Sooooo, I'm at Seattle's Pike Place Market yesterday morning with my daughter near the fish-throwing guys. We're standing out on the curb next to an empty cop car, waiting for a friend. The back seat windows in the cop car are rolled down and I just happen to catch something out of the corner of my eye. I look closer, between the bars, the backseat is completely empty aside from a large ziplock bag with something familiar inside...
Evidence of a crime scene? Something more nefarious? If there are any Seattle law enforcement officials who can shed some light on this mystery, do tell. Ellen, if you need a good lawyer referral, talk to Gary.
I've been going to Comic-Con for almost 30 years now, god help me. Sometimes I think I know downtown San Diego better than any town I've actually lived in. These are some of the things I think of when I think about Comic-Con:
• The Picadilly
• HateBall Tour 1993
• Scary bail bondsmen offices
• When you could easily park in the convention garage
• When Hall H was just a grassy knoll where you could hang out before the con opened
• When I cared about the Marvel and DC booths
• When I first met Gary Groth and he had a pony tail
• When I first met Dan Clowes and he charged me $10 for a sketch but not the cute girl in front of me
• When I showed Dick Giordano my portfolio as a teenager and he was incredibly encouraging
• Drunk late-night walks with Jaime back to the hotel
• Eisner Retailer Judging with Sergio Aragonés, who brought his guitar to kill time
• Sin Alley Cats, The Ol' Prospectors, and Action Suits with Rube Reuben at that Fanta golf course party
• Danzig's stripper room
• Riding elevators with Lou Ferrigno, the guy who played Chewbacca, and Stan Lee
• Being told on at least three separate occasions over three separate years "NO PHOTOS!" by an off-the-clock Lou Ferrigno (including in the elevator)
• Selling comics to Leonardo DiCaprio, who had just flown in via helicopter with Gaston from Meltdown
• Eisner tears
• Jack Kamen's kiss
• When I realized that the Playboy back issue dealers didn't check ID
Someone buy THIS for me? There was a time that we had this painting in the Fanta offices for awhile, during production of the first GHOST WORLD hardcover edition in 1996 or 1997. It's much larger in person than it was ever reproduced. I loved it so much I made a full-size color xerox of it that I still have. I'll just have to get that framed, I guess. *sigh*
Richard Sala has just made available for sale the entirety of the original art for his classic strip from BLAB!, "The Prestigious Banquet To Be Held In My Honor." I always loved this strip, and the price is right. Go here to BUY NOW! Heck, even if this particular strip is more than you can afford, Richard has a variety or other art for sale on the Comic Art Collective site as well, along with art for sale by many other great cartoonists.
Some 16 to 17 years ago, I formed a vague friendship with a young writer named Joshua Glenn under the most tenuous of possible ways for sincere friendship to incubate: between the professional relationship of writer (him) and publicist (me). I have enjoyed Josh's vision and intellect and from the first issue of his zine, HERMENAUT (one of the unequivocally great periodicals of the 1990s), and thru his more recent endeavors, like the website HILOBROW . Through some minor miracle, we've managed throughout the years to have some reason, however ambiguous at times, to stay in touch.
And now! Full circle! It's 2012, and our friendship risks being crushed by the burden of professionalism yet again: this time as publisher / author. (And you thought the writer/publicist relationship was dicey!)
See, Josh and his brilliant co-conspirator, Rob Walker, have created this book called SIGNIFICANT OBJECTS. And we are publishing it. And it is wonderful! And I am proud! And the first advance copies have just arrived!
Seriously, putting this book together with Josh and Rob and Jacob Covey was one of my favorite book experiences ever, and now it exists! And it is BEAUTIFUL! This is the part of publishing that never gets old. I insist that when you see it in a bookstore, you pick it up. Feel it. Fondle it. Flip thru it. It begs to be fetishized. It doesn't feel like a normal book. You'll see, you'll see... It feels more... significant.
Attn: Flog Faithful... posting might lessen a bit this week as we continue to navigate the brutal, nine-day convention gauntlet that is Stumptown, MoCCA and TCAF. To ease your cravings, we bring you an exclusive Flog! report from our Tobacco Road Correspondent Rob Clough. -- Ed.
Joe Sacco gave a lecture and Q&A to an audience of about a hundred at Duke University on 4/24/2012. He said that this was probably the last time he was going to give this particular lecture on Comics Journalism. If you haven't seen it, Sacco gives an account of his working method by talking about the ways in which the comics page is an ideal construct for delivering multiple and often conflicting and contrasting forms of information. For example, in a page from Palestine, there's a heavy background emphasis on how rainy the weather was at the time and how uncomfortable that made everything. In each panel, you could see grey clouds following around Sacco and his friend and mud on their feet. Sacco noted that in prose, it's difficult to emphasize the constant nature of physical discomfort without being awkward. He said that you couldn't simply add the phrase "and there was mud on their feet" at the end of every sentence. Sacco repeatedly said how important accuracy is to him, from gettng the quotes right to trying to find out what a building or neighborhood might have looked like fifty years ago. For some aerial views that he didn't have access to (noting wryly that the governments of Egypt and Israel weren't about to grant him permission to fly over the settlements in Gaza), he simply used drafting skills and perspective to figure out what things would look like from above. Sacco also went into some detail about how he composes each page. On pages where there is violence or chaos, he favored a fractured panel arrangement where the reading order was made deliberately unclear for the reader, to reflect the chaos of the situation. On another such page, there was a spider-web of panels, where you could follow one character along one web to see what's happening with them, but the overall page had no set structure in terms of what order to read things in.
He talked about about how he represents himself in his comics, noting that he hides his eyes as a way of telling the reader that you're not getting every bit of info about him as a part of the story. He said that in choosing how he chooses to represent his experiences, he was conscious of how he affected the narrative, and more to the point, how the story affected him. When asked if he ever felt the urge to intervene or help in particular situations, he said that the works themselves were his form of intervention. Sacco told me that he's quite aware of other comics journalists operating, like Suzie Cagle, Dan Archer, Josh Neufeld, etc, though he wasn't necessarily an avid reader of anyone else in particular. I asked him about his feelings regarding the "embedded journalism" he did with the US military; he said that the experience is what you made of it, but that he didn't encounter a lot of grief in finding out things he was interested in. Similarly, he answered no when I asked him if his long-form journalistic works were a repudiation of the 24-hour, brief news cycle. He said that he depends on that news cycle to a certain extent and that it has its place. Instead, he said that he sees his work as a repudiation of shallow journalism.
Unsurprisingly, Sacco was warm and friendly with the long line of attendees who were having their books signed (many of which were provided by Duke's excellent Gothic Bookshop). He said that one reason why his touring is going to slow down is that he's going back into research and drawing mode. He has not one, but two books coming out this June. The first is Journalism, a collection of his short journalism stories that appeared in a variety of venues, and many of the stories were not published in the US. That one will be 208 pages. Also coming out is a book he's doing with Chris Hedges called Days Of Destruction, Days Of Revolt, which is about urban decay and the rise of a permanently doomed underclass in the US. Finally, he said that his current project involves research into Mesopotamia, partly because he had to get away from doing books about modern war zones. He said that he's going to work in aspects of his long-promised Gentleman's Guide To The Rolling Stones in the book. -- ROB CLOUGH
We've written too many obituaries on Flog already this year. I'm saddened to contribute another. We learned this morning that Josep Maria Berenguer, founder of the legendary Spanish comics publishing house Ediciones La Cúpula , passed away last night after a battle with lung cancer. We have lost a friend here at Fantagraphics, and a colleague with whom we've had a very fruitful relationship with for over 20 years.
I first met Josep Maria Berenguer in, I believe, 1995 or 1996 on a trip to Barcelona with my good pal Peter Bagge . We were there for the Barcelona Comics Festival as guests of the Festival and La Cúpula, along with Aline Crumb and Tanino Liberatore, amongst others.
It was the first time in Spain for both Pete and I. La Cúpula had just begun publishing HATE, under the title ODIO , with savvy translations by a young editor/writer named Hernán Migoya and lettering by a talented cartoonist, Nono Kadaver (both of whom have become two of my best friends over the succeeding years; yet another reason to be grateful to Sr. Berenguer). We were treated like royalty and it was a trip I'll never forget. Pete and I have routinely fantasized about moving to Spain over the years since that trip.
Josep Maria was one of the most charismatic and generous hosts I've ever known. He was a natural storyteller, funny, politically incorrect, but also incredibly charming. Not in a typically macho, latin way, he was much more refined. He was an ex-hippie radical with a worldly air about him.
He clearly relished his role as a key countercultural figure in post-Franco Spain, founding the groundbreaking El Vibora and La Cúpula in 1979 (less than four years after the end of Francoist Spain). He greatly admired the irreverence of the first wave of American underground cartoonists, especially R. Crumb and Gilbert Shelton, and published both early on, as well as Robert Williams, Spain Rodriguez, and others. Over the years he published just about every notable American cartoonist you can think of: Bagge, Clowes, Hernandez, Burns, Tomine, etc. I think it would be hard to overestimate his role in raising the prominence of underground comics in Spain.
This decade, I was lucky if I saw Josep Maria even once every couple of years, but when I did, I relished it. In Barcelona, he took me to one of his favorite jazz clubs, and to his beautiful home that the company was named for (a kind of geodesic dome that "La Cúpula" refers to). We ate Moroccan food in Granada, Spain. We drank cheap beers at the infamous Picadilly in San Diego during Comic-Con. The last time I saw him, a couple summers ago, we had sushi together in New York City. He always had great stories, and a warmth to him that made you forget it had been a few years since you saw him last.
Rest in peace, old friend, and long live La Cúpula.
Photo: That's Josep Maria Berenguer on the far left, hosting (from left to right) Tanino Liberatore, Sra. Berenguer, Ana Forcada, myself, Aline Kominsky-Crumb and Peter Bagge at his home ("La Cúpula") in Barcelona, Spain. Photo by Christian Coudurés.
Having been preoccupied by this past weekend's Emerald City Con, we're a bit late in offering our warmest wishes and hearty congratulations to two of our favorite gentlemen and their lovely significant others.
First up, TheComicsJournal.com co-editor and Picturebox Founder Dan Nadel and his partner Rachel welcomed their first child, Henry, into the world early Friday morning. (You should do each of you a favor and help keep Henry in fresh diapers by picking up Picturebox's new Rory Hayesand Destroy All Monsters! books).
Meanwhile, on Sunday, our old pal Jacob McMurray , Senior Curator of Seattle's Experience Music Project and author of our book TAKING PUNK TO THE MASSES , and his wife Sara welcomed their second daughter, Eleanor, into their family.
I'm not one for popularity contests, but this one is special. VOTE LUCKY #13. There's some stiff competition in Jerry Rice, Jerry Brown, Willie Brown, and even a few non-Jerry/Brown public figures in the Bay Area. But let's face it, none of them wear their smooth pates as well as Mr. Inkstud himself.
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