Tagged: Disney

R. Crumb’s Music Madness and Me, by Michael H. Price

R. Crumb’s Music Madness and Me, by Michael H. Price

The life and times of R. Crumb, a mensch among men and one of the more steadfastly brilliant practitioners of American (resident or expatriate) cartooning, have been sufficiently well covered in Terry Zwigoff’s documentary film, Crumb (1994), and in Peter Poplaski’s The R. Crumb Handbook (M.Q. Publications; 2005) and innumerable column-inches of The Comics Journal, that I feel no particular need to pursue any generalized biographical tack here.

In a recent letter, Crumb brings things somewhat up to date: “I’m in the middle of a big project – comic-book version of the Book of Genesis, approx. 200 pages when finished.” This involvement had prevented his traveling to Texas in 2006 to take part in a new experimental-theatre staging of R. Crumb Comix with director Johnny Simons and Yrs. Trly. Simons’ Fort Worth-based Hip Pocket Theatre troupe has adapted Crumb’s stories on several occasions since 1985.

Robert Crumb’s larger career might reasonably find itself crystallized in two warring viewpoints: The authoritative critic Robert Hughes’ earnest likening of Crumb to Pieter Brueghel the Elder, greatest of the Sixteenth Century’s Flemish painters, vs. this published declaration from Crumb his ownself: ‘Broigul I ain’t… let’s face it.’

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Happy birthday, Winnie the Pooh!

Happy birthday, Winnie the Pooh!

81 years ago, A.A. Milne’s Winnie-The-Pooh was published, sparking generations of happy fans to revel in Pooh’s adventures. Yes, our beloved fuzzy bear is a pretty old guy — and a good thing for it. Had he been introduced today, Pooh might have been shunned as figure of obesity what with his addiction to honey and prescribed Rozerem to get through sleepless nights of Heffalumps and Woozles.

Yet despite an increasingly uptight audience, a glossy make-over by Disney to account for it, countless empty jars of honey and a conversion to Tao Buddhism, Winnie-the-Pooh remains as ever, our silly, willy-nilly, old bear. Good timing, Mr. Milne!

For extra fun throughout time and space, we suggest Peter David’s The Tardis at Pooh Corner.

Hump Day Briefs

Hump Day Briefs

A little mini-browsing around the internets the last few days has come up with the following:

  • There is no Furries vs. Klingons bowling tournament this coming Saturday in Atlanta.  But dang, that poster is still cool.
  • Nick Mullins at The Comics Reporter notes two main reasons for the kerfuffle over the teacher who got fired over giving a 9th grader Eightball #22: the book is recommended by the Library Journal for 10th grade and up (and that recommendation applied to the series as a whole, where individual issues may vary in their amount of mature content) and, more importantly, mature situations involving art and other visuals will almost always raise more of a ruckus than those involving only words (George Carlin aside). There’s your thousand-to-one ratio at work again.
  • Nintendo has surpassed Canon to become the second biggest stock in Japan.  Toyota still rules the Japanese market.  If they come up with a car that has built-in Wii and can take pictures, it’s a lock.
  • Parallel universes have been mathematically proven to exist.  Yeah, on Earth-Geek!  Oh no wait, we are Earth-Geek aren’t we?
  • Because women aren’t exploited nearly enough in our subculture, there’s the Miss Horrorfest contest.  Self-exploit and you may win $50,000!  So there, Oscar Wilde; we’ve already established that and there’s no haggling over the price!  Is there a corresponding "Master Horrorfest" ("master" being the male equivalent of "miss" once upon a time)?  I didn’t think so.
  • Somebody let Stephen Colbert too close to the Indecision 2008 website again, as the site gets onto a Candidate Casting Couch with presidential hopefuls as superheroes.  Would you rather see Simpsons cels referencing movies juxtaposed with the actual film stills?  Sure you would.
  • Goodie, HarperCollins will be reprinting Zot!, one of my all-time favorites!  And Sony’s releasing colorized Ray Harryhausen movies!
  • Greetings from Zack Snyder on the set of the Watchmen movie.
  • Condolences to the family of the still-anonymous Batman: The Dark Knight film technician who died in a car accident (unrelated to the movie).
  • The Winnie the Pooh merchandising case has been dismissed, the main lesson being that if you’re going to sue Disney it’s probably not a good idea to be discovered poking through their trash.
Living on EZ Street

Living on EZ Street

Wednesdays at ComicMix will mean EZ Street, the new graphic story from writer Robert Tinnell and artist (and co-writer_ Mark Wheatley. It’s the story of brothers Scott and Todd Fletcher. They have a dream – they want to tell stories. Fabulous stories about heroes and adventure. They decide to create a comic book because, as young boys growing up on Ezelle Street in Pittsburgh, it’s what they can do. Scott, 14, writes the script and Todd, 12, draws the pictures about an amazing superhero, Lone Justice.

Fast-forward twenty odd years, and the brothers, older and more practical, have jobs. Todd is a graphic designer, and Scott tries to make movies in Hollywood. They want more from their lives. They resurrect their character and find that, by combining the imagination of youth with the skills earned by maturity, they can create magic.

A story about the love of stories, about ambition and dreams and fantasy, EZ Street is an involving look at the creative process, the dynamic of families, the true meaning of friendship and the quest for a really good comic.

Mark Wheatley is an award-winning creator of radically different comic books. Noted for comics with heart and integrity, he’s won the Inkpot, Mucker, Gem and Speakeasy awards and his projects have been nominated for the Harvey award and the Ignatz award. His work has been repeatedly included in the annual Spectrum selection of fantastic art and has appeared in private gallery shows. You can also find some of his original work in the permanent collection of Library of Congress.

His comic book creations include Mars, Breathtaker, Black Hood, Prince Nightmare, Hammer of the Gods, Blood of the Innocent, Radical Dreamer, Frankenstein Mobster, Miles the Monster and Titanic Tales. He’s also worked with established characters such as Tarzan the Warrior, The Adventures of Baron Munchausen, Argus, The Spider, and Jonny Quest; Dr. Strange for Marvel, and The Flash for DC.

Mark established the highly respected Insight Studios in 1978 as a home base for a team of talented comic creators. Insight Studios is the subject of an "insightful" coffee table style art book; IS ART: the Art of Insight Studios. In 2006 Mark was a guest lecturer on Storytelling in the Arts at the Library of Congress.

West Virginia-born Robert Tinnell has worked in the film industry for twenty years as a writer, producer, and director. Starting as a production assistant for legendary filmmaker George Romero, Tinnell used his on-set experience to gain valuable insight into the world of feature filmmaking. Starting at the age of twenty-three, he produced several independent films including South of Reno and the iconic Surf Nazis Must Die. In 1995, Tinnell traveled to Canada where he wrote and directed the ACE-nominated film Kids of the Round Table. A Disney Channel-favorite, Kids led Robert on a six-year-run with Melenny Productions. Over this period Tinnell directed Frankenstein and Me with Burt Reynolds and Louise Fletcher, Airspeed with Joe Mantegna, and Believe starring Ben Gazzara and Elisha Cuthbert)for Lions Gate.

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COMICS LINKS: Unbelievable Things

COMICS LINKS: Unbelievable Things

Comics Links

Costumes? Check. Vigilante activities? Check. The KKK were always closer to mainstream superheroes than we’d probably like, but it took Craig Yoe to dig up the bizarre ‘20s newspaper comic strips in which a flying KKK squad do good deeds.

Political cartoonist Steve Bell is interviewed by the Sunday Herald. [via Forbidden Planet International]

Wizard has photos from Fan Expo Canada 2007.

TrekWeb interviews IDW editor Andrew Steven Harris about the future of Star Trek comics.

Comic Book Resources interviews Christos Gage about the upcoming House of M: Avengers mini-series.

Heidi MacDonald remembers Disney Adventures Magazine at The Beat.

ICv2 interviews DC Comics’s King of All Media, Paul Levitz.

On the Fantagraphics Blog, Gary Groth interviews Alias the Cat creator Kim Deitch.

New Scientist employs the theory of social networks to explain why super-heroes always win.

MangaBlog has a longer version of an interview with Mark Crilley that originally ran in Publishers Weekly’s Comics Week.

Comics Reviews

Bookgasm reviews John Porcellino’s King-Cat Classix.

At Comic Book Resources, Augie De Blieck, Jr. reviews two recent TwoMorrows books and other things.

Comics Reporter reviews Monte Beauchamp’s Devilish Greetings.

The San Francisco Chronicle reviews James Sturm’s America.

Warren Peace Sings the Blues reviews Gilbert Hernandez’s Chance in Hell.

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Jack Kirby At The Supermarket

Jack Kirby At The Supermarket

A couple weeks ago I opined that the loss of the Weekly World News makes the supermarket a less enjoyable experience. While gathering grub for my big family Labor Day barbecue blowout this weekend, I found a small gem.

Disney Adventures, which is about to go out of business, publishes an occasional reprint digest called Comic Zone. Not bad; it’s worth checking out. Keep an eye out for their fall 2007 edition, because it reprints the first part of Jack Kirby’s Sunday newspaper strip adaptation of The Black Hole.

In case you hadn’t seen it – and, please, keep up the good work – The Black Hole was the Evil Empire’s attempt to cash in on the Star Wars/Trek fad of the time. The movie was done in Disney’s typically clueless fashion, lacking only in style, drama, script, and energy. Starring Maximilian Schell, Tony Perkins, Robert Forster, Ernest Borgnine, and Slim Pickens, Disney actually pulled off the impossible: making a movie with Ernest Borgnine and Slim Pickens that completely sucked. I thought so, the now-former editor of the Weekly World News who sat next to me thought so, and the nine year old sitting behind us thought so.

Jack Kirby’s adaptation was far better, even in the confining space of the newspaper strip. Art-wise, it’s one of Jack’s better post-70s efforts. Storywise, the art is one of Jack’s better post-70s efforts. Because it was in the papers, a lot of Kirby fans missed it. Ergo, check out Comic Zone. Jack did the art and is credited with the script. This reprint adds Paul Mount’s full color palate to the effort.

Kudos to Comic Zone comics editor Jesse Post. And I sure hope you still have a gig; we need comics for kids, sold at places where kids can get them.

Artwork copyright 1979 and 2007 Disney. All Rights Reserved. Never mess with the Mouse.

The Hundred Acre Deadwood

The Hundred Acre Deadwood

Call it a hunch, but I don’t think this will be showing up on HBO Family any time soon. From Cracked magazine, pulled from the first issue.

If you’re at all familar with Deadwood, then you know it’s obviously not safe for work.

Or for kids.

Or possibly for your spouse.

Or Disney.

I mean, geez, this is some twisted stuff here — this is about the only un-profane panel I could find to post.

COMICS LINKS: Monday Again

COMICS LINKS: Monday Again

No links came with obvious top-of-the-post illustrations today, so, instead, let’s focus on the Monday-ness of today, and think demotivation.

Comics Links

Comic Book Resources looks at webcartoonists at Wizard World Chicago.

Wizard talks to Avatar Press artist Jacen Burroughs.

Comic Book Resources interviews Hugh Sterbakov, writer of Freshmen.

CBR also chats with artist Adrian Alphona, soon to take over Spider-Man Loves Mary Jane.

Comics Reporter interviews Comic-Con Director of Marketing and Public Relations David Glanzer.

Newsarama has the second half of an interview with Douglas Wolk, author of Reading Comics.

The New York Times’s Paper Cuts blog interviews cartoonist Dan Clowes.

Comics Reviews

The Joplin Independent reviews Modern Masters, Vol. 7: John Byrne.

Blogcritics reviews The Architect by Mike Baron and Andie Tong.

Comics Reporter reviews Satchel Paige: Striking Out Jim Crow.

Brian Cronin at Comics Should Be Good reviews Friendly Neighborhood Spider-Man #23.

Living Between Wednesdays reviews this weeks’ comics, starting with The Immortal Iron Fist #8.

Graeme McMillan of The Savage Critics reviews Battlestar Galactica: Season Zero #1.

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Disney No Longer Adventures

Disney No Longer Adventures

One of the very few entry portals to the world of comics is coming to an end.

Disney Adventures, the monthly supermarket digest magazine containing a huge chunk of original Disney-related comic strips, will be ending its 17 year run with its November issue. This comes despite an increase of ad pages and a circulation of 1,200,000 copies – making Disney Adventures one of the highest circulation comics magazines in America.

Disney has had some success with their occasional comics-only Comics Zone editions, and one hopes this might continue. The publisher says they will be adding a new title or two to their line-up.

There are very, very few ways young readers come across comics; outside of Disney Adventures, only the sundry Archie digests come to mind. Once again, we’re left wondering how the next generation of Americas are going to discover the comics form.

Perhaps… the Internet?

JOHN OSTRANDER: Widgets

JOHN OSTRANDER: Widgets

Theories are great. I love theories. Usually they’re a wonderful conflation of thought and imagination. We all have our own pet theories on things and we teach them to do tricks or rub their tummies and have fun with them. For example, my sweetie, Mary, on a regular basis comes up with new theories of how the universe was created. They’re different each time and always fun. Sometimes they stumble near quantum theory and that gets a little spooky but, all in all, I enjoy them almost as much as she does.

My problem with theories is when they become ossified into dogma. This happens not just in religion but in all walks of life, including economics and business. Communism is a good example of an economic theory gone to dogma. One of its charming hypotheses was that, once communism had spread around the globe – as Karl Marx felt it inevitably would – all government would evaporate because we would have achieved the workers’ paradise. That theory, unfortunately, is not based on any human trait I’ve ever seen. Capitalism, on the other hand, being based on human greed, is and that’s one of the reasons it has survived and communism has not.

Capitalism and business, especially in recent years, have had their own bits of theories that are endlessly repeated like mantras until they too have become dogma. They’re applied whether they fit the situation or not, sometimes out of stupidity and other times from cupidity.

One of my least favorite bits of economic dogma is “They’re all widgets.” The word “widget” was coined, I believed, by playwright George S. Kaufman for his 1924 play Beggar On Horseback in which the protagonist must choose between his work as a composer and a steady but soul draining job in a “widget” factory. Since it was never defined, a “widget” – in the economic sense – is a synonym for “product” or, when dealing with a creative artist, the term “talent” is used. What it comes down to is that it doesn’t matter what the widget is, certain business and selling rules will apply. Soap, beef, talent, cars, drugs, beer, games, comic books, movies, TV shows – they’re all widgets. One theory fits all.

Except it doesn’t always do that. In 1989, Marvel was bought by Ron Perelman’s MacAndrews and Forbes; at the time, Marvel had maybe 70% of the sales of a very healthy direct sale market. Before Perelman’s little junket was done, Marvel was in bankruptcy and the market was in tatters. Why? Because they decided they were selling widgets. They didn’t need to know anything about comics or the market; they were going to apply sound business principles and make comics respond accordingly. (I had plenty of friends on the inside keeping me abreast of the latest theory.) Nobody could tell these guys nothing. Their business model was not simply Disney but McDonald’s which not only sells hamburgers but own the bakeries that makes the buns, the cattle ranches that supply the beef and so on.

Marvel started to bring its licenses inside the company with the idea that they would supply the product. Since trading cards were so popular, they would buy the trading card companies. They bought the companies after the interest in trading cards had already crested. Perelman’s suits were consistently behind the curve.

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