Wednesday, June 07, 2017

Meet a Richmond Comics Writer - A Chat with Gary Cohn


Mark Lindblom (l) and Gary Cohn
by Mike Rhode
Gary Cohn co-wrote two of my favorite 1980s DC Comics, Blue Devil and Amethyst, Princess of Gemworld. I recently got to meet him at Heroic Aleworks Brewery's minicon, and he answered my usual questions.
What type of comic work or cartooning do you do?
A: I’m a writer. I work with artists.
How do you do it? Thumbnails? Traditional pen and ink, computer or a combination?
A: I work in either of the standard comics writing styles. I can write full scripts when I don’t know or don’t trust the artist; I write plot/dialogue when I trust the artist and when we’re full collaborators. I’m happiest when I can give an artist an outline, and then the artist throws me some visual surprises that I need to integrate into my original conception of the story. In the early part of my career when I was writing stories and often didn’t know who would draw them, I did thumbnail sketches of pages to accompany my scripts. They were the crudest of cartooning, and I was disappointed when some artists chose to follow my thumbnail layouts completely instead of taking them for the suggestions they were meant to be. I assumed that an artist would have a better visual imagination than I have, and would be able to take my suggestions and run with them, not just follow them slavishly.
When (within a decade is fine) and where were you born?
A: I was born in NYC in 1952—I’m a child of the 50s and 60s, and all the pop culture of that era.
Why are you in Richmond now?  What neighborhood or area do you live in?
A: It took me twenty years to realize that I wasn’t going to make a living writing. So I became a NYC high school English/social studies teacher and did that for 14 years. When I retired I realized that a “short” pension was not going to keep me going in NYC, and after 30 years there I wanted a change of venue. I had an artist friend living in RVA (ie Richmond, VA), I’d visited her a number of times over the years, and when I was considering new places I narrowed it down to RVA and St. Petersburg, FL. I wanted someplace a lot cheaper than NYC, warmer, with some history and culture and a creative community. Since my 90-year-old mom still lives in NY, I decided on the place where I could get to NY more quickly and easily. Roads not taken… I still wonder about St. Pete. I live in the oldest neighborhood in RVA, Church Hill. It’s been a very good move.
What is your training and/or education in cartooning?
A: Choose-your-own-major BA degree from Michigan State (defunct residential Justin Morrill College allowed us to design our own major: mine was creative writing/science fiction and fantasy lit); MA from the Department of Popular Culture at Bowling Green State in Ohio; course work completed towards a doctorate in US History (US naval history, esp 1880-1900). Basic teaching certification courses from NYS.
Who are your influences?
courtesy of the Grand Comics Database
A: Nothing. Everything I come up with is sui generis and without compare. Joking, of course. My influences are six decades of reading, watching, consuming American popular culture, “serious” literature, academic history and the range of liberal arts subjects. I was a guy who thought he disliked school… so of course I’ve spent my entire life as a student and a teacher.
If you could, what in your career would you do-over or change? 

A: Amethyst would have been developed as a toy line by Kenner when they were planning to do it, BEFORE She-Ra came out, and I’d have made a fuck-ton (that’s a technical term) of money; and spent most of it on motorcycles, adventuring, and wild women. There’s been a fair amount of all three in my life, but I’ve never really been able to afford to fully indulge myself.
What work are you best-known for?
A: Amethyst and Blue Devil from DC in the early ‘80s. My standard line is that for a short while I was a little bit famous and successful in a relatively obscure pop sub-culture.
What work are you most proud of?
A: Demon Gun, published by Crusade about 20 years ago, which is the only piece of my published work that I actually own--well, co-own with artist Barry Orkin. I understand that there are comics writers who claim sole ownership over properties. I’ve always believed that anything I create in comics is co-created by the artist, because I can’t make comics without one. If I wanted sole ownership, I’d write prose exclusively.
What would you like to do or work on in the future?
courtesy of the Grand Comics Database
A: Blue Devil artist Paris Cullins and I have been slowly developing our own property, New Devil. It’s unrelated to DC’s BD, except that it’s a “devil,” but it has that spirit and bounce. With NY artist Ray Felix I’m getting ready to self-publish the first issue of “NYX, Daughter of Night.” I’ve got a zillion ideas, as always, and I hope to be able to get some of them out there before…well, you know.
What do you do when you're in a rut or have writer's block?
A: I’ll tell you when I’ve solved that problem. While I was a teacher I wrote very little. Since I’ve been on my own I’ve been struggling to find the old mojo. A deadline and a paycheck were always good incentive. Right now I have neither from writing.
What do you think will be the future of your field?
A: No idea.
What local cons do you attend? The Small Press Expo, Intervention, or others? Any comments about attending them?

A: Until I have something to peddle, some new wares to spread out on a table, I’m staying close to home. Any Con in Richmond that will let me in for free, I’m there. Beyond that, I went to the Baltimore Con last fall and liked it, I stopped in at Tidewater this year to see Paris and a few other folks and because it made a nice motorcycle run, I’ll probably head down to some other Cons in VA and NC in the next year, and if one of Mike Carbonaro’s NYC cons is going on when I’m visiting, or Eternal Con on Long Island, I try to stop in to schmooze with old industry buddies.

What's your favorite thing about Richmond?

A: Hard to say. It’s a very nice small city. I’ve met a lot of great people, I’ve connected with the thriving comics community here, found the perfect motorcycle shop and car repair place, discovered terrific restaurants… I’m thinking the answer is, my apartment and neighborhood. It’s a great space in a great location.

Least favorite?

A: The wannabe Confederates. I’m a carpetbagger Yankee.

What monument or museum do you like to take visitors to?

A: The VMFA (Virginia Museum of Fine Arts) is a very good small-city art museum; then there’s Monument Ave (or as we carpetbaggers like to call it, “Losers’ Lane”) with all the ridiculous Confederate statues and one very badly designed but well-intentioned Arthur Ashe statue.

How about a favorite local restaurant?

A: This town is full of very good restaurants; but Lemaire in the Jefferson Hotel is an amazing experience and a world-class dinner. I let a visiting stockbroker friend pay for it.

Do you have a website or blog?

A: Nope.

Tuesday, June 06, 2017

ComicsDC "interviews" Stan Lee for Awesome Con

by Mike Rhode


Stan Lee will be making an appearance at Awesome Con soon from June 16-18th, and yesterday local media got to send in questions and sit in on a phone conference while Mr. Lee answered some of them. I don't know who else was on the call, and don't want to step on their articles, but here are my two q&a's.

Q1 - In your most optimistic moment, either writing the comics during the 1960s, or pitching them after moving to California, could you ever have imagined the overwhelming success that the Marvel movie universe has had?

Stan Lee: No, I never in a million years thought it would turn out the way it did. I used to lecture around the country, around the world actually -- I went to Italy, to Germany, all over, and I'd speak at colleges and places telling them that comics were really a good way to tell a story. You're seeing the action and you're reading the dialogue. It's not much different from going to the theater and seeing a Shakespeare play. You're hearing the words and you're seeing the action. The differences is that in comics, the characters don't move, but it's the same thing; you hear the words while seeing the action. There's nothing wrong with the comic form. Actually, it's a great form -- it's just how well you do it.
One thing I'm going to mention parenthetically - the word 'comic book' should never be written as two words, because if it's written as two words, it means a comic book, a funny book. It should be one word - comicbook - that makes it a unique type of literature.

Q2 - Which Marvel character, that you created or worked on, do you think is under-rated and under-appreciated and is due for a revival, either in comics or on film?

Stan Lee: I think the Silver Surfer has been underrated. I think he's a great character. The thing I like about him - I was always able to get [in] a lot of bits of philosophy that he would utter. They don't use him as much as I wish they would. He's one of my favorite characters.

courtesy of Wikipedia

Here's more information on his appearances:

Stan Lee Premium Package
Presented by Stan Lee Collectibles, the Stan Lee Premium Package will be available for $350 and includes: 1 autograph from Stan Lee, a photo op, an autographed lithograph, a comic book from the Stan Lee Collectibles collection, a collectible Stan Lee Awesome Con badge and lanyard, and a $25 gift certificate for the Stan Lee Collectibles booth at Awesome Con. Admission to Awesome Con is not included with the Stan Lee Premium Package and must be purchased separately at www.awesomecon.com; this package will be available for purchase at 10am EST on Saturday, May 6.

Bagels & Coffee with Stan – Saturday, June 17, 8:00 am  SOLD OUT
150 guests will have the chance to join Stan Lee for an exclusive breakfast session with the pop culture icon the morning of Saturday, June 17. For $295, guests can participate in a Q&A session with Stan Lee while enjoying a light breakfast buffet. Attendees will also receive a signed photo of Stan Lee and the chance to snap a selfie with him. Admission to Awesome Con is not included in Bagels & Coffee with Stan and must be purchased separately atwww.awesomecon.com; this package will be available for purchase at 10am EST on Saturday, May 6. SOLD OUT

Stan Lee Museum Pop-Up
This year, Awesome Con is bringing together highlight items and collectibles from Stan Lee's expansive career together for the Stan Lee Museum Pop-Up. Check out 18 larger-than-life Marvel statues modeled after Stan Lee's most well-known characters, including the Hulkbuster, as well as more than 50 pieces of Stan Lee memorabilia spanning seven decades of his career. Awesome Con ticket holders have full access to the Stan Lee Museum Pop-Up during exhibit hall hours.

Stan Lee Q&A – Sunday, June 18, 10:30 am
Stan Lee will host a panel on Awesome Con's main stage on Sunday, June 18, answering questions from attendees about his career and his work over the years. Entry to the Stan Lee Q&A is included with Awesome Con tickets.


Ann Telnaes is PR worthy

(but we at ComicsDC knew that already).

Ann Telnaes is First Woman to Win Reuben Award and Pulitzer Prize


News provided by

Cartoonist Group

PRNewswire June 5, 2017

http://www.prnewswire.com/news-releases/ann-telnaes-is-first-woman-to-win-reuben-award-and-pulitzer-prize-300468404.html

SPX Oral History - Christian Panas (UPDATED with a response by Greg McElhatton)

by Mike Rhode
(recorded in March 2017)

It's been on my mind for several years that the Small Press Expo could really use an oral history especially as it approaches its twenty-fifth anniversary, and the online history is pretty skimpy.

Christian Panas recently stopped back in the area for a few weeks, prior to moving to Japan. I was able to have one interview session with him while he was in town. This is edited by me for clarity, but has not been edited by Panas. Greg McElhatton has written to me with a response which is appended at the end, while being asterisked in the text at the places he indicated; since I was not involved in the show and have not deeply studied the history of it, I am only presenting what people say, and not attempting to determine any 'truth.'

Mike Rhode: When did you work on SPX?

Christian Panas: I would say 1997-2000.

MR: What was your role there?

CP: I started as a volunteer. I ended up working with the steering committee and I guess I was technically executive director for two years.*

MR: How did you start volunteering?

CP: I had moved back from Chicago to the area in '97 and wandered in to Big Planet Comics in Vienna. That's how I met Greg Bennett, and how I got interested in comics again. I had stopped reading them. I read comics from 4 years old through high school, and then just lost interest. It wasn't until I rolled into Big Planet and saw a lot of alternative press comics that was coming out that I got interested again. I found out about SPX and decided to volunteer and I had a blast, meeting those creators and seeing what was coming out. I just got really enthused about it. It was a real pleasure.

MR: Who were you reading at the time that sucked you back in?

CP: There was that whole movement with the Fort Thunder guys. Kurt Wolfgang. There was plenty of Fantagraphics that I had missed. I hadn't realized that Ivan Brunetti was putting out comics. He did a student comic strip at the University of Chicago when I was there.

MR: You liked the more "primitive" type of look then?

CP: Yeah, that's what got me back in. I always loved European and South American albums too, that were more polished, but still raw and powerful. This was lots of what Fantagraphics was putting out. At the time I discovered Munoz and Sampayo. Munoz blew my mind, and I got to meet him when I went to Angouleme in '99 with Greg.  There were also guys like Top Shelf, Jeff Mason's Alternative Press… between finding foreign stuff that I had missed and all the American indy stuff that I had no clue about, it really opened my eyes.

MR: So how did your role from volunteer to executive director evolve?

CP: It happened really suddenly. I was working at the Smithsonian's Natural History Museum at the time, and I was doing a lot of cultural work in the anthropology department. We were working with other institutions so I went to Japan and Thailand, and I had experience working with artists in Trinidad & Tobago, and other things. I'll be very honest. I think part of it had to do with not being sure who wanted to be executive director at the time and part of it was that I was good at having rapport with people. I was good with schmoozing. We'd have those wonderful parties. At one of the SPX's when I was executive director we had in a Swiss cartoonist, and between folks like him and Joe Sacco, and Bob Sikoryak... I just had a good affinity and inclination to putting those people at ease, and drawing them out… making them feel welcome. To be honest, if I had anything to contribute, I think it was that. I think a lot of other people were involved in the real work of the show.

MR: Who else was involved with you at this time?

CP: There was Karen Flage, Greg McElhatton, Greg Bennett, Craig Thomas…  I also helped edit the 1999 and 2000 anthologies with Chris Oarr and Tom Devlin. We got nominated for the Eisner which was a lot of fun.

MR:  So did people undertake the job they could fulfill the best, or did you have to assign work to people?

CP: No, I was technically executive director, but literally it was the group meeting and functioning in an anarchistic sense – the good sense, not the chaotic one – self-actualized. Towards the end as I was having certain difficulties in my life, people ended up having to take up my slack.

MR: Where was SPX actually being held when you were working on it?

CP: In Bethesda.

MR: Were you involved with the Silver Spring interregnum?

CP: No, no.

MR: Chris Oarr was still director of the Comic Book Legal Defense Fund (CBLDF) at the time, and you were working with Chris?

CP: I don't think he'd been doing it that long at that point, and in some way I was taking over executive directorship of the show from him.

MR: These were the days when it was still largely seat of its pants. Were you there when the parallel track with ICAF was going on?

CP: Yes. I have heard about difficulties and after I was involved, there was a split, but when I was involved, it seemed to be really great synergy. The artists that they brought were phenomenal. It felt really perfect to me. It was one of the many reasons I loved that show so much. The programming that they brought added such richness and depth, although I have to tell you I've been to one or two conventions in my life, including Angouleme, so I don't have much to compare to.

MR: SPX didn't really have any programming before that point, except for a few small press business things and a retailer thing on Sundays.

CP: Yes, exactly. And the softball game. We did have that retailers meeting and that was pretty much the program.

MR: It was in Bethesda in that little hotel with the two levels and it was outgrowing it rapidly at that point, I would imagine…

CP: It was really packed by the end. I remember it was an issue we were talking about constantly and trying to figure it out. A lot of people complained that getting tables was tough. As a show, my understanding is that is when it really took off in terms of filling up with crowds. It became a real indy (as opposed to local) show. At every stage, I remember how many of the creators who came spoke of it with real wonder and love, and spoke of it as a show that was feeding them.

MR: People make money every year, and some have been coming since the beginning… What were some of your successes?

CP: To me personally, it was just being involved with a lot of good people and being able to help provide that venue and that excitement and support to those creators. That felt really great. I can't remember how well it did in terms of sales, or publicity, and I wasn't the architect of new policies, but it felt incredibly fulfilling just making it happen.

MR: At the time, it was purely a fundraiser for the CBLDF, and that very well might still be the case, but I think it makes more money for the artists than it used to, and that's a concern for people who want to come since there are so many competing conventions. There's essentially a convention every weekend in America now, and people have to make an active choice to come to SPX now. Back then, there were only two relevant cons – SPX and APE.

CP: There's so much less distinction in terms of pop culture and knowledge. People know these creators and books more than they used to. It did feel seat-of-the-pants in a positive way, but those people on the committee … and Steve Conley was also a big part of it… worked extremely hard and did a great job. I guess one of my successes … working on the anthologies I really loved.

MR: Did the anthologies already exist when you started volunteering?

CP: Yes.

MR: And they kept getting thicker and thicker every year…

CP: In 1998, or 1999, the one that got nominated for an Eisner – there was controversy with people who felt that some of it was too experimental.


(courtesy of mycomicshop.com)

MR: How did material get chosen for those?

CP: My vague recollection is that Chris and Tom and myself got submissions, and we met with Adhouse Book's Chris Pitzer who was the fourth in that group. I had my roommate Greg McEllhatton and Karen Flage look at the comics too, to get their input and to create a shortlist. Then Chris Pitzer, Chris Oarr, Tom Devlin and I holed up and went through and hammered out which ones we wanted in and and what order to put them in.

MR: So Pitzer's been running his own
publishing house for over two decades, and Devlin joined Drawn & Quarterly and is now the co-publisher, so I guess the experience was good for them too. Is there anything you can recall as a particular failure?

CP: I don't remember anything in particular.

MR: What were some of the more memorable events?

CP: We had Frank Miller and Neil Gaiman in. They were big names. For us, they were huge names. Honestly, my interest was a lot more to the people ICAF brought over. I remember sitting and having a drink with Will Eisner one night at the bar. I just remember how awesome that was -- the two of us randomly having a drink. Joe Sacco was a person I really loved talking to. I think we had the American debut of the Comix 2000 silent comics compilation and some of the L'Association guys. That was incredible. But having the likes of Miller and Gaiman show up for the CBLDF was a really big deal and it drew people. It gave support to the CBLDF and was great for us. After 300, talking Greek history at the after party with Frank Miller was fun. I made the mistake of framing a question I asked along the lines of 'how does it feel to come back to comics,' and he took offense at that, but I didn't mean it. [laughs]

MR: At some point there was an ill-advised attempt to rebrand SPX as 'The Expo.' Was that in your time?

(courtesy Grand Comics Database)

CP: I do remember that, but I can't tell you much more other than I expressed my opposition to the idea. I don't remember details other than I felt it was totally unnecessary.

CP: I don't know that it needs to be recorded, but one personal hurt I had was, after going out of my way to involve the committee in the anthology and giving them a first look, after we put out the anthology, I got a lot of shit and shit was talked that we somehow did a bad job, picking gratuitously weird stuff. But that's just human. That's really the only negative thing I can even remember from time. My time was limited and in the second year I was executive director, I had to bail. Greg Bennett and some other people saved me, because I was having personal issues at the time. They stepped in and picked up the slack, and took it over. 99%+ of my experience and feelings were great.

MR: Favorite parts? Least favorite parts?

CP: I loved the party afterwards! I have to say, and I helped throw it, but I had a facility for that aspect and enjoying it.

MR: The Ignatz awards?

CP: I was not involved with them. There were issues with getting the finished bricks, and I'm sure there were other, more substantive issues, but I wasn't aware of any other problems.

MR: The CBLDF used to hold an auction on the floor. Did you ever buy anything?

CP: I was never a great collector. I got stuff growing up that I liked, but I never had the collector mentality.


(Small Press Expo, September 2009. Crowd including Jeff Alexander.)

MR: Who took over after you left? Was that Jeff Alexander?**

CP: Yeah. Jeff had been involved before me. I met Jeff at Big Planet too, through Greg. Greg used to have to people over to his house. I think that's how a lot of us got involved with the show, and that's how I met Jeff. In the summers, Greg would have Hong Kong film festival parties and put a screen up in his back yard and have a barbecue. Jeff would bring whatever anime or HK films that he had. I think he was predominantly involved with the Ignatz at the time, and that was his main responsibility. Greg McElhatton, Karon Flage, Jeff and Steve Conley and I used to get together on occasional Friday evenings for drink and dinner after work.

The steering committee and the volunteers were a bunch of overall really enthused people who were self-motivated. The committee as a whole seemed to work well, figuring out who would do what, with people stepping in to fill in when needed in places. For me, in that period of the time, it was largely an incredibly pleasant blur.
 

*Greg McElhatton has written in, stating, "Christian Panas was not executive director for two years, but just a matter of months. He briefly took over in that position in the fall of 2000, after the 2000 show had ended (and the last of the three years that Michael Zarlenga was executive director). By the spring of 2001, Christian was no longer executive director or in fact on the Board or the Steering Committee. At that point, Greg Bennett and I took over as co-executive directors in an attempt to make sure the show would even happen. (As it turned out, the show was scheduled for September 14-16, 2001 and ended up cancelled for events out of our control. But it was on track to occur and we'd even gotten the front page of the Washington Post Weekend section.)"

**McElhatton states, "I ended up serving as executive director for 2002-2003, with a tremendous amount of assistance (and as assistant executive director) from Greg Bennett, without whom I couldn't have achieved a lot. Steve Conley was the director for the 2004-2006 shows, Karon Flage for 2007-2009, and then Jeff Alexander was in 2010. Warren Bernard took over in 2011 and has continued to run the show since then."

"(And before then, Lou Danoff and Jon Cohen founded the show in 1994; Chris Oarr ran the show in 1995-1997, and then Michael Zarlenga was executive director in 1998-2000.)"

Rube Goldberg says, "Beat It!"

As part of our 'Secret History of Comics,' here's a Mutt and Jeff Series Sweet Caporal cigarettes card that I picked up last weekend at a flea market. Although the back of the card says over 250 designs of "Original Pictures Illustrating Popular Phrases by 'Bud' Fisher, T.E. Powers, R.L. Goldberg, 'Tad', Gus Mager, etc., etc., Warman's Tobacco Collectibles: An Identification and Price Guide by Mark Moran, says that there's 100 cards. 

I don't see myself getting into collecting these, but I'd like to hear about other examples that people have.

 
Oddly enough, Goldberg's crazy designs for machines are making a comeback and you can buy toys with his name on in Target right now.

20170606_102812

20170606_102804

20170606_102819

Monday, June 05, 2017

The Post on Last Things by Marissa Moss

In graphic memoir, children's author aims to show adults what they don't see about death [in print as Jewish writer confronts grief gracefully in graphic memoir]


Washington Post June 3 2017, p. B1-2
https://www.washingtonpost.com/news/acts-of-faith/wp/2017/06/02/in-graphic-memoir-childrens-author-aims-to-show-adults-what-they-dont-see-about-death/

Jim Berryman Drawing for a Nash car dealership

by Scott Alan Stewart


This drawing by Jim Berryman, son of Clifford Berryman (both worked for the Washington Star and each won the Pulitzer for cartooning), was given to my grandfather, Earle O. Baker, who had a Nash dealership in Georgetown from 1930 to 1963. The building later became the Biograph Theater and now is a CVS -- located on M Street across from the Four Seasons hotel. Progress.



The dealership was called Williams and Baker after my grandfather and his partner Preston Williams. Despite being the nation's capital, DC was in many ways a very provincial town and it was common to do business with well-known people. Among my grandfather's customers were members of congress, John Willard Marriott (whose first root beer stand was on 14th street), and a number of Washington Senators and Redskins. This was before air conditioning was widespread, which later led to a population boom in the 1970s and beyond to our current city's sprawl.

The car in the drawing looks to be a 1946-1947 Nash Ambassador.


Wiki entry for Berryman: James Thomas Berryman (June 8, 1902 – August 12, 1971) was an American political cartoonist who won the 1950 Pulitzer Prize for Editorial Cartooning. Born in Washington, D.C., Berryman was the son of Clifford Berryman, also a Pulitzer Prize-winning cartoonist. The two Berrymans are the only parent-child pair to win Pulitzer Prizes in the same category.



11/12/2019: updated to add author's middle name, and the name of his grandfather

Friday, June 02, 2017

Comic Riffs on Saturday's Wonder Woman day

More on Wonder Woman from The Post

Why a gay law professor is trying to shut down women-only 'Wonder Woman' screenings


Washington Post
Post Nation blog June 1 2017
https://www.washingtonpost.com/news/post-nation/wp/2017/06/01/why-a-gay-law-professor-is-trying-to-shut-down-women-only-wonder-woman-screenings/

5 Minutes With: Lynda Carter on how the new Wonder Woman 'gets' the iconic character


Washington Post June 2 2017, p. C2
online at https://www.washingtonpost.com/news/reliable-source/wp/2017/06/01/5-minutes-with-lynda-carter-on-how-the-new-wonder-woman-gets-the-iconic-character/

Sat is Wonder Woman day with free comics

I don't know who is doing this locally yet.

Celebrate Wonder Woman Day At Your Local Comic Shop This Saturday!     Celebrate Wonder Woman Day At Your Local Comic Shop This Saturday, June 3rd!   Free Comic Book Day was only the beginning! Comic shops around the world will host Wonder Woman Day activities on Saturday, June 3rd! Get free copies of two Wonder Woman Special Edition comics and join the celebration!

http://www.freecomicbookday.com/Article/194779-Whats--Comic-Shops-Wonder-Woman-Day

    MORE DETAILS    

PR: Lynda "Wonder Woman" Carter Joins “Library of Awesome”



Library of Congress logo

 
NEWS from the LIBRARY of CONGRESS
 

June 2, 2017

Public Contact: Tyanne Rodgers (202) 707-1507, tyro@loc.gov
Request ADA accommodations five business days in advance at (202) 707-6362 or ADA@loc.gov

                                                                                                     

Lynda Carter Joins "Library of Awesome"

 

The Library of Congress today announced that Lynda Carter, the famed actress known for her role as Wonder Woman, will appear at Library festivities celebrating the world of comics. 

The Library of Congress last week announced "Library of Awesome," a pop-up exhibit featuring items from the Library's comic-book collections presented in conjunction with "Awesome-Con," Washington, D.C.'s annual convention of comics, cosplay and pop culture, on view Wednesday, June 14 – Saturday, June 17 on the first floor of the Thomas Jefferson Building, 10 First Street S.E., Washington D.C. Tickets are not required.

Librarian of Congress Carla Hayden will interview Carter, known for her role in the 1970s Wonder Woman television series, at 2 p.m. on Friday, June 16, in the Coolidge Auditorium of the Thomas Jefferson Building, located at 10 First Street S.E., Washington, D.C. Carter will discuss how her legendary character empowered generations of girls and boys. Tickets will be available beginning at noon on Monday, June 5 at this website. The interview will be live-streamed on the Library's Facebook page at facebook.com/libraryofcongress and its YouTube channel at youtube.com/LibraryOfCongress.

The Library of Congress holds several significant issues of the Wonder Woman series. As the first female superhero, Wonder Woman first appeared in All Star Comics, No. 8 (1941) in a nine-page story as the Amazon princess Diana, who nursed American Captain Steve Trevor back to health following an airplane crash. She debuted as the lead character in the inaugural issue of Sensation Comics, No. 1 (1942) arriving in the United States with Captain Trevor. Both comic issues will be on display. Her creator, psychologist William Moulton Marston, who took the pen name of Charles Moulton, has stated that he created her to be the strong, self-reliant and confident female superhero that she became.

Following her role as Wonder Woman, Carter has performed as an actor and singer. She has appeared live in Las Vegas and has made guest appearances on television shows such as Law & Order, Smallville and Two and a Half Men. In 2005 she appeared in the film version of The Dukes of Hazzard and played Mama Morton in the West End London production of Chicago. Most recently, Carter played the role of President Olivia Marsdin in season two of the CW's Supergirl series.

Visitors who come to "Library of Awesome" programming dressed in superhero/heroine costume will receive a 15-percent discount on merchandise at the Library of Congress Shop.

Media wishing to cover the Carter interview may specify interest with their "Library of Awesome" RSVP, due by Thursday, June 8. Additional details will follow.

Follow "Library of Awesome" excitement on Twitter at @librarycongress and #LCcomics. 

The Library of Awesome is made possible by gifts to the Library of Congress Fund. Those interested in supporting free programs at the Library can contact devofc@loc.gov.

 The Serial and Government Publications Division maintains one of the most extensive newspaper collections in the world. It is exceptionally strong in United States newspapers, with 9,000 titles covering the past three centuries. With more than 25,000 non-U.S. titles, it is the largest collection of overseas newspapers in the world. Beyond its newspaper holdings, the division also has extensive collections of current periodicals (70,000 titles) comic books (over 7,000 titles) and government publications (1 million items). The comic-book collection is available for research use by scholars, collectors, and other researchers in the Newspaper and Current Periodical Reading Room; for more information please visit http://www.loc.gov/rr/news/coll/049.html.

The Library of Congress is the world's largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on-site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov, access the official site for U.S. federal legislative information at congress.gov, and register creative works of authorship at copyright.gov.

 ###

PR 17-81
2017-06-01
ISSN 0731-3527

 
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The Post, City Paper, and Express on Wonder Woman

'Wonder Woman' saves the day, in more ways than one [in print as Genre gets a swooping roundhouse kick].


Gal Gadot as Diana in "Wonder Woman." (Clay Enos/DC Comics/Warner Bros. Pictures)

How 'Wonder Woman' slyly comments on the politics of Hollywood


Washington Post Comic Riffs blog June 2  2017
https://www.washingtonpost.com/news/comic-riffs/wp/2017/06/02/how-wonder-woman-slyly-comments-on-the-politics-of-hollywood/

 

Wonder Woman has been a warrior, a secretary and a sexpot. What version did the movie use?

By Michael Cavna

Washington Post Comic Riffs blog June 1  2017

https://www.washingtonpost.com/news/comic-riffs/wp/2017/06/01/wonder-woman-has-been-a-warrior-a-secretary-and-a-sexpot-what-version-did-the-movie-use/


Nevertheless, She Enlisted: Wonder Woman Is the Feminist Superhero Film We've Been Waiting For

Patty Jenkins brings the iconic superhero to the big screen in a way that does justice to the character and her feminist legacy.

Washington City Paper June 1, 2017
http://www.washingtoncitypaper.com/arts/film-tv/blog/20863310/wonder-woman-reviewed

Before she became Wonder Woman, she was Diana. Just like the rest of us. [in print as Hope and wonder: How much Diana is still inside you?]


Express June 2 p. 2017, p. 24
online at https://www.washingtonpost.com/express/wp/2017/06/02/before-she-became-wonder-woman-she-was-diana-just-like-the-rest-of-us/ 

The Post and Express on Captain Underpants

'Captain Underpants' barely stretches [in print as 'Underpants' barely stretches].


Captain Underpants (right) takes a wipe out of crime. (Fox)

'Captain Underpants: The First Epic Movie' is — ahem — a gas [in print as A heroic excuse for grown-ups to giggle at toilet humor]


Washington Post June 2 2017, p. Weekend 32
online at https://www.washingtonpost.com/goingoutguide/movies/captain-underpants-the-first-epic-movie-is--ahem--a-gas/2017/06/01/c3b54056-454e-11e7-98cd-af64b4fe2dfc_story.html

Snow White parody movie accused of body-shaming

Snow White parody movie accused of body-shaming

June 1, 2017
https://www.washingtonpost.com/video/entertainment/snow-white-parody-accused-of-body-shaming/2017/06/01/90658092-469f-11e7-8de1-cec59a9bf4b1_video.html

The animated film "Red Shoes and the 7 Dwarfs" is being slammed for body-shaming after two promotional ads were released. The actress who voices the character Snow White, Chloƫ Grace Moretz, said she was "appalled" by the film's marketing.

Thursday, June 01, 2017

This Sunday's New York Times Magazine will be all comics

Here's two pictures advertising it, from today's paper.


June 14: FRESH TALK: Who are the new superwomen of the universe? (with discount)

 
 
For much of comics history, women characters were introduced as plot devices for the leading male characters with disheartening regularity. Join us for a conversation about the new wave of superheroines entering the comic universe, leading the fight for justice and dispelling traditional stereotypes in fiction and beyond. 

Joining the conversation are:
Moderated by Emily Whitten, ComicMix.com writer and Awesome Con moderator, based in Washington, D.C.


Sign up now for your Friend Discount Rate of $15! Discount tickets are limited. (Regular price: $25 general; $20 members, seniors, students). Price includes museum admission and Catalyst cocktail hour. Galleries open to attendees from 3 p.m - 6:45 p.m. Museum store will have speaker's books and comics for sale before and after the program

https://urldefense.proofpoint.com/v2/url?u=http-3A__nmwa.us12.list-2Dmanage.com_track_click-3Fu-3Dc9a0cfd7a0c2b162ef936a052-26id-3D5ede2abb49-26e-3D225df7de93&d=DQMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=5Ly55I131CjW7KAYeC5suAHy2fYqba0vo9mjUwJEo_w&m=ce2NPwRJ-I5M0XHjq4vgdyrvk9lXI-LgB80LNRyDv9M&s=HvKJv2n7d1dUuM0MRsQehGPL_yuMDmYm7qn_t3xhO1w&e=

Comic Riffs on Wonder Woman's director

How 'Wonder Woman' director Patty Jenkins cracked the superhero-movie glass ceiling [in print as Director cracks a glass ceiling with 'Wonder Woman']

Washington Post June 1 2017, p C1-2

online at https://www.washingtonpost.com/news/comic-riffs/wp/2017/05/31/how-wonder-woman-director-patty-jenkins-cracked-the-superhero-movie-glass-ceiling/

Battle of the Network Shows focuses on Wonder Woman tv show this week

20170520_135018

Comics writer Mike Cowgill (left) sends us a note about his podcast:

Battle of the Network Shows explores the TV of the '70s and '80s. Each Thursday, hosts Rick Brooks and Mike Cowgill cover a different episode of a different show in a free-flowing discussion. Season one topics have included The Incredible Hulk, The Six Million Dollar Man, a musical episode of Happy Days, a Lowenbrau commercial, and even a Family Circus Christmas special. So far, season two has covered well-known shows like Diff'rent Strokes, Magnum P.I., and The Golden Girls, as well as rarities like Run, Joe, Run and Search.

On Thursday June 1, the latest episode focuses on--what else--Wonder Woman, starring Lynda Carter.

Rick writes the blog Cultureshark http://cultureshark.blogspot.com/ and a TV column reviews for ClassicFlix.

(Unfortunately, his ClassicFlix articles are behind a subscription wall, or I'd give you a link to that).

Mike writes fiction and writes and draws comics and is a member of the DC Conspiracy. His work appears in Magic Bullet, and you can see more at michaelcowgill.com and local comics shows such as SPX and Bmore Into Comics.

(Fair warning I've been having some issues with my site, but hopefully they'll be resolved soon).

Some other links.


(Everything below is or will be linked there)




Twitter: @battnetshows

Instagram: @battleofthenetworkshows