Tagged: New York

Dennis O’Neil: Being “There”

O'Neil Art 130725Did you see me there?

Where’s there? Oh, come on…The San Diego Comic-Con! Where else? And, as I type this on Monday evening, are you perhaps just getting home. Are you frazzled? Exhausted? And are you happy? Was the adventure all you’d hoped it might be? Do you have, encased in plastic and two slabs of thick cardboard and tucked into your carry-on, that one special issue, the one you’ve sought for years. the one whose absence has left as yawning crater in the middle of your collection – finally, triumphantly yours? Have you met the person of your dreams, wearing, perhaps, an X-Men costume? Or had your picture taken with the celebrity who occupies a god niche in your psyche? (Okay, it cost you what you pay for a week’s groceries, but some treasures are beyond price.)

Hooray. That’s all well and good. But now the important question: Did you see me there?

If you did, I must have had some Dr. Strangey astral projection mojo working, because I haven’t been anywhere near Southern California this year. (Denver is as close as I got.) So – either I astrally projected (while napping?) or you saw some other septuagenarian chrome dome. I didn’t do any disembodied jaunting last week but…I did do something similar.

The late Arthur C. Clarke once said that any sufficiently advanced technology would appear to be magic to primitive people. (Let’s assume that “primitive” is relative.) Well, abra my cadabra, because while sitting upstairs in the dining room I spoke to a group of people in Lima, Peru – gave a talk and then answered questions. Mr. O the bilocated – at once in New York and Peru! Be in awe, you primitives!

The magic was, of course, technology, and not cutting edge technology, either. (Though, come to think of it, maybe this story would be better if it were.) What we were using, the attendees of the Lima Book Fair and I, was Skype, which is surely old news to many of you. Too me – not so old. I’d used it once before, to record something for use on YouTube, but I had the advantage of a tech savvy offspring at my elbow on that occasion. This time, Marifran and I were pretty much on our own, though we did have help from Eduardo, an affable cyberwizard from – where else? – Peru. I won’t say that all proceeded glitchlessly. (Does Dr. Strange ever suffer interference from, say, a snotty kid riding a Hogwarts broomstick?) But the glitches were minor and the event, I’ve been assured, was a success.

And just recently, a book I wrote about a dozen years ago became available as an e-book. So I guess I’m being dragged into the twenty first century, That, or I’ve taken up residence where eldritch forces are manifest. Either way, as the great prophet Bobby told us, the times they are a’changin’, and, there being nothing to do about it, let’s enjoy the ride.

Did you see me at the Con? Are you sure?

THURSDAY AFTERNOON: Martin Pasko and the Big Show

FRIDAY MORNING: Martha Thomases and Sexy Kitties

 

 

 

Mike Gold: Margaret Brundage – Pulp, Pulchritude & Politics

Gold Art 130703The Alluring Art of Margaret Brundage, by Stephen D. Korshak and J David Spurlock, Vanguard Publishing, retail: $39.95 hardcover, Amazon $16.59 softcover / $28.61 hardcover.

Generally speaking, when I’m reading a biography of a spectacularly talented popular culture artist I rarely encounter a lot of references to the Industrial Workers of the World. In the interest of full disclosure, I was a member of the IWW and I still fully sympathize with the heritage and the goals of the Wobblies. So there.

Irrespective of her personal history, Margaret Brundage’s pulp illustrations – mostly for Weird Tales – speak for themselves. They were spectacularly sensual, evoking the most base emotions in the true pulp tradition. That she was a woman made her work all the more unusual: back then, commercial illustration was very much an old boy’s club, and generally old W.A.S.P. boys at that. Then again, it is likely a man couldn’t get away with Brundage’s corporeal work.

Within a six-year period Brundage produced 66 covers for the vaunted magazine, including 39 straight issues. That’s quite an achievement, particularly given the fact that Weird Tales’ second most successful cover artist was Virgil Finley. Her run ended when the magazine was sold in 1938 and moved from Chicago to New York: her editor did not make the move, and NYC Mayor Fiorello La Guardia had started his infamous crackdown on sensuality in the public media and thus her work was regarded as a liability. The magazine’s circulation suffered from her absence.Gold Art 2 130703

Throughout her Weird Tales period Brundage was married to a man named Slim Brundage, a character even by Chicago’s colorful standards. A hobo, labor organizer (for the IWW), playwright, writer, humorist, bootlegger and owner of a coffee house called College for Complexes, Slim was also a member of the Dil Pickle Club (sic), a hidden Towertown hangout for radical literati such as Clarence Darrow, Emma Goldman, Big Bill Haywood, Lucy Parsons, Upton Sinclair, Sherwood Anderson, Carl Sandburg and Ben Hecht. Google around; these are some of the most fascinating Americans ever. Margaret met Slim at the Dil Pickle; their marriage lasted until 1939 although that hardly ended her involvement with the left-wing intelligentsia.

Korshak and Spurlock’s book contains eight essays and an introduction from Rowena; again, in the interest of full disclosure, essayists include my friends and occasional cultural collusionists Robert Weinberg and George Hagenauer. They are all wonderful and worthy on their own.

But screw that. The main appeal is the faithful reproduction of an uncountable number of Brundage paintings. Well, that’s not true: I could count them, but each time I tried I got lost in the beauty of the work itself.

I’d like to say that without Margaret Brundage, there might not have been a Rowena, a Julie Bell, or a Olivia de Beradinis, but eventually talent supersedes silly obstacles such as gender. Sometimes.

Check it out.

THURSDAY MORNING: Dennis O’Neil

THURSDAY AFTERNOON: Martin Pasko

 

Arrow’s Kelly Hu Never Knew Danger Like Kissing Kirk Cameron on Growing Pains

KirkCameron-KellyHuDanger surrounds actress Kelly Hu today.

As the nefarious China White in Arrow, she plays the head of an assassins syndicate that goes head-to-head with Green Arrow; and in her new role as Cece on The CW’s The Hundred, she’ll be facing incredible odds in an enthralling, futuristic thriller.

But at no time was she in more danger than when she kissed Kirk Cameron in her debut role on Growing Pains.

Hu is among several notable actors whose careers took flight after taking their initial bow in a guest appearance during Season Three of Growing Pains. Four-time Academy Award nominee Brad Pitt played his first character with an actual name in the ninth episode of the season, “Who’s Zoomin’ Who?”; The Hangover star Heather Graham doubled that feat by portraying her first two “name” characters as Cindy in “Michaelgate” and as Samantha in “Some Enchanted Evening”; and Butch Hartman, best known as the creator of the popular Nick animated series The Fairly Oddparents, had one of his first credited roles in the “Michaelgate” episode.

Season Three of Growing Pains is now available as a three-disk DVD set through the Warner Archive Collection.

For Hu, Growing Pains was truly a launching pad for a very busy career. Fresh out of high school, Hu filmed the episode – a season-opening two-parter entitled “Aloha” – and then moved to Los Angeles before it aired.

“The day (the episode aired), I put a full page add in Variety and sent out letters to agents announcing that I was ‘now available for west coast representation’,” Hu recalls. “I got 20 calls from agents before the show even aired that night.”

She also got fan mail. More to the point, hate mail. In the episodes, the Seavers take a family vacation to Hawaii – where Mike (Kirk Cameron) became infatuated with a young local girl named Melia (Hu). The island romance sent Cameron’s legion of young female fans into a tizzy.

“Kirk Cameron was my first on-camera kiss,” Hu says with a knowing smile, “and I got all kinds of death threats from little girls who were jealous that I got to kiss him.”

Now a veteran of more than 40 primetime series, not to mention films like X2, The Scorpion King and The Doors, Hu says the Growing Pains experience represented one new lesson after another. Even at the craft services table.

“It was on the set at breakfast my first day shooting in LA that I saw my first bagel,” Hu says. “I pointed at it and asked out loud, ‘Is that a bagel?’ and Tracy Gold, in her very New York accent, replied, ‘You don’t know what a bagel looks like!?’  I didn’t.  I was a little girl from Hawaii. There was a lot I still hadn’t been exposed to yet.”

WILL MURRAY DELIVERS AN EPITAPH FOR THE WESTERN

Premiering at Pulpfest is Wordslingers: An Epitaph for the Western by Will Murray from Altus Press.

PRESS RELEASE

About Wordslingers: An Epitaph for the Western:
The Writers of the Purple Wage have long since taken the last trail into dusty memory. But, now, they live again––to retell tall tales of those distant days when they helped forge the fabled West of American Imagination.

They’re all here!

*The Popular hacks!
*The Spicy bestsellers!
*The Thrilling myths!

Those amazing million-words-a-year men!
True Westerners born on the Range!
Broadway cowboys never West of Hoboken!

Join Max Brand, Luke Short, Johnston McCulley, Ernest Haycox, Walt Coburn, Frank Gruber, Ryerson Johnson, & a hard-working, fast-drawing posse of freelance fictioneers!

And those two-fisted foremen of New York’s fiction factories–magazine editors Frank Blackwell, Rogers Terrill, Leo Margulies, Robert Lowndes & Fanny Ellsworth!

Together, in their own words, these veteran pulpsters & others offer startling inside stories of how they created the mythology of the Golden West!

*Blazing action! Savage characterization! Real emotion!

Ride with the Old West’s top gunhands, greatest pulpsmiths & legendary brands. From Buffalo Bill, Deadwood Dick & Hopalong Cassidy to Gunsmoke & Louis L’Amour, this is their saga.

Armed with forgotten interviews, controversial essays & candid letters first not seen in generations, acclaimed pulp historian Will Murray, author of The Wild Adventures of Doc Savage. reveals the epic life & frequent deaths of the Pulp West!

469 pages, approx. 6″x9″

Softcover: $29.95 | Hardcover: $39.95 (only 100 made) | Ebook: $TBD

Learn more at www.altuspress.com.

REVIEW: Cleopatra

CleopatraThere is a sumptuousness and exotic look and feel to the Ancient Egyptian culture that I have always been drawn to. The clothing, décor, architecture – it has always been utterly fascinating and their monarchies and dynasties are as rich as any in Europe. One of the best biographies I read in the last few years was Stacy Schiff’s Cleopatra, which mined all known existing records about the Queen and attempts to weave together the most likely version of her storied life and death.

On the other hand, the 1963 spectacle of the same name merely adapted Plutarch’s version of events. Today, Cleopatra has become shorthand for a bloated misfire of a film and is always cited as the one that nearly caused 20th Century-Fox to crumble. The studio survived and has had the last laugh, making a fortune off the film ever since. Out now is the overdue Blu-ray edition and they have lavished much attention on the production so it’s the best version you will find for home viewing.

Starring Elizabeth Taylor, she was in her thirties and at her optimal beauty, making her the ideal lead for the movie. Her stardom was such that the studio was willing to plunk a cool million for her services, setting a new record for actors. They budgeted $2 million for the film but the costly production swelled to a then-record $44 million (over $325 million today) until the next $44-million record film budget, which was, of course, Star Trek: The Motion Picture.

The film was a labor of love for Joseph L. Mankiewicz, who codirected, cowrote, and coproduced the film. While it made headlines for Taylor’s salary and affair with costar Richard Burton, it also brought home four Oscar Awards, including Best Cinematography and Best Effects, Special Visual Effects so it couldn’t have been all bad. And it’s not.

1963_cleo_rex_harrisonWe start in 48 B.C. and end with her death in 30 B.C. and during that time Cleopatra VII rose to rule then oversaw her country’s absorption into the Roman Empire, loving Julius Caesar while using that relationship to protect her people. Gaius Julius Caesar (Rex Harrison) chases Pompey to lush Egypt, just in time for a civil conflict as Pharaoh Ptolemy XIII (Richard O’Sullivan) has sent his sister Cleopatra out of the capital city of Alexandria. Caesar and Cleopatra meet, scheme together, and in the process, fall in love, changing the fate of two governments.

They produce just one son, Caesarion, a living symbol of the two countries’ enduring unity but he is so besotted with the Queen, he neglects his duties back home long enough to stir talk of rebellion. In time, he goes home and soon after she comes to visit, he is named dictator for life and subsequently assassinated. Mark Anthony (Richard Burton), the new ruler, eventually follows Cleopatra back to Egypt where they start their own torrid affair, allowing Caesar’s nephew Octavian (Roddy McDowall) to plot his own overthrow.

Taylor 2 Cleopatra

This is a long film, with a lot of lingering views of temples, pyramids, courts, and costumes. Taylor had a record-setting 62 costume changes in this production and we must pause to notice every bangle. The pacing, thanks to two editors, is a little uneven and 20th balked at the length, trimming after its premiere and destroying much of the cut footage. What we get is the 151 minute New York premiere edition, complete with Overture, Entr’acte and Exit Music.

Thankfully, the restoration is brilliant and gorgeous to watch. The colors are vibrant and the action a pleasure to watch. Similarly, the DTS-HD Master Audio 5.1 track is a match so you can hear the sand crushed beneath the sandals.

Given the film’s running time, it is split over two discs but comes with a ton of extras starting with an examination of  Cleopatra’s Missing Footage (9:00), wherein film historian Brad Geagley and 20th Century Fox film archivist Schawn Belston take you through the history.

In Fox Legacy with Tom Rothman, the studio CEO reviews the tortured production, trying to separate truth from myth (30). Cleopatra Through the Ages: A Cultural History offers us Professor and Chair of Anthropology at UC Santa Barbara Stuart Tyson Smith as he talks about the historic personage (8:00).

The Cleopatra Papers: A Private Correspondence lets us glimpse at the work retinaed by publicists Jack Brodsky, based in Rome, and Nathan Weiss, in New York until they swapped places. were the publicists for 20th Century Fox during the epic production of Cleopatra. One was stationed in Rome, the other in New York – then they switched places.

cleopatra-1963-300x199You also get the 2001 Commentary track with  Chris Mankiewicz, Tom Mankiewicz, costar Martin Landau and publicist Jack Brodsky.

The second disc offers up Cleopatra: The Film That Changed Hollywood, a two-hour film about the making of Cleopatra, which explains that the blockbuster was competing with television, keeping the studios relevant to audiences. As narrated by the great Robert Culp, this makes compelling viewing.

The Fourth Star of Cleopatra is a ten minute short showing some behind the scenes footage of the massive set constructions.

Hard to believe they still had Fox Movietone News in the 1960s, but the disc has footage from the  New York and Hollywood Premieres. (7:00 min).  Finally, all three movie trailers are included.

Maybe You Can Hire The Suicide Squad!

Altus Press has announced the release of The Secret 6 Classics: Blood, Sweat and Bullets by Emile C. Tepperman.

Press release:

Another day, another new release!

The Secret 6 Classics: Blood, Sweat and Bullets by Emile C. Tepperman

The Suicide Squad returns in six more adventures:

Coffins for the Suicide Squad: Boldly, New York’s crime czar flung bis challenge before the F.B.I., daring the full might of America’s prize crime-fighting machine to a finish war! And Washington answered with the Suicide Squad—three grinning, fighting Volunteers of Death—to tame a murder empire!

The Coffin Barricade: Eight young special agents went out to get the Undertaker, unknown Czar of the Corpse Bazaar. Eight came hack—in caskets and embalmed! So the Chief sent out the Suicide Squad—Murdoch, Kerrigan and Klaw. He figured they’d lived close enough to Death to be able to find the Undertaker—and put him six feet under!

The Suicide Squad Meets the Rising Sun: We are all engaged in the defense of our great nation. But, in one of the most amazing chapters of this war, it became the grim task of Kerrigan, Murdoch and Klaw, three lone champions of democracy, to find and destroy a Japanese Army of nine thousand brutal fanatics—who were hidden here in the United States!

So Sorry, Mr. Hirohito!: Kerrigan, Murdoch and Klaw, the famed Suicide Squad, had always fought side to side, welcoming any odds. But on that nightmare night in Valparaiso, Johnny Kerrigan stood alone against the Jap horde, while Steve Klaw went to wrest the great ship-building works from the Axis—with a thirteen-year-old girl as his only ally!

Targets for the Flaming Arrow: They had no clues, nothing but the charred arrow which had snuffed out the life of the American diplomat. But more important, Kerrigan, Murdoch and Klaw had almost no time at all in which to work, for within four days, the Flaming Arrow’s medieval minions were scheduled to destroy America’s vast war effort. Could even the famed Suicide Squad stop this Axis grand coup—before they too became living targets for the Flaming Arrow…?

Blood, Sweat and Bullets: The Ox had America neatly packaged to deliver to Hitler on Christmas morning. And, with only five shopping days left to Christmas, Kerrigan and Murdoch bartered their partner’s life as the price of her freedom. But Steve Klaw found that he had to chase death three thousand miles to seal his bargain—while Kerrigan and Murdoch were helpless save to rush him to his doom!

305 pages, approx. 6″x9″

Order the paperback from Amazon: $24.95
Order the limited edition hardcover: $34.95 (only 100 made)

Learn more at http://www.altuspress.com/projects/the-secret-6-classics-blood-sweat-and-bullets/

Mike Gold: Me MoCCA Mike

Gold Art 130417

Well, it’s convention season once again. This statement doesn’t mean as much as it used to, when there actually was a convention “season.” Now it pretty much runs from the beginning of spring (Glenn was at WonderCon and will be posting his pictures sometime before next year’s show) and ends the following March at San Francisco’s MegaCon… give or take.

My schedule includes Chicago’s C2E2 next week, maybe Heroes in Charlotte in June, San Diego in hell, Baltimore in August and New York in October, held each year at the only spot in all Manhattan that is inaccessible to humanity. For me, it started last week at one of my favorites, New York’s Museum of Comics and Cartoon Art, a.k.a. MoCCA Fest.

Being in our back yard, ComicMix was well represented: Vinnie Bartilucci, Glenn Hauman, Adriane Nash, and Mike and Kai Raub. Traditionally, Martha Thomases is in attendance but this year the she was in Japan at the time and the commute would have been a bitch.

I enjoy MoCCA because there it covers the widest spectrum of self-published, small-published, and web-published “independent” comics. If your thrills are limited to capes and masks from the Big Two, this event would either bore you… or transform you, opening your eyes to all sorts of really interesting stuff people do with our coveted medium. So if you’re into comics, it’s certainly worth a try.

If you could bottle the enthusiasm in the room, you’d have enough energy to replace Chernobyl. By and large, these people aren’t getting rich, although some make a living and others would like to eventually. They’re there out of their love for the comics art medium and to employ our unique storytelling concepts to communicate their stories. Each time I’m there, and I think I’ve been to eight or nine of their shows, I come away renewed and rejuvenated. So up yours, Ras Al Ghul.

Despite the quantity of behatted hipsters, this isn’t necessarily a young person’s show. Fantagraphics, perhaps the leading bookstore publisher of these sorts of efforts, was well-represented, as was Abrams and other staid outfits. While trying not to be overly creepy in my contacts with the younger folk, I also hung out with fellow geriatrics including Craig Yoe, Denis Kitchen, J.J. Sedelmaier, and Paul Levitz.

It comes as absolutely no surprise that of all the shows I attend, MoCCA routinely attracts more women per capita. Well, having made that statement I might have just put the kibosh on that, so let me say there isn’t as much semi-naked cosplay as I see at capes shows. I suspect that this is because the show is all about your desire to express yourself and tell your own story and not so much about who was the Avenger villain who crossed over into Amazing Spider-Man #214. (No, no; don’t Google that – I pulled it out of my ass.)

A high-point was when Vinnie, Glenn, Adriane, Mike, Kai and I semi-inadvertently all wound up at the Popeye’s Fried Chicken across from the venue. There was a point when ComicMix had actually taken over the joint. I’m glad to say that we didn’t spontaneously burst out in rousing song – MoCCA isn’t a science-fiction convention.

As it turns out, this column is sort of a crossover. My friend and fellow columnist Denny O’Neil was also there, and he will be waxing poetic about his MoCCA experience tomorrow, same-Bat-Time, same-Bat-Channel.

THURSDAY: Dennis O’Neil

FRIDAY: Martha Thomases

 

Roger Ebert, Behind The Screen

dt.common.streams.StreamServer.clsThe multitude of Roger Ebert obituaries were wrong. I knew a different guy.

The Roger Ebert I knew was this kid fresh out of college who, after about a year at the Chicago Sun-Times, was pressed into service helping high school newspaper editors improve their craft. I was sports editor at the Niles High West Word, and the guy painstakingly yet affably showed me a slew of techniques that immediately improved my work, stuff that I use to this day, stuff that, as an editor, I share with others.

Just a few years later, the Roger Ebert I knew befriended the “underground” newspaper that employed me, the Chicago Seed (our circulation topped out near 50,000 copies so I always put quotes around “underground”). I was up at the Sun-Times one day in the early 1970s when Roger came into the city room and was mobbed by his fellow staffers, all congratulating him for his just-published piece in Esquire Magazine. He laughed and handed out copies of a different magazine that also carried his by-line, saying he was much more proud of that sale. The magazine was a science fiction digest, Fantastic, edited by the brilliant Ted White. Some people thought Ebert was kidding. Those people were wrong.

Like every other Chicago institution and individual, The Seed had its favorite pizza joint: Pat’s Pizza, on Sheffield about a half-mile north of our office. We shared this passion with Roger, and I would often – surprisingly often – run into him there. The guy knew his pizza joints.

Like his competitor and broadcast partner Gene Siskel, Ebert had strong passions towards the comics medium. When, in 1976, I was among the handful of people who organized the first Chicago Comicon, Roger called to ask if I could line up an interview with Harvey Kurtzman, one of our guests-of-honor. Even though I was familiar with his interest, I was taken aback. In 1976, if the press covered comics at all the headline always contained the words “pow,” “zap,” and/or “crash,” and focused on the imbeciles who would pay $35.00 for a 20-year old piece of crap. Ebert saw comics as an important storytelling medium and Kurtzman as one of its most important auteurs, a view with which I strongly agree. He was one of the first reporters to take us seriously. He was most certainly the first Pulitzer Prize winning reporter to bestow the light of credibility upon our medium.

I more-or-less lost touch with Ebert when I moved out to New York and he became tied up with his television show and his movie festival and such. But I never forgot that important push he gave me back when he was only in his early 20s. And I am forever grateful.

Roger Ebert died Thursday of complications from cancer, after a half-century of a career that can best, and most succently, be described as “two thumbs up.”

Thanks, Roger.

 

Amelia Williams’ Summer Falls latest Doctor Who e-book tie-in

BBC Books will be releasing Amelia Williams’ children’s classic Summer Falls in e-book form, tying in with its appearance in the Doctor Who episode The Bells of Saint John.

Amelia Williams, née Pond, and her husband Rory, The Doctor’s previous companions, were transported back to 1930s New York at the end of The Angels Take Manhattan. Based on the evidence, she became part of the publishing industry, writing this book and publishing the Melody Malone adventure The Angel’s Kiss.

This is the third tie-in book produced for the series, the first two being the aforementioned Melody Malone adventure and The Devil in the Smoke, an adventure featuring Madame Vastra, Jenny, and Strax the PotatoSontaran.

Summer Falls will be released on April 4th, and is available now for pre-order on Amazon.com.

Film Buffs get New Releases from Fox Cinema Archives

Warlock one sheetLOS ANGELES, CA (February 19, 2013) – Twentieth Century Fox Home Entertainment today introduced 23 new films to its manufacture-on-demand (MOD) series, Fox Cinema Archives. Designed for true collectors and film aficionados, Fox Cinema Archives goes deep into the studio’s vault each month to bring classic films featuring some of the biggest stars of the twentieth century to DVD for the first time.

Launched in 2012, Fox Cinema Archives has seen the release of more than 140 films from the Studio’s library. Movie lovers can purchase previously released and new films from the Fox Cinema Archives series at major online retailers and at www.foxconnect.com.

New titles available today include:

Warlock (1959), 122 min.

The town of Warlock is plagued by a gang of thugs, leading the inhabitants to hire Clay Blaisdell, a famous gunman, to act as marshal.

Clive of India (1935), 94 min.

In the mid-1700’s the East India Company has power over commerce with the blessings of the British government, and clerk, Robert Clive, is frustrated by his lack of advancement.

Wife, Husband and Friend (1939), 75 min.

Woman hopes to be a great singer and is encouraged by her scheming teacher. After she flops her husband, encouraged by an amorous professional singer tries opera and also flops. (more…)