So, our ol' pal Jacques Boyreau, he of the cinefantastic tomes PORTABLE GRINDHOUSE and the forthcoming SEXYTIME: THE POST-PORN RISE OF THE PORNOISSEUR (a collection of remarkably awesome movie posters from the Golden Age of adult cinema) from Fantagraphics, curated what looks to be an incredible art show in Anchorage, Alaska, of all places. I wanted to spotlight it on the blog, and figured the best way was to simply ask Jacques about. Here's what he had to say.
I've been involved with Fantagraphics for a few years now...as author-editor and all-around-nuisance. I suspect a reason for my insistency is that Gary G. is like the Travis Bickle-friend I always wanted. This association would be easier to make if G. had a buzz mohawk and was popping a red with a smile and several loaded handguns suckling the lean teat of his body, which is NOT out-of-the-question; it is, as they say, in the realm, where all visions are a'chomp.
But realm needs coin, and tomorrow's today's coin is gonna be SuperTrash. And that's what this little fucking blog's entry is gonna tell you a little something about. But back to Taxi Driver...I have always felt very resonant with the character of Easy Andy--the drug-Cadillac-Magnum.44 dealer--and his credo: "I'm just trying to get the right product to the right people"; with the risible connotation that Travis is alright...(and certainly you gotta wonder at least once: What If Travis had bought that pink slip from Andy?). See, Andy and I have the same credo it turns out. I experience selling as Compulsion, and that sutures with what Breton said about Beauty: it must be Convulsive. Society really should, and does take a step back and twist a funny thought out of its head when the Unacceptable becomes Accepted.
Our group mind does not entirely suck. The answer I'm afraid is so simple it's attainable. But why tell you when I cannot and SuperTrash can and you should find out if you can. Let's just say that: an art show purporting to be a portrait of the 20th century told through movie posters was built at the Andy Warhol Museum and is now in Alaska in the quite-enormous Anchorage Museum.
Fantagraphics Booksand the Ninkasi Brewing Company are proud to present... METALHAUS!
For one night only, join Portable Grindhouse editor Jacques Boyreau, along with Darren Aboulafia and Tim Colley, for a "designer mess-up of VHS flotsam, hipster kitsch, and remastered live shows from seminal provocateurs like David Bowie, Iggy Pop, Blondie, Roxy Music, P.I.L., The Clash, and, oh yeah, Iron Maiden, Judas Priest, Twisted Sister, AC/DC."
Oh, and did I mention... there will be a special guest appearance by Killbot, a 9-foot-tall killer robot! Capitol Hill, you are doomed.
The Metalhaus reign of TV-trash-terror starts at 10:00 PM on Saturday, August 20th, at the Northwest Film Forum [1515 12th Ave, Seattle]. You do not want to miss this.
METALHAUS returns to Seattle's Northwest Film Forum for another night of Punk Pricks, Metal Maniacs, and New Wave Hookers. Don't even try to categorize this designer mess-up of VHS flotsam, hipster kitsch, and remastered live shows from seminal provocateurs like David Bowie, Iggy Pop, Blondie, Roxy Music, P.I.L., The Clash, and, oh yeah, Iron Maiden, Judas Priest, Twisted Sister, AC/DC. Special Guest Appearance by Killbot. METALHAUS is sponsored by Fantagraphics Books and Ninkasi Brewing Company. Curated by Jacques Boyreau , Darren Aboulafia, and Tim Colley.
If you've been wondering what Portable Grindhouse editor Jacques Boyreau has been up to, we'll soon be swinging into production on his next book project, Sexy Time (stay tuned for sexy details), but in the meantime he's been working on a film project called Color of Hell, and here's the brand new trash-tastic teaser trailer. I wouldn't be surprised to see Fritzi show up in this movie!
... And by that, I mean, I had threeBurgerville Northwest Cherry Chocolate Milkshakes in the two days we were in Portland, Oregon for the 8th Annual Stumptown Comics Fest. They even put espresso shots in my milkshakes. God bless Burgerville.
The calm before the Stumptown storm!
So, WOW! Thank you so much to everyone who came by our booth at Stumptown this year! Mike and I had a blast! Hate Annual #9 flew off the racks, with Jason's latest Isle of 100,000 Graves also selling out quickly.
We were thrilled to be joined by editor Patrick Rosenkranz. While we weren't able to make his panel on the underground comix movement, we could tell from the fans attending his signing that it must've went great! One fellow came by with a huge stack of Zap Comix in hand, including a rare copy of the first printing of #1!
Speaking of successful panels, T. Edward Bak had several of his attendees dropping by the booth, grabbing fistfuls of Momes! Here he is, showing some of his original artwork. Mike pointed out that you can always tell which issues of Mome T. Edward is in by looking for the black pages on the fore edge! (And yes, we had to consult Google to figure out what the sides of a book are called.)
Mome contributor Jeffrey Brown was signing with our booth neighbors Top Shelf, and leaned over for a chat with T Edward. Note: this happened on the next day from the other picture posted above; it's not like T Edward brought two sets of clothes. He's not Lady Gaga.
[Speaking of Jeffrey, here's one of my favorite overheard quotes of the weekend -- girl, on cellphone: "Hello? Mom, I gotta call you back. I'm standing in front of Jeffrey Brown."]
[My second favorite overheard quote of Stumptown comes from our own Customer Service Representative Ian Burns, who was trying to unload his leftovers from lunch: "It is really hard to give away meat in Portland."]
Speaking of Mome, we're always delighted to have the multi-talented Andrice Arp join us. Not only was she signing copies of Mome (including Volume 15, which features her cover art), but she also brought mini-paintings and a totally awesome flip-book she designed, inspired by the A-ha video for "Take On Me." Yeah, that's right.
And finally, editor Jacques Boyreau joined us, engaging customers with his collection Portable Grindhouse. Jacques is always great to talk movies with, and a former French film critic even stopped by to discuss cult classics! And who's that to the left in the pic above? Why it's Monster Parade artist Ben Catmull!
Ben had his own table this year at Stumptown, featuring his award-winning 2001 comic Paper Theater, and some freakin' insane letterpress prints, both of which you can acquire straight from the gentleman himself.
The biggest buzz of the weekend was over the move from the old location (The Lloyd Center) to the much-larger Oregon Convention Center. And yes, while I missed the windows and nearby park of The Lloyd Center, I've really only got one word: Burgerville.
You can check out lots more pics from our Stumptown adventures on the Fantagraphics Flickr page here. And the fun don't stop, as Mike and I are now gearing up for TCAF! Hope to see you there!
Join us this weekend for the 8th Annual Stumptown Comics Fest in Portland, Oregon! It's their first year at the Oregon Convention Center, and we'll be there Saturday, April 16th and Sunday, April 17th, with some of our amazing artists and editors, and both new books and favorite titles. Marketing maestro Mike Baehr and I are looking forward to seeing everyone!
Get your hands on early copies of these Fantagraphics titles:
And in celebration of the latest issue of Hate Annual, we'll be doing some fun giveaways, thanks to our friends at AmericaWare, who've just debuted a collection of Peter Bagge t-shirts! Just come by the Fantagraphics table for your chance to win a shirt featuring the loveable Lisa! You know you wanna be BAD!
Where can you find us at Stumptown? Why, at booth #304!
And while at Stumptown, be sure to take in some panels featuring Fantagraphics artists and staff!
Saturday, April 16th
11:00-11:45 PM // Process in the Periphery: Natural History and Narrative Explorations in the Biography of Georg Wilhelm Steller: A presentation of artist T Edward Bak's current work-in-progress with an examination of challenges in illustrated historical exposition. (Room A104)
12:00-12:45 PM // Sex, Drugs & Insurrection: The Underground Comix Movement: During the underground comix era artistic freedom was a non-negotiable starting point. Audacity, iconoclasm, and experimentation became the new standards for success. Comics this raw and explicit had never seen print before. This presentation is not for the young or squeamish. Presented by Patrick Rosenkranz (Room A106)
2:00-2:45 PM //Comics as Journalism: Mike Rosen, editor of Oil and Water, moderates a discussion about using comics as a form of journalism, tackling stories in ways that traditional prose journalism doesn't. Join Shannon Wheeler, Sarah Glidden, Matt Bors, and Steve Duin. (Room A105)
3:00-3:45 PM //How To Publicize Your Comic: Fantagraphics Director of Publicity & Promotions, Jacq Cohen, goes over the step-by-step process of creating a publicity plan for a comic and gives pointers on how to promote yourself and your book. (Room A104)
3:00-4:45 PM // Teaching Comics: College-level comics courses are a fairly new phenomenon, but the schools offering them have already met with great success. Join educators Brian Michael Bendis (PSU), Patrick Rosenkranz (PNCA), Trevor Dodge (CCC/PNCA), and Nicole Georges (IPRC) in a panel hosted by Dark Horse executive editor Diana Schutz (PCC) as they share their experiences in the comics classroom and bring you up to date on courses now available nationwide. (Room A106)
Sunday, April 17th
2:00-2:45 PM //Douglas Wolk: Page One: We'll look at some great opening pages of comics, and discuss how they instantly establish a look and feel for what comes after them (including some Fantagraphics titles!). Hosted by critic Douglas Wolk. (Room A104)
6:00-10:00 PM // Stumptown Comics Fest Afterparty: See the Stumptown Cartoonist Show, featuring artwork by Andrice Arp and many, many other artists, at Pony Club Gallery (625 NW Everett Street #105).
• Review: "Luminous really is the right word for the visuals here [in R.I.P.: Best of 1985-2004]: Their pure-white-on-pure-black construction makes every line and reverse-negative shading — carved out with scalpel precision — practically shine forth from the glossy black and white pages. Like Charles Burns’s inks or Drew Friedman’s stippling, Thomas Ott’s scratchboard work is art to be marveled at as much as read." – Sean T. Collins, The Comics Journal
• Review: "This initial collection is the perfect means of discovering or rediscovering Crane’s second magnum opus — spectacular, enthralling, exotically immediate adventures that influenced generations of modern cartoonists, illustrators, comics creators and storytellers. Buz Sawyer: War in the Pacific ranks as one the greatest strip sequences ever created: stirring, thrilling, funny and moving tale-spinning that is unforgettable, unmissable and utterly irresistible." – Win Wiacek, Now Read This!
• Review: "Deitch is one of the great originals of comics: wordy and discursive, but always compelling, with a detailed pen-and-ink style that incorporates a thousand grotesques while remaining essentially sunny and full of wonders. [...] Simply put, it's lovely to be in a world that not only contains a Kim Deitch, but celebrates him and lets him continue to create stories like [The Search for Smilin' Ed]; his continued career is almost enough to make me believe in his wilder flights of fancy." – Andrew Wheeler, The Antick Musings of G.B.H. Hornswoggler, Gent.
• Plug: "Tardi created this sucker in 1974, and it’s amazing how modern and even slightly avant-garde [The Arctic Marauder] looks today. Man, those Frenchies can do some cool comics, can’t they?" – Greg Burgas, Comic Book Resources
• Plug:NME reports on EMP's upcoming Nirvana: Taking Punk to the Masses exhibit and mentions our accompanying Taking Punk to the Masses book
• Plug:Portable Grindhouse is the current Staff Pick of Strand Books' Miguel S.: "A deliciously low brow collection of VHS covers that should be in every artist or movie buff's bookcase. Witness in these pages gloriously smutty, cheesy art from days when one had to rewind your movies before returning them to the video store or face a $2 fine! Nostalgia indeed!"
Fantagraphics staffers Eric Buckler, Gavin Lees, and an appearance from head honcho Gary Groth!
Thanks to everyone who visited the Fantagraphics booth at the 9th Annual Emerald City Comicon! It was great to see everyone there, and we hope you're enjoying the books you bought from us!
We sold out of Prison Pit, Vol. 1 and Werewolves of Montpelier pretty quickly -- which I think is awesome and hilarious for this mostly mainstream show. Is Cannibal Fuckface the next great superhero? Clearly, yes.
We hope you all enjoyed getting your books signed by our artists Peter Bagge and Megan Kelso, and editor Jacques Boyreau, seen above talking "grindhouse" with some ComiCon attendees. Thanks to them for spending time with us at our booth that weekend!
And thanks so much to the Fantagraphics staffers who manned the table. I wanna send out an extra-special thanks to the latest member of the Fantagraphics team, Ian Burns, for working all three days of the con! (Congratulations on the promotion from intern to Customer Service Representative!)
And another extra-special thanks goes to The Comics Journal contributor Gavin Lees who was a welcome weekend-long surprise addition to the team, along with his intergalactic-sweetie Heather (who got to meet Shatner!!!).
Join Jacques at the Fantagraphics booth at space #808! He'll be signing copies of Portable Grindhouse, and showing film footage, on Friday, March 4th from 4:00 to 6:00 pm.
[Jacques will also be joining our friends at the Northwest Film Forum on Friday, March 4th for the opening night of Metalhaus: 1977-1995, a series of heavy metal concert footage, curated by Jacques and Darren Aboulafia! Badass! ]
• Review: "Literally, I could not put down this book once I hit the second half. Every story is fantastic, because it takes these interesting genre detours and makes them seem just as more true than you could possibly imagine. ...I think sometimes people overlook the sheer potential that human conflict can give. Moto Hagio's A Drunken Dream, if nothing else, is a reminder of that, giving a plethora of all-too-human situations under the occasional sci-fi or fantasy trope. If you're looking for a densely-written change of pace that gives great insight into the career of a fantastic artist, you owe it to yourself to give this a look." – David Pepose, Newsarama
• Review: "All and Sundry is a very traditional sort of random-stuff-from-my-file-drawers collection, subtitled "Uncollected Work 2004-2009": the first half is "Drawings and Stories"... Most of these pieces were designed to stand as separate artistic works, and they're all pretty successful. (There are some mostly-text pieces here as well, all published originally in Mome, which are of respectable-literary-quarterly style and quality...) [...] And then the second half of the book is "Sketches and Notes"... These pages are less finished, obviously, and would be of greatest interest to other cartoonists... [I]f you are [a Paul Hornschemeier fan], you'll find a lot to be excited about here." – Andrew Wheeler, The Antick Musings of G.B.H. Hornswoggler, Gent.
• Interview: John Hogan of Graphic Novel Reporter talks to Cathy Malkasian about her graphic novel Temperance: "Moderation has been taking a beating in our culture for a while now. If you measure things by our shock-soaked media environment, then the whole world is wallowing in nuttiness and hysteria. Moderation has been reduced to a quaint ideal, but it’s really the engine in the back room, running everything."
• Interview: At Examiner.com, Marvin Miranda posts a months-spanning email conversation with Jacques Boyreau about Portable Grindhouse and the joys of VHS: "There's this chicken/egg first and very fascinating question about 'what we are' based on whether as career voyeurs our first exposure was to [analog] or digital, and what it means to switch from one texture consumption to the other.... I don't know how else to really put it except that it is important to be vigilantly beware of digital. It is a closed, sealed signal whereas the burning grain of projected film and its bastard buddy analog video, are open signals."