagstaff is available, and the Gallery has several events planned including ones at local restaurants Busboys and Poets and Ben's Chili Bowl.
UPDATE: Here's some pages that Lichtenstein used from Charlton and DC Comics (thanks to Prof. Witek)-
The National Gallery of Art is mounting a large career-spanning retrospective that begins with one of Lichtenstein's first comic-derived images - the Gallery's Look Mickey (1961). At the press preview, curators kept noting that the original image is from Donald Duck Lost and Found, a Little Golden Book from 1960, and not a comic book, but honestly that's a difference that makes no difference. Lichtenstein had come up with a hook, and a look, and together these let him break into the big time. To our eyes, familiar with almost forty years of later works, Look Mickey looks crude. The dots that texture Mickey's head and Donald's eyes are handpainted, and not made by forcing paint through a metal screen with a toothbrush as he would later turn to. The underlying pencil can be seen - something almost inconceivable in his work of just a few years later. Lichtenstein worked by doing a freehand drawing, projecting that piece onto a larger canvas and drawing it there, and then painting that. Examine this painting closely so you're prepared to see his technique evolve and tighten up as he finds his groove.
The Gallery owns 375 pieces of Lichtenstein's art -- one of the largest collections -- and this exhibit has 100 paintings, drawings and sculptures in it. They've borrowed from other museums and the show will travel to England and France after being here in DC. For comics and cartoon fans, after Look Mickey you can skip the rest of the Early Pop Art gallery, and go view the black & white drawing Alka Seltzer (1966) in the next room. To this reviewer, Jack Kirby's influence appears obvious -- and doesn't appear in the rest of the Black and White series. Kirby's Marvel Comics work had settled into its mature phase with the heavy black lines and over the top action that would typify his work. Lichtenstein's drawing of this banal subject produces a glass of Alka Seltzer that would look at home in the hands of Dr. Doom, if he ever stopped trying to conquer the world for a few minutes and looked after himself.
His decision not to do this continues to lead to headlines such as 2011's Connecting the Dots Between the Record $43 Million Lichtenstein and the $431 Comic Strip It Was Copied From, and articles that start "Imagine you drew a comic book for a nominal fee and a world-famous artist recreated in paint a panel from that work and sold it for millions of dollars without you receiving any credit or royalties." Deconstructing Roy Lichtenstein is an entire website devoted to tracking the original comic panels that Lichtenstein repurposed / appropriated for his paintings.
But in the 1990s and towards the end of his career, Lichtenstein returned to comic book art and looked back at the romance comic books he had painted from 30 years earlier -- this time, he just left off the clothing for his Nudes series. Without their captions or word balloons, and with a more radical use of dots, these paintings seem further removed from their sources than his earlier works.
A lot has been written on Lichtenstein, and I'm obviously not an expert on his work, but I do think that his 1978 Self-Portrait, in which he depicts himself as a mirror hovering above an empty shirt -- while witty -- may very well also depict a deeper ambivalence about his career.The exhibit Roy Lichtenstein: A Retrospective runs from October 14, 2012–January 13, 2013 at the National Gallery of Art. I can honestly recommend it to anyone interested in comic art who is willing to think about art, illustration, comics and where they all crash together. I would have preferred to see more of the original source material in the show -- only two comics panels are reproduced in the exhibit text -- and buying a 1960s DC romance comic or two wouldn't bust anyone's budget. An excellent catalog by curators James Rondeau and Sheena Wagstaff is available, and the Gallery has several events planned including ones at local restaurants Busboys and Poets and Ben's Chili Bowl.
UPDATE: Here's some pages that Lichtenstein used from Charlton and DC Comics (thanks to Prof. Witek)-
 |
STRANGE SUSPENSE STORIES #72 p. 25 |
 |
| Secret Hearts #83, Nov. 1962 |
 |
| All-American Men of War #90 |
 |
| All-American Men of War #89 |
Monday, October 08, 2012
Letterhack and DC comics writer Irene Vartanoff interview from 2010
Irene used to live around here, and talks about writing to the Washington Star in this interview. Her sister Ellen is still in town.
Stroud, Brian D. 2010.
Irene Vartanoff Interview.
Silver Age Sage (May):
http://www.wtv-zone.com/silverager/interviews/vartanoff.shtml
Stroud, Brian D. 2010.
Irene Vartanoff Interview.
Silver Age Sage (May):
http://www.wtv-zone.com/silverager/interviews/vartanoff.shtml
SPX 2012 videos continued
One of the panels:
Sean T. Collins.
SPX 2012 - Gilbert Hernandez: Love From The Shadows
Oct 4, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=lfpdpz4KKUQ
Gilbert Hernandez and his brothers launched the alternative comics era with their epoch-defining series Love and Rockets. Gilbert first made his mark with his Palomar stories, an intergenerational saga detailing life and love in a fictional Central American town. But a parallel strand of Gilbert's restless oeuvre has since taken center stage in new graphic novels and stories that combine formal play with genre experimentation to open another window into the workings of the human heart. Gilbert will discuss his work with critic Sean T. Collins.
Here's the local cartoonists:
SPX 2012: Warren Bernard
Oct 1, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=1scTlk3Viy4&feature=plcp
With the show over, the guys sit down with SPX Executive Director Warren Bernard to talk about how everything went: the challenges, the successes, the surprises, and, most importantly, the exhaustion.
SPX 2012: Ben Claassen III
Oct 1, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=Wuk1SYeDo_g&feature=relmfu
Well after the show ends, Rusty and Joe sit down with Ben Claassen III and reflect on the show. It's SPX After Dark and things get saucy with a quickness as we discuss the future and how to make comics FOREVER.
SPX 2012: Matt Dembicki
Sep 30, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=LeVXfBCjNvY&feature=plcp
The guys talk to Matt Dembicki and the trio commiserate about a life of hard to pronounce last names. They also talk about Matt's new graphic novel, "XOC", as well as the recently released anthology, "District Comics". Also, learn about stealing!
SPX 2012: Adam Bomb and Rome
Sep 30, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=VirRr4gA0TQ&feature=plcp
Joe and Rusty sit down two fantastic young comic makers, brothers Adam Bomb and Rome, sons of Matt Dembicki. This is the second year the guys have talked with Adam and the first with Rome and both are absolutely adorable!
and out-of-town participants:
SPX 2012: Catherine Peach
Sep 30, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=CtWy5vJSEUM&feature=plcp
Rusty and Joe chat with Catherine Peach, an exhibitor without a table but not without high fives! Learn about nomadic selling, possibly earned badges and dangerous high fives!
SPX 2012: Jeff and Adam Zwirek
Sep 30, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=7_7qq0_PHHE&feature=plcp
Joe and Rusty sit down with the brothers Zwirek, Jeff and Adam, to talk about one of the big debuts of the show, Burning Building Comix! Learn about the challenge of making really tall books, the danger of a slutty Yoda, free cake at CAKE, and pornographic stick figures!
SPX 2012: Cara Bean and Sally Carson
Sep 30, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=tuS9g0UfJ7M&feature=plcp
For the second year in a row, Joe and Rusty talk to Cara Bean but mix it up a little bit by adding Sally Carson to this powder keg of small press spectacularity! The topics covered are numerous and, even more harrowing, they answer more than just one Mysterious Question! Change your life and change your heart with this quad-copter of love!
SPX 2012: Michael Bracco
Oct 1, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=FyJ51Saz3sA&feature=plcp
Joe and Rusty talk to Michael Bracco about his return to SPX after years away. Learn about his new book, "The Creators", how SPX has treated him upon his big return, and the power of creating crap! Also, a very important discussion of Rusty and Joe's idea for Splash 2 (CGI John Candy!).
SPX 2012: Justin Rivers
Oct 1, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=0nBYZK5aCfQ&feature=plcp
Rusty and Joe chat with SPX sophomore Justin Rivers about his book, "The Wonder City", creeping out Chris Ware, and the pure love of taking a bullet for someone.
Sean T. Collins.
SPX 2012 - Gilbert Hernandez: Love From The Shadows
Oct 4, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=lfpdpz4KKUQ
Gilbert Hernandez and his brothers launched the alternative comics era with their epoch-defining series Love and Rockets. Gilbert first made his mark with his Palomar stories, an intergenerational saga detailing life and love in a fictional Central American town. But a parallel strand of Gilbert's restless oeuvre has since taken center stage in new graphic novels and stories that combine formal play with genre experimentation to open another window into the workings of the human heart. Gilbert will discuss his work with critic Sean T. Collins.
Here's the local cartoonists:
SPX 2012: Warren Bernard
Oct 1, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=1scTlk3Viy4&feature=plcp
With the show over, the guys sit down with SPX Executive Director Warren Bernard to talk about how everything went: the challenges, the successes, the surprises, and, most importantly, the exhaustion.
SPX 2012: Ben Claassen III
Oct 1, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=Wuk1SYeDo_g&feature=relmfu
Well after the show ends, Rusty and Joe sit down with Ben Claassen III and reflect on the show. It's SPX After Dark and things get saucy with a quickness as we discuss the future and how to make comics FOREVER.
SPX 2012: Matt Dembicki
Sep 30, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=LeVXfBCjNvY&feature=plcp
The guys talk to Matt Dembicki and the trio commiserate about a life of hard to pronounce last names. They also talk about Matt's new graphic novel, "XOC", as well as the recently released anthology, "District Comics". Also, learn about stealing!
SPX 2012: Adam Bomb and Rome
Sep 30, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=VirRr4gA0TQ&feature=plcp
Joe and Rusty sit down two fantastic young comic makers, brothers Adam Bomb and Rome, sons of Matt Dembicki. This is the second year the guys have talked with Adam and the first with Rome and both are absolutely adorable!
and out-of-town participants:
SPX 2012: Catherine Peach
Sep 30, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=CtWy5vJSEUM&feature=plcp
Rusty and Joe chat with Catherine Peach, an exhibitor without a table but not without high fives! Learn about nomadic selling, possibly earned badges and dangerous high fives!
SPX 2012: Jeff and Adam Zwirek
Sep 30, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=7_7qq0_PHHE&feature=plcp
Joe and Rusty sit down with the brothers Zwirek, Jeff and Adam, to talk about one of the big debuts of the show, Burning Building Comix! Learn about the challenge of making really tall books, the danger of a slutty Yoda, free cake at CAKE, and pornographic stick figures!
SPX 2012: Cara Bean and Sally Carson
Sep 30, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=tuS9g0UfJ7M&feature=plcp
For the second year in a row, Joe and Rusty talk to Cara Bean but mix it up a little bit by adding Sally Carson to this powder keg of small press spectacularity! The topics covered are numerous and, even more harrowing, they answer more than just one Mysterious Question! Change your life and change your heart with this quad-copter of love!
SPX 2012: Michael Bracco
Oct 1, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=FyJ51Saz3sA&feature=plcp
Joe and Rusty talk to Michael Bracco about his return to SPX after years away. Learn about his new book, "The Creators", how SPX has treated him upon his big return, and the power of creating crap! Also, a very important discussion of Rusty and Joe's idea for Splash 2 (CGI John Candy!).
SPX 2012: Justin Rivers
Oct 1, 2012 by SmallPressExpo
http://www.youtube.com/watch?v=0nBYZK5aCfQ&feature=plcp
Rusty and Joe chat with SPX sophomore Justin Rivers about his book, "The Wonder City", creeping out Chris Ware, and the pure love of taking a bullet for someone.
The Post adds Dustin strip, dumps Tank McNamara
Although Michael says only that Tank has moved 'online', we call a spade a spade here at PokerDC...
POST ADDS 'DUSTIN' COMIC: Creators think 'boomerang son' strip reflects 'modern American family'
By Michael Cavna
Washington Post Comic Riffs blog (October 8 2012):
http://www.washingtonpost.com/blogs/comic-riffs/post/post-adds-dustin-comic-creators-think-boomerang-son-strip-reflects-modern-american-family/2012/10/08/f1f4318a-0f74-11e2-a310-2363842b7057_blog.html#pagebreak
... and I will not that Tank was not well-served by the most-recent shrinkage of the comics page, which made it too small to actually read.
POST ADDS 'DUSTIN' COMIC: Creators think 'boomerang son' strip reflects 'modern American family'
By Michael Cavna
Washington Post Comic Riffs blog (October 8 2012):
http://www.washingtonpost.com/blogs/comic-riffs/post/post-adds-dustin-comic-creators-think-boomerang-son-strip-reflects-modern-american-family/2012/10/08/f1f4318a-0f74-11e2-a310-2363842b7057_blog.html#pagebreak
... and I will not that Tank was not well-served by the most-recent shrinkage of the comics page, which made it too small to actually read.
Sunday, October 07, 2012
Recent Sal Buscema interview
Sal Buscema, the longtime Marvel penciller, lives in Northern Virginia.
Stroud, Brian D. 2012.
Sal Buscema interview.
Silver Age Sage: http://www.wtv-zone.com/silverager/interviews/buscema.shtml
Stroud, Brian D. 2012.
Sal Buscema interview.
Silver Age Sage: http://www.wtv-zone.com/silverager/interviews/buscema.shtml
Saturday, October 06, 2012
The Post on new Marvel history book
Marvel Comics' heroic history
By Mike Musgrove, Washington Post October 7, 2012
http://www.washingtonpost.com/entertainment/books/heroic-history-of-marvel-comics/2012/10/05/d8100a32-f692-11e1-8253-3f495ae70650_story.html
By Mike Musgrove, Washington Post October 7, 2012
http://www.washingtonpost.com/entertainment/books/heroic-history-of-marvel-comics/2012/10/05/d8100a32-f692-11e1-8253-3f495ae70650_story.html
Flugennock's Latest'n'Greatest: "Middle Class First"
http://sinkers.org/stage/?p=1179
Middle Class First
"We do best when the middle class is doing well."
--Barack Obama, Presidential Debate 10.03.2012
So, I'm seeing a lot of footage of Obama rallies on TV lately showing us lots of raving Dembots waving signs reading "Middle Class First".
Now, on the surface, this sounds really nice and progressive populist and all, until you stop and think of how Obama bailed out the banks and Wall Street and left the foreclosed and unemployed hanging out to dry, and when you think about how the Presidential candidates of both wings of the Party pander to the middle class while totally ignoring the working class and the poor. In fact, at my count, at last Wednesday night's "debate", I heard the phrase "middle class" spoken at least fifteen times in the first half hour -- until I had to stop watching because my eyes were glazing and my brain was dribbling out of my ears.
To be honest, I'm actually becoming really annoyed at the amount of fawning and gushing and pandering directed at the Middle Class™ by politicians at the media, even as they display indifference -- or, in some cases, flat-out hostility -- towards the working class, the poor, and the formerly middle-class who've fallen into poverty owing to extended unemployment or foreclosure.
Let's also not forget that generally, the Middle Class™ is where all the narrow-mindedness, conformity, materialism and selfishness live.They consume the most resources and complain the most about taxes while demanding the best of everything -- roads, schools, public services -- while joining in the villification of the poor and identifying with the rich, even as the rich continue to screw them royally.
So, perhaps a more accurate slogan for the Obama campaign might be "Middle Class First, And Throw The Poor A Bone If There's Any Left".
--
.
"Though I could not caution all, I yet may warn a few:
Don't lend your hand to raise no flag atop no ship of fools!"
--grateful dead.
________________________________________________________________
Mike Flugennock, flugennock at sinkers dot org
Mike's Political Cartoons: dubya dubya dubya dot sinkers dot org
Middle Class First
"We do best when the middle class is doing well."
--Barack Obama, Presidential Debate 10.03.2012
So, I'm seeing a lot of footage of Obama rallies on TV lately showing us lots of raving Dembots waving signs reading "Middle Class First".
Now, on the surface, this sounds really nice and progressive populist and all, until you stop and think of how Obama bailed out the banks and Wall Street and left the foreclosed and unemployed hanging out to dry, and when you think about how the Presidential candidates of both wings of the Party pander to the middle class while totally ignoring the working class and the poor. In fact, at my count, at last Wednesday night's "debate", I heard the phrase "middle class" spoken at least fifteen times in the first half hour -- until I had to stop watching because my eyes were glazing and my brain was dribbling out of my ears.
To be honest, I'm actually becoming really annoyed at the amount of fawning and gushing and pandering directed at the Middle Class™ by politicians at the media, even as they display indifference -- or, in some cases, flat-out hostility -- towards the working class, the poor, and the formerly middle-class who've fallen into poverty owing to extended unemployment or foreclosure.
Let's also not forget that generally, the Middle Class™ is where all the narrow-mindedness, conformity, materialism and selfishness live.They consume the most resources and complain the most about taxes while demanding the best of everything -- roads, schools, public services -- while joining in the villification of the poor and identifying with the rich, even as the rich continue to screw them royally.
So, perhaps a more accurate slogan for the Obama campaign might be "Middle Class First, And Throw The Poor A Bone If There's Any Left".
--
.
"Though I could not caution all, I yet may warn a few:
Don't lend your hand to raise no flag atop no ship of fools!"
--grateful dead.
________________________________________________________________
Mike Flugennock, flugennock at sinkers dot org
Mike's Political Cartoons: dubya dubya dubya dot sinkers dot org
Stephan Pastis at Politics and Prose Bookstore (October 6, 2012)
(October 6, 2012)
Cartoonist Stephan Pastis speaks about his comic strip "Pearls Before Swine" at Politics and Prose bookstore in Washington, DC.More photos: http://www.flickr.com/photos/42072348@N00/sets/72157631708410406/with/8061262204/
Audio: http://archive.org/details/StephanPastisAtPoliticsAndProseBookstore
Truitt on Mouse Guard
A mythic hero gets the spotlight in new 'Mouse Guard'
Brian Truitt
http://www.usatoday.com/story/life/2012/10/05/mouse-guard-the-black-axe-comic-book-series/1615957/
Brian Truitt
http://www.usatoday.com/story/life/2012/10/05/mouse-guard-the-black-axe-comic-book-series/1615957/
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