Crispy, crunchy, bubbly, fruity and oh so good, this Apple Crunch recipe comes from one of our vintage cookbooks, Alice in Brown Sugarland. This super easy recipe is similar to an apple crisp and with only 8 ingredients, comes together in a snap. Serve warm and top with vanilla ice cream for a special treat.
Place apples in shallow, greased baking dish.
Sprinkle with cinnamon, nutmeg and granulated sugar. Pour water over sprinkled apples.
Combine brown sugar and flour together in separate bowl. Finely cut in butter until the mixture is crumbly.
Bake at 400°F for 20 minutes, then reduce heat to 350°F and bake another 25 minutes.
Let cool slightly and cut into squares for serving.


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Forget malls! Retail is all about the taxes now, analyst says
Published Wed, Feb 15 20174:45 PM EST Updated Wed, Feb 15 20176:57 PM EST
Lauren Thomas@laurenthomas
Retail's one big fear: Pro
Retailers are looking for answers when it comes to the House Republicans' proposed border adjustment tax, and nobody seems to have them, analyst Simeon Siegel told CNBC on Wednesday.
"The backdrop here is the consumer wins, and it's tough to be a retailer," Siegel, an executive director at Nomura Securities, said in an interview on CNBC's 'Power Lunch.' "As bad as it can be ... we don't even know."
A proposal crafted by House Speaker Paul Ryan would allow companies to deduct the cost of goods that are exported. Importers, however, would not receive the same benefit, effectively imposing a tax on their products.
The retail industry has long relied on low-cost imports to aid in keeping prices low for sticker-conscious consumers. Implementing a border adjustment tax would ultimately force them to raise their prices, and many companies have spoken out, calling the proposal a "hidden sales tax."
Siegel says this plan essentially puts more costs "into the system," and someone has to absorb them. It likely won't be consumers, either, so these costs are free to attack the "retail ecosystem."
Retail industry executives, such as those from Target and Best Buy, met with President Donald Trump at the White House on Wednesday to push back against the proposed border adjustment tax.
Siegel said he sees "very few" companies able to profit from Trump's plan.
For him, and for many other retail analysts and investors, the industry has suddenly lost interest in malls, and now it's "all about the taxes."
Rep. Brady on Trump meeting with retail CEOs

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18th FAI World Formation Skydiving Championships 2008
9 - 14 August 2008 in Maubeuge, France
The NSL News coverage is supported by:
4-way Open 4-way Women 8-way Open
Scores for Meet on Aug 9th, 2008
Rank AAA Class B,17,7 H,N,13,A 10,J,C,6 18,12,2 E,3,9 19,O,4 Total Avg
1 Bodyflight Storm UK E 24 26 17 15 21 17 120 20.0
2 Fastrax Blue US E 24 23 19 13 21 19 119 19.8
3 Aerokart Deep Blue FR E 23 23 19 14 20 16 115 19.2
4 Fortitudo NO E 22 16 16 13 17 13 97 16.2
4 Australia AU E 19 20 15 11 17 15 97 16.2
6 Chicas DE E 19 16 15 12 18 16 96 16.0
7 Belgium BE E 10 14 12 9 16 - 61 12.2
8 Empuria Gatas ES E 7 11 10 8 12 - 48 9.6
Did you know that the World Meet 2008 included an unoffical Scandinavian championship?
posted: Dec 5th, 2008 The NSL News goes back to the World Meet 2008. The most relevant event in Formation Skydiving competition has already produced plenty of stories, which can all be found on the three event pages for... (more)
Did you know that the French iScore system will be available for the public in one year?
posted: Sep 30th, 2008 It is an interesting point in time for the high technology experts in the sport. The progression of skydiving has not only been happening in the athletic area. The environment of Formation Skydiving competition... (more)
Did you know that the Finals begin with the most interesting event?
posted: Aug 14th, 2008 It is a cold morning in Maubeuge, but the skies are clear, and there is not much wind at all. It is kind of sad that the running round is already the last one. There is no way back, Round 8 is the last... (more)
Did you know that the Fun Flag got ripped again today?
posted: Aug 13th, 2008 Back to happier events than rules and freeze frames and bad weather - if you can say so... The weather was still not cooperating very well or not at all today. Meet Director Patrice Girardin has already... (more)
Did you know that the semifinals are in full swing?
posted: Aug 13th, 2008 The teams of the female 4-way category are already done with their semifinals. It is still a tight competition on the very top. All three teams in the medal positions lost points, Aerokart Deep Blue... (more)
Did you know that Deep Blue members repaired the Fun Flag - and lost it?
posted: Aug 11th, 2008 The 8-way teams are still completing Round 4, while the 4-way teams were sent home in the late afternoon without any more jumping. The last update of the day is once again about the most important item... (more)
Did you know that Bodyflight Storm mastered trouble situations?
posted: Aug 11th, 2008 Both 4-way events have completed four rounds, and both events are still as spicy as it could be hoped for. Airspeed Odyssey does not have as strong a position after four rounds any longer as it seemed... (more)
Did you know that the Fun Flag is flying in the rain?
posted: Aug 10th, 2008 Meet Direcor Patrice Girardin just announced at the World Meet 2008 in Maubeuge that the 4-way teams are on stand-by. It is raining at the moment. However, he said that the forecast promises better weather... (more)
Did you know that the scores of the official training jumps provide additional insights?
posted: Aug 9th, 2008 Things have become more serious now at the World Meet 2008 in Maubeuge. The scores of the World Meet 2006 in Germany have already been replaced by the scoring tables for the upcoming competition. The... (more)
Did you know that Claire "Sparky" Scott tries to defend her gold medal?
posted: Aug 9th, 2008 No weather problems at all so far today - the dropzone in Maubeuge is very busy. NSL photographer Nathan Polis has prepared a clip with an overview of the whole dropzone, which will be uploaded soon. It... (more)
Did you know that the Fun Flag had its first showing in the NSL office?
posted: Aug 8th, 2008 It was a very exciting day at the World Meet 2008 in Maubeuge. The situation in 8-way has settled after the NSL News interview with John Hoover and Eric Heinsheimer. The Italian 4-way and 8-way friends... (more)
Did you know that the World Meet polls indicate no big surprises?
posted: Aug 5th, 2008 The World Meet 2008 polls confirm Airspeed Odyssey as the top contender in the 4-way Open Class so far. The NSL News audience indicates that the race for the silver medals might take place between Hayabusa... (more)
Did you know that two medalists of 2006 will defend their honors in the Women's Class?
posted: Aug 4th, 2008 Comparing the lineups of the medal winners and top contenders at the World Meet 2006 in Germany and 2008 in France in the 4-way Open Class showed already that a few teams try again with the same or a very... (more)
Did you know that the Whites conceded after four rounds and more bad weather?
posted: Jul 9th, 2008 The second competition of the Coupe de France 2008 will make it into the history books - not for the best reasons though. The event was supposed to be the final showdown between the two female lineups,... (more)
Did you know that the Blues are 11 points ahead of the Whites?
posted: Jul 7th, 2008 The French race for the slot as the national 4-way team in the female category seems to come to an end - despite ongoing weather problems. The weather conditions last weekend were similar to the previously... (more)
Did you know that NSL-TV of Round 4 includes the one and only Fortitudo video?
posted: Jul 2nd, 2008 Round 4 of the oudoor meet at the Paraclete XP Money Meet 2008 is now available on NSL-TV. It was the second fastest sequence of the competition (21-E-Q-L) and moved Airspeed Odyssey two points further... (more)
Did you know that Christy Frikken is filling Fastrax Blue's Point slot?
posted: Jun 11th, 2008 The NSL News story on 21 May 2008 brought the sad news that Fastrax Blue member Kelley Frederickson had died in her sleep at night in the middle of a training camp in Perris. Fastrax founder John Hart... (more)
Did you know that Fastrax Blue lost Kelley Frederickson?
posted: May 21st, 2008 Sad news came from California yesterday. Kelley Frederickson, Point for Fastrax Blue, the US national team in the female 4-way category, passed away on May 20. She died in her sleep at night in the middle... (more)
Did you know that Russia will have a new female lineup this year?
posted: May 9th, 2008 The NSL News story on 4 May 2008 covered the current situation in the female 4-way category. The article mentioned that there was still a questionmark behind the reigning bronze medalist of 2006, Russia. The... (more)
Did you know that the competition will be tight and on a high level in the female category?
posted: May 4th, 2008 The 2008 season has already brought many interesting scores of national teams to the leaderboards of the several indoor and outdoor events. The NSL News has covered the run-up to the World Championship... (more)


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Video: Check Out the Evolution of the BMW M5 Over the Years
Home » Models » BMW M5 » Video: Check Out the Evolution of the BMW M5 Over the Years
Gabriel Nica
December 22, 2017 / 2 minutes read
The BMW M5 basically invented the niche it's currently playing in. Back in the 1980s, a car like the original M5 was something to behold. The original was a true M in every sense of the word: it was hand built, it had an engine derived from the iconic M1 and it was light on its feet. Of course, that changed over the years – more comfort, more power and more of everything. The video below shows us exactly how it shaped up over the years.
From the iconic E28, things started moving at a rapid pace. The car had such an appeal that BMW basically couldn't build them fast enough but you need to remember those were the days when the M5 was hand built and production times were nowhere near what we're used to today. With 286 HP, the original M5 used to hold the title of the world's fastest sedan. Then came the E34 which was a natural evolution of the E28. It used a 3.5-liter straight six engine as well but this one had 315 HP. It was also heavier but it did come in a special edition in 1992, one that had 340 HP and was called the 20 Jahre Edition. The E34 was also one of the few models that also came in Touring guise.
In 1998 a legend was born, in the shape of the E39 M5. It was no longer hand-built but by that time, the processes were improved so much that the build quality of the E39 is still highly regarded and well known. Under its belt hid a 4.9-liter V8 making 400 HP and it marked a couple of premieres for the M5 badge. It was the first V8-powered M5, the first one to use a recirculating ball steering system and the first M5 to feature a 'Sport' button.
In 2005 the E39 was replaced with a model that used Formula 1 tech for its 5-liter V10 engine. It remains to this date the only V10-powered M5 ever made and, to top it all off, it also came in Touring guise. The E60 was quite the bruiser and even to this day holds a special place in everyone's hearts. The whole story and the sound every single model makes to this day including the new F90 M5 and it's perfect to get you up to speed with the model's history.


text:
Q: Question asking causes a problem When I try to ask a question, I receive the message:

Oops! Your question couldn't be submitted because:
Sorry, we are no longer accepting questions from this account.

And strangely when I logged in on Ubuntu everything was fine.
What's the problem?

A: I suspect you're logged in as a different account on your Ubuntu box than on your Windows box, and the account you're logged in as on the Windows box has been banned.

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If you are doing work for a distributed customer base, providing a service or delivering product, the most commonly asked question at the office is: When are they going to get here? You said they would be….etc.
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Don't let petrol costs eat into your business profits!
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Dr Navasardyan has a wealth of experience in advising high-net worth individuals and businesses seeking to relocate to the UK.
Rakhi is well known for her work with cases involving financial arrangements, child arrangement where her skills in negotiation and never panic personality has made the difference.
Paula Afrifa is head of the Litigation Department and solicitor at RVS Solicitors with over 25 years of experience.
After graduating from the University of Cambridge, Amar trained in a prominent London City firm and went on to qualify as a solicitor specialising in Commercial Property and Real Estate Development.
Smit has joined RVS Solicitors as a Consultant Immigration Solicitor in April 2018. Smit qualified as a solicitor in November 2008 and has been practising exclusively in Immigration and Asylum work ever since.


text:
Does It Take 5 Times Longer to Get COVID-19 Test Results in Rwanda Than in the US?
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Has President Trump Announced Permanent E-Visas for Kenyans?
Is This Convoy of Cars From Recent Deputy President Ruto Rallies?
These photos of road being destroyed are from South Africa and not related to #EndSARS protests in Nigeria
The photo of a man carrying a woman wrapped in a blood stained Nigerian flag is not from Lekki Toll Gate incident
Viral online reports on Okonjo-Iweala's emergence as WTO's director-general are FALSE
Did Deputy President William Ruto Say He Does Not Need President Uhuru Kenyatta to Support His 2022 Presidential Ambition?
Is This Letter Seeking Donations to Help Trump Recover From COVID-19 Legitimate?
Has the United States Threatened to Revoke President Uhuru Kenyatta's Visa?
Partner Report
by Moffin Njoroge
A video of popular TikToker Charly Jordan claiming that COVID-19 tests take 5 times longer in Rwanda than in the United States, posted on the popular video-sharing social networking service (it has since been deleted), surfaced on Twitter on September 6 and immediately went viral.
The video led to a lot of backlash on social media forcing Charly to post another video apologising for her reaction.
Charly had travelled to Rwanda to work with a gorilla conservation group. In the video (see below), she criticises the Rwandan authorities for separating her with her friends while also claiming that there was a language barrier since no one could speak English.
COVID-19 continues to disrupt the lives of many worldwide with cases continually rising amid different reactions from different countries.
While some governments have taken a proactive approach by enforcing measures such as curfews, lockdowns and travel bans, some have been more relaxed and others such as the US and Brazil have challenged recommendations by scientists and the WHO.
With COVID-19 tests required for people travelling to various countries, governments have been balancing between enforcing strict measures and promoting travel with many countries relying on tourism as a major economic activity.
Rwanda has been lauded as one of the African countries with the best responses to COVID-19, using experiences from the Ebola outbreak to curb the viral disease.
Measures taken by the tiny East African nation include the enforcement of a 9 pm curfew with those violating the curfew being fined or detained in stadiums such as Amahoro stadium as punishment. A joint task force consisting of members from a broad range of professions was also established with structures working in all of the country's 30 districts under the leadership of mayors.
According to the Embassy of the United States in Rwanda's website, all visitors to Rwanda are required to be quarantined on arrival awaiting their COVID-19 test results in 24 hours.
Reacting to Jordan's video, Rwandans such as popular writer Zuba Mutesi, who said she had been tested multiple times and the results came back in 24 hours, took to social media to call her out.
Can Hydroxychloroquine Be Used to Prevent Coronavirus Infection as Trump Alleges?
The New Times, a national English language newspaper, also corroborates the 24-hour testing timeline quoted by Rwandans reacting to Jordan's video online.
"Travelers are required to wait 24 hours for the results of their COVID-19 test in a designated transit hotel; and while in the waiting period, they should observe all prevention measures announced by the Ministry of Health. The Government of Rwanda negotiated special rates at designated transit hotels for the 24 hour waiting period," the paper notes in an August 15 article.
On the other hand, there have been complaints in the US with people having to wait for between 2 and 17 days to get their tests back. According to Fortune, many Americans have had to go without jobs for weeks as they wait for test results which are mandatory in most workplaces. A surge in COVID-19 cases in the US has caused a backlog of tests with some waiting for up to 17 days to get their results.
The claim that it takes 5 times longer to get Covid-19 test results in Rwanda than in the USA is therefore FALSE.
Moffin Njoroge September 22, 2020
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Is there an "infinite plane" option in the works?
currently we are not working on an infinite plane per se, but we are looking into way to make the environment (horizons, HDRI) more consistent. I added your vote and idea to the feature request in out issue tracker.


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Posted in The Diaz ArchiveTagged 2014, Alvin Buenaventura, CREEP HIGHWAY, Dylan Dockstader, Eli's Mile High Club, Marc Arsenault, Michael DeForge, Naming Gallery, Patrick Kyle, simon hanselmann
Chris Anthony Diaz
Juan FernándezJanuary 21, 2016NewsHello world, Frank's got your coverage of what has been going on with the Rowhouse so far over at the Comics Journal. Big things happening come February 1st… Bill expounds on the glory that is Kevin Huizenga's Gloriana on camera in Bill's Remedial Comics #1. Watch and and see what all the fuss is about. oh and did you hear the news? You can catch Deforge, Drnaso, Chippendale on the East Coast for their Winter tour! Holy shit is right. Chippendale will be on tour promoting Puke Force, DeForge will be on tour promoting Big Kids, and Drnaso will be on tour for his debut of Beverly. Check out all the details here. Paper Jam – the Bushwick zine/comics hang out is just around the corner and they've started announcing exhibitors. Loads of new work to check out there if you want go hang out and talk comics/ pick up some new comics and zines. Stay abreast of their tumblr to get the low-down on who'll be setting up shop. Kevin Czap is first up to bat. Oh and last but not least, we heard it through the grapevine that Lenny the pug has been getting pretty down what with the dark days spent indoors in Pittsburgh. Maybe you could help cheer Lenny up with some love over at the Lenny Fan Club Mailbox? Share this page:Read More:06/14/2018Rowhouse Residency…The Hannah K. Lee InterviewRowhouse Residency…...
Sally IngrahamDecember 14, 2017NewsSally here with comics by Zimbabwean cartoonists and writers Bill Masuku and Amanda Chaniwa, plus new work from Mohammed Sabaaneh. ————————————————————————————————— I found this write-up on the Zimbabwe comics scene, from back in March on Hyperallergic. It is an interview with Bill Masuku, who created the characters/comics Black Zeus (with Dananayi Muwanigwa), Razor-Man, Arcadia Knights, and more. In his writing and comics Masuku can't avoid social justice issues, and as a Zimbabwean his perspective on the industry is particularly unique. There are socioeconomic issues that he is forced to deal with – for example, "Because of economic sanctions, Zimbabwean artists can't use services like PayPal or Kickstarter." The avenues to funding and visibility that so many cartoonists rely on are crossed off the list for cartoonists in his homeland. Just like his character Razor-Man, however, Masuku operates under "the Zimbabwean idea that no matter your situation, you can "make a plan." Every Zimbabwean knows that catchphrase. It reflects the idea that no matter how bad things get, you'll make it to the other side." He also comments on the idea that the world needs more black people representing themselves, but not in isolation. There can't be this tokenism, one character representing "an entire race on their own." "Hyperallergic: Why do you think it's important that we have Zimbabwean comic books specifically? How can Zimbabwean artists address the social issues Zimbabweans face in a way international artists can't? Bill Masuku: It all comes back to context. Because of intersectionality, race, gender, and class are all big things that affect us globally. But then colorism, tribalism, and the intricacies of intersectionality come into play when you're in a different socioeconomic location, or even just a different geographical location. As a writer, it's crucial to be able to raise awareness about these issues at home. For example, there's no one talking about being gay in a country where that's illegal, and what actually happens to you when you come out to your parents. When someone who is not from here , they'll miss the subtle nuances that make the issue relevant to someone who is here and going through it. Having an open-minded writer who talks about these issues creates hope for the reader." Read the rest of this article/interview HERE. ————————————————————————————————— Bill Masuku collaborated with Amanda Chaniwa on the comic Drama Mama. She talks about the comic and her hopes for the scene in Zimbabwe in the video below. Chaniwa is the first professional female comic book writer from Zimbabwe. ————————————————————————————————— In the Forward to the White and Black collection by Palestinian cartoonist Mohammad Sabaaneh shown above, "veteran American political cartoonist Seth Tobocman notes the influence of Picasso and Braque on Sabaaneh's work, and asks: "Can there be an accurate depiction of an insane situation? Why should we draw in perspective when the world has lost its perspective? When reality becomes bizarre social realism gives way to social surrealism." " Sabaaneh published the book earlier this year – you can get a copy HERE. More recently, he's turned his attention and his cartoons toward Trump – not surprisingly. You can read more about Sabaaneh's life and often controversial work over on Al-Monitor. His most recent strips and caricatures can be seen on the website of the daily paper al-Haya al-Jadida. ————————————————————————————————— The Winter Semester of thee Santoro Correspondence Course for Comic Book Makers starts January 18th 2018! 8 weeks – 500 bux – coaching for as long as you need. The course is hard, but Frank will push your comics making practice to a new level, getting you to think about timing and color in new ways. Makes a great holiday gift for yourself – or for a loved one who is interested in comics. Apply by midnight (EST) on Dec. 25th and get $100 off the course price. Full details and how to apply can be found HERE! ————————————————————————————————— Share this page:Read More:05/07/2018Comics Workbook…09/21/2018Rowhouse Residency…...
"Goodnight and Good Luck": On Finishing Your Comic
Jillian FleckMarch 30, 2016Essays / ResourcesTry finishing your comic. I get it, there's that little voice running through comics culture that says: real comics don't end. It would not be difficult to connect this to the latest DC or Marvel reboot. Alternatively, look at any popular webcomic artist; their comics don't end either. There is just something about comics, unlike any other medium, in which seriality (or infinity) are somehow inherent. The individuals and corporations behind these serial publications have an economic interest in the story never ending. If it does, they're out of business. I'm assuming though, your situation, friend, is a little different. I'm assuming your interest in not ending your comic is entirely self motivated. I'm also assuming you suspect you might not be cut out for this, though most likely you'd never admit it. Take a step back from this culture of the infinity narrative, and realize the Sisyphean mission you are volunteering for. How long do you think you could write the same story? Five years? Ten years? How strong does your passion need to be to sustain such extended output? How good are you at gritting your teeth? What do you hope to achieve by it? I'm not saying that there is nothing to achieve, I'm simply encouraging you to question this. You have the choice to finish your comic, and I would encourage you to do so. The sweetest, most refreshing thing about finishing your comic is that it is finally over. Not on hiatus, not to be continued, no spin-off, and no redo. Over, the end, goodnight and good luck. Now that you're finished, let's go to the beach. Your studio honestly smells like garbage water, and the skin around your mouth is stained from too much coffee. Let's sketch the seagulls fighting over garbage, and eavesdrop on those around us. We could read about German Expressionist film, or write songs, I don't know how you creatively refill: let's hear some of your ideas. You are finished with your comic after all, you have time to do stupid, silly things like this. I'm not saying quit, I'm saying remember why you wanted to do comics in the first place. This is why I encourage you to finish your comic, so you can get up tomorrow and begin your next one. It can be about whatever you want, and can be drawn however you choose. It's entirely new and up to you. Just think, if you finish it in one day, tomorrow you won't have to suffer under the decisions of the past. If you finish your comic in one go, you could put it up on the wall and look at it, think about why you did what you did. Then the day after, maybe you can build on that. Or do something different. You can set challenges for yourself. Can you tell a complete story in a single page? Inside a triangle? On a roll of toilet paper? Yeah, of course it's stupid, and childish, and isn't going anywhere, and isn't for anyone, and isn't worth anything. Think about those values for a moment, those which say what you do needs to be serious, purposeful, intentional, worthwhile, and lucrative. Those are values that you have put on your own work. Some of them might be helpful to you, but remember the kind of comics culture those values are ultimately upholding. Think about the comics that would fall into these worthwhile categories, you know the ones. Big fat volumes, or slender albums, beautifully bound, with thick introductions that quote Thierry Groensteen – "Yes, yes – oh god yes!! Gimme that sweet legitimacy daddy!!!" Get real, come on, snap out of it. Think about what you value in comics, not what these other clowns are pushing, and do that. Do it a bunch of different times, in a bunch of different ways. Suss it out, take your time, play, and relax. Try setting up a structure that is forgiving, something you could leave tomorrow if you had to, or pick up in fifteen years time if you wanted. It would be very good if you could be kind to yourself, and not treat your mind and body as if it were a machine. If you read this and think "No, there's no way I can play with comics, if I do I'll never be Osamu Tezuka!", then I have bad news for you friend: you're already not Osamu Tezuka. You are you, and the comics you make and the way you make them, do not need to be defined by the values that came before. Take what you need, not what you can carry – it's a stranger journey than you can imagine. Finish your comic, it's time to move on. ————————————————————————————————— Jillian Fleck is a comic artist from Calgary, Alberta, currently studying comics at the University of Dundee. Check out her work HERE. Share this page:Read More:06/28/201808/06/201810/23/201805/17/2018...
Juan FernándezMarch 21, 2018los Cómics / NewsJuan, on the women who self-publish, the return of La Polola y más! —————————————— Mujeres Que Se Autoeditan – Fanzine Report Gerardo Vilches ha escrito un artículo en Revista Cactus super completo sobre mujeres que se autoeditan en España y Latinoamérica. Accompañalo y descubriras un montón de chicas haciendo cosas maravillosas: No es ningún secreto que en el activo y mutable mercado de la autoedición y los fanzines trabajan muchas jóvenes autoras. Cada vez más, de hecho. Algunas, con el objetivo de dedicarse profesionalmente al cómic o la autoedición; otras, simplemente por el placer de hacerlo. El festival independiente GRAF es un buen lugar para conocer la obra de muchas de ellas. Los días 2, 3 y 4 de marzo se celebró en Barcelona la undécima edición de GRAF, un festival de cómic de autor y edición independiente nacido en 2013 gracias al impulso de un grupo de personas relacionadas con el medio de un modo u otro, que querían crear un espacio de encuentro donde tuvieran cabida pequeñas y medianas editoriales, colectivos de artistas, iniciativas de autoedición y fanzines. Cinco años más tarde, la propuesta se encuentra consolidada y crece progresivamente. Pero dado que formo parte de su organización desde hace unos años, no creo ser la persona más adecuada para valorar todo esto. En su lugar, quiero hablar de un fenómeno que he observado en las últimas ediciones y que, en realidad, resulta evidente para cualquiera que se fije: la enorme presencia de mujeres. Calculando de un modo laxo —es decir: a ojo—, siempre había pensado que el panorama que se dibuja en los expositores de esta feria era paritario. Mi compañero en la organización, Iñaki Sanz, habló de un porcentaje entre el 60% y el 70% de presencia femenina cuando le preguntaron en un reportaje de Betevé. Al margen del porcentaje exacto, lo obvio es que el ámbito de la autoedición y microedición está lleno de mujeres artistas y editoras, la mayoría muy jóvenes, que están empleando estos canales para expresarse y difundir su trabajo, en muchos casos con una carga feminista y activista más o menos explícita. Para entender este fenómeno, recomiendo la lectura del ensayo de Andrea Galaxina ¡Puedo decir lo que quiera! ¡Puedo hacer lo que quiera! (Bombas para desayunar, 2017). ————————————————————————————————— Los cómics y las noticias que me han llamado la atención esta semana: ~ In English and en Español ~ Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con Omara Arriagada (Nelson Correa) y el regreso de la revista Trauko – los inicios de la revista, del contexto sociocultural al que respondía y propone desde la contracultura. Conversan acerca de los encuentros y desencuentros, de los maestros, la comunidad y también de lo que se viene con este regreso tan esperado de Trauko. No puedo más que recomendar la revista de comics Argentina, Revista Clitoris – puede leerse online, tanto la primera antología como la segunda, recientemente liberada por el #8M. Jonathan Guyer looks at the political implications of an Egyptian comics boom. The emergence of alternative comics and graphic novels in the Arab world in the past decade. Carla Berrocal y Teresa Novoa explican los 10 problemas de los ilustradores autónomos. Liniers has an exhibition at the Society of Illustrators in New York: Art by Liniers: Macanudo, The New Yorker, and Good Night, Planet. ————————————————————————————————— Suzy and Cecil – 3-21-2018 – by Sally Ingraham Share this page:Read More:03/23/201810/18/201803/13/201804/06/2018...
Juan FernándezApril 12, 2017los Cómics / NewsEmpezamos el día con el Fanzine Chileno; Martin Lopez Lam; El Museo Nacional de Japón; El Víbora; Sole Otero; Edd Muñoz; Conxita Herrero; Arturo Porras sobre Jack Kirby; Alexis Ziritt; y los tebeos de Comics Workbook. ————————————————————————————————— Uhu, papel y tijera – Constanza Gutiérrez y el Fanzine Chileno Hace dos semanas, el New York Times publicó un artículo titulado "¿Por qué internet no mató a los fanzines?", y a los pocos días el diario El País también hizo lo suyo. Actualmente existen plataformas gratuitas para crear blogs y álbumes de fotos, y si la idea es conectar con otros o propagar una idea, se supone que la web es el medio adecuado, pero para un montón de gente no basta. Los fanzines viven hoy una época dorada y en Chile, como en varios otros países, están circulando muchos. Esta es una pequeña muestra. ————————————————————————————————— Alejandro Serrano entrevista a Martin Lopez Lam artista gráfico,editor, agitador cultural. De hablan? De todo. ALEJANDRO SERRANO: ¿Cómo surgió la idea de organizar un festival como Tenderete? MARTÍN LÓPEZ LAM: Surgió de casualidad. En septiembre del año 2010 vinieron a Valencia los portugueses de Chili Com Carne, que estaban haciendo una muestra-gira por Europa y llegaron a Lavakerí, que por entonces la llevaba Susana, con ayuda del Parras y mía. Ahí montamos una muestra, conocimos a los portugueses y éstos nos dijeron que hacían un festival en Lisboa, la Feria Laica. En diciembre del mismo año fui al festival y vi cómo la organizaban, a la vuelta pensé que no parecía tan complicado montar algo así, siempre y cuando hubiera gente interesada. Una de esas personas fue Clara Iris. Al final, fue todo muy improvisado. ————————————————————————————————— Cómics y noticias que me han llamado la atención esta semana: El Museo Nacional de Japón publica en su web casi 70 animes de la primera mitad del siglo XX. Tebeosfera os ofrece una galería con varias portadas la mítica revista El Víbora. Poncho Fue – Crónica de una relación tóxica, magníficamente contado por la argentina Sole Otero. Otero describe magníficamente en su novela gráfica los extremos de una relación sentimental dañina. Edd Muñoz abrió un blog, El Ojo Erratico, donde estara hablando de cómics. La primera entrada está dedicada a The End de Anders Nilsen. It's Nice That le pone el spotlight a Conxita Herrero. Lanzate dentro su mundo lleno de color y emoción! Arturo Porras celebra el Centenario de Jack Kirby. Analiza y explora la vida y obra del Rey de los cómics en la ZONA NEGATIVA. Get an original page from #SpaceRiders volumen uno!!! Last opportunity to pick up art by Alexis Ziritt!!! Out of Step Arts had taken these SPACE RIDERS pages down, but so many folks asked about them so they're now back for one last run. ————————————————————————————————— Blinkers – 4-12-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 4-12-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 4-12-2017 – by Caleb Orecchio Share this page:Read More:02/28/201804/05/201807-18-201806/13/2018...
Caleb OrecchioNovember 26, 2018NewsCaleb Orecchio here with the newest Love and Rockets release. ————————————————————————————————— Los Bros' latest issue of Love and Rockets is here. Volume 4, No. 6 (or, as the front-page editorial notes, no. 84 overall). Each new release of L&R is an event in my house. Every issue to my estimation is worth its own weight in gold. Usually a satisfying 35 to 45 minute read. Pure joy. I don't have much to say about the issue that wouldn't reiterate what I've wrote about Gilbert and Jaime before. I simply see each issue as required reading. Although, I have to say, I am hit with the reality that, with the more cartoonists I meet, not everyone is reading the series religiously (!). Actually, I certainly understand why many don't read it. For one, the long history and continuity of the title can be extremely daunting. For two, well, I will not show my hand but rather assume that everyone has their reasons. Regardless, this comic is the cornerstone of the alt-comics movement. Without L&R, there is no Fantaraphics as we know it today. Period. Something else I have noticed is that, due to the lack of cartoonists reading L&R, particularly the books from this millennium, cartoonists kind of "pretend" to read it. "Yes yes of course Love and Rockets is important. Yes I love Hopey. And uh Glory. Right? Jaime was really nice to me when I met him." This is just a theory, but I think cartoonists love to say they read L&R like they love to say they never read Building Stories. There is pride in both. As if reading long, difficult works is something they are above. These are just some thoughts I had while reading the new issue of Love and Rockets. Cheers! ————————————————————————————————— Cement Mixer – 11-26-18 – by Caleb Orecchio Share this page:Read More:10/18/2018Comic Arts Brooklyn 201702/16/201809/21/2018...
Juan FernándezJuly 12, 2017los Cómics / NewsEmpezamos el día con Jaime y Gilbert Hernandez; Amanda Mijangos y Armando Fonseca en La Polola;Klari Moreno; Cornet; Begoña García-Alén; E. Muñoz y CuCo 8; y los tebeos de Cómics Workbook! ————————————————————————————————— Punk, Latinidad, & Reviving Their Seminal 'Love and Rockets' Gilbert and Jaime Hernandez talk shop over on Remezcla: It's like people were waiting for it. Latinos have been thirsty for that kind of representation. What I don't understand is why, after 35 years, representation is still a problem. Do you have any ideas about why that is? Jaime: I think there's a hell of a lot more Latino creators than I knew about back then. They're doing it their way, some differently than I would. Which is cool. Everyone's got their own view. I think the problem is still when money is involved. Whenever money is involved there's going to be stereotypes. Everything is going to be done to please whitey. Money is going to steer you toward the money – and who is the 1%? You find out that the people in control of the TV studio or the movie studio or whoever is paying the check for this art – they don't care. They don't care about other cultures. When they find out that, "Oh well golly! Lots of Latin people spend money on our product" they don't know what to do! The bottom line is when money is involved someone is going to get shorted. You've said, "The more ethnic I am, the more attention I get." Why do you think that is and why does it work? Gilbert: I think I become more truthful when I get closer to who I am and where I'm from. I can tell a more truthful story and even a funnier and darker story because I'm just reflecting who I am. There's a small element though, I hate to say, is it's safe for non-Latino readers. It's on paper. The characters are drawings. They're not a threat. When it becomes a pop singer or actress or actor, they're in your face. That's a real person there. I think are a little tougher to take for some people. ————————————————————————————————— Cómics y noticias que me han llamado la atención esta semana: Jueves 3 de Agosto – Evento para recaudar fondos para el 2do Encuentro de Fanzineras. Santiago de Chile/Metro Irarrázabal. Organizado por @Comiqueraschile . Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con Amanda Mijangos y Armando Fonseca, dos talentosos ilustradores Mexicanos. Hablan acerca de su trabajo, la importancia de buscar una mirada propia en la ilustración, la experimentación, la relación con los editores, sus proyectos personales y el proyecto que los trae a Chile, la obra de teatro "Risas de Papel" que estará en cartelera en Teatro Ictus, donde ellos hacen ilustración en vivo que dialoga con el actor. Un toquecito de historia: Cornet, Dibujante Catalan del siglo XX, fue uno de los artistas más populares que se formó en '¡Cu-Cut!' – Humoristan.org les ofrece un vistazo a su vida en imagenes! Véte de cañas con Klari Moreno en Madrid con su entrevista en Segundo Premio. Moreno: «Defiendo la autoedición como acto político» Hay nuevo número de el espectador de Begoña García-Alén. El mejor de la serie, sin duda! E. Muñoz les ofrece un tronco de ensayo en CuCo 8:"El cómic como lenguaje visual híbrido y su vigencia en la era digital contemporánea". ————————————————————————————————— Suzy and Cecil – 7-11-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 7-11-2017 – by Caleb Orecchio Share this page:Read More:02/28/201806/26/2018San Diego Comic-Con…02/05/2018...
Sally IngrahamMay 31, 2017NewsSam Ombiri on Joe Daly's Highbone Theater, an international zine roundup, Wonder Woman dreams, and news from Berliac. ————————————————————————————————— Sam Ombiri here: I read Highbone Theater by Joe Daly recently. I began it awhile back when Joe Daly was posting it online, but the way Daly set up his website for Highbone Theater made it hard to find where you left off at. The funny thing with that was that I'd just end up re-reading the same pages. The same really good pages. I guess it was maybe a selling point, because it feels very real. I'm not sure if it's part autobiographical, because it's not so apparent and that makes me more keen to apply what's happened to me, myself, and relate it with Palmer (the main character). The dialogue is so natural, and the way Daly guides you through what's being said seems like it's collaborating with life. It's so mundane that it becomes all too real. It seems like it's way more dense than it is really, because of the size of the book, but it's so rhythmic, and it sucks the reader in so that you barely even notice that you're flipping the pages. You start it, and you keep going, and you don't feel the big obligation to take note of anything. Or that may be inaccurate, since you are supposed to, as a reader, take note of what's happening in the narrative. I didn't catch so much that the colored pages were adding an extra meaning to the atmosphere changing, other than, something's up, tonally and design wise. Color is the equivalent of sound design. I once heard Joe Daly cite Naked Lunch as a movie he's really impressed with, so this was at the back of my mind while reading Highbone Theater. It's a very cinematic comic, which may be attributed to Daly studying animation. Whatever it was that caused it, I'm glad. Palmer is into the things he's into, him and his friends are into the things they're into, and every now and then the friends comment on Palmer's eccentric interests. While they see less reason in Palmer, Palmer sees less reason in the world he's living in, and while many others can reason with him, he finds he can't reason with anyone besides his friend Billy. The way Daly portrays Palmer is as someone who isn't an unreasonable guy – but when Palmer talks, the way he portrays himself when talking about himself (which is part of why the book feels like it's autobio) comes off as unreasonable – but that doesn't hinder him from performing what he perceives as his duty. That was the defining characteristic I found with Palmer. What set this apart is that the book seems so casual, as if it's ideas are taking place with no regard to your opinion of them. Yet they are coming from a very disciplined story teller. Everything that sets this book apart doesn't come off as overly intentional, or meant to be set apart. What's taking place seems independent of the reader's thoughts on them. This only strengthens the potency of the events as perceived by the reader. What seems more intentional is to engage with the reader in a way that's very familiar to them. Or maybe it's just that this form happens to be familiar. It reminded me of reading Chester Brown's autobio stuff, or Crumb, or it's as if I was told that one of the characters is the Reid Fleming of this universe. The cover is really cool – it reflects what you're in for. Of course most covers do that, but as you open this book it's with these specific images that come later on in the book. The front cover – while it's an image that shows up through the course of the book – seems to be there more so to sell you on the book. The image that follows, however, before the story has started, has been ingrained in the reader. Right now I'm talking about the coffin Billy crafted for his mother. When it comes into the story later on and makes another appearance, there was something big that went off in my mind. While the turns the book takes are huge, there's a subdued element to it, right? While it may seem disorienting, it's a really well oriented form of disorienting. Palmer has this look on his face that says this must be done, and that's reflected with every action he performs. He has a no nonsense approach to everything. He sees the task before him, he tries to find what needs to be done above all his other concerns, and what he needs to do is a growing question mark. – Sam Ombiri Get a copy if this book at Copacetic Comics! ————————————————————————————————— 6-1-2017 – by Sam Ombiri ————————————————————————————————— Sally here – check out this roundup of 8 zines made by people of color from around the world, showcased on Artsy – a true example of why the medium remains relevant and important. "The black literary zine, Fire!! created during the Harlem Renaissance of the 1920s by writers such as Langston Hughes and Zora Neale Hurston is an early example. Self-publishing continued through the decades, with the Black Panther Party Newspaper and the Chilean women's magazine Aquelarre. Still, the history of zine culture remains largely dominated by narratives of white men and women. Utilizing both the tangibility of print and the connectedness afforded by the internet, today's artists and writers of color are continuing to create spaces for dialogue, pioneering conversations through zines—a medium that allows them to exchange ideas, opinions, and art on their own terms. These eight zines are just a few of the notable print publications claiming space and reinvigorating a decades-long tradition of collective healing through communal expression." Read more HERE. ————————————————————————————————— Maya Rupert writes movingly for The Atlantic about her lifelong connection to Wonder Woman and her feeling that maybe the character makes more sense as a black woman. "Wonder Woman and I were both outsiders on two levels. Her powers set her apart from other humans, but among the other members of the Justice League, she was relegated to secretary. My race set me apart from my white classmates, but I learned at a young age that within the black community my gender marked me as inferior. I remember as a child being told by my hairdresser that feminism wasn't for black women. "For us," she explained, "the man is here, and we're here," she said gesturing with her hands to illustrate that to be a black woman meant that a man I had never met would always be stationed above me. As I got older, I became better able to name my double displacement; I was frustrated with the racism I saw in feminist circles and with the misogyny I saw among racial-justice advocates. And Wonder Woman's state of constant otherness only became more meaningful. But as a girl, I most commiserated with Wonder Woman when she sought to reconcile her inner strength and ferocity with the need of others to see her as peaceful and feminine. I had learned early on that it wouldn't take a lot for me to be viewed as angry and deemed unlikeable. Images of neck-rolling, finger-snapping, gum-popping black women caricatured in movies and TV shows showed me exactly what people expected from me." Read more HERE – and go see the new Wonder Woman movie (opens June 2nd!), which does star a white woman, but there is perhaps some hope for the flick and the story – "Yes, a white actress, Gal Gadot, had been cast as the lead. But, I wondered, would the creators see in her what I had all these years? Would Wonder Woman still chafe at the forced dichotomy between her strength and her womanhood, her peaceful demeanor and her righteous anger? Would they infuse her story with enough of mine that a little black girl who sees the movie might get to wonder, maybe?" ————————————————————————————————— Drawn & Quarterly will publish Berliac's Sadbøi in January 2018. "Drawn in a unique style that's an homage to gekiga and film noir, Berliac's first English graphic novel is an exploration of how we treat immigrants, and the impossible situation of being expected to conform to society's ideals when the world has already decided you're guilty." More of the announcement and an excerpt from the book can be found HERE. ————————————————————————————————— Blinkers – 6-1-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 6-1-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 6-1-2017 – by Caleb Orecchio Share this page:Read More:07/04/201804/12/201806/28/201802/15/2018...
Comics WorkbookFebruary 14, 2018NewsSam Ombiri on Noel Freibert's Old Ground! ————————————————————————————————— Sam Ombiri here: What's so special about comics? If someone asked me that, I'd point directly to Old Ground by Noel Freibert. Among my vague, imaginary mental list of favorite comics right now, Old Ground is up there; seriously. Everything seems to be in place in the book, and for me it couldn't be more perfect. This is a comic that can't be described in a way that would do it justice, as lazy as I might sound in saying that. Some scenes cause me to laugh a certain kind of laughter. It's kind of a nervous laughter, but not necessarily out of being too frightened or weirded out to respond "properly". It feels like Noel draws the way he does so he can simultaneously restrict himself, and through that free himself to go to certain places with his comics that wouldn't be accessible to him (or anyone else for that matter) otherwise. This might be what accounts of my nervous laughter – some of the gags presented perhaps lack of a point of reference. The comic is a real shock to the system because the drawings and the story are virtuosic. The comic is simultaneously cute, frightening, menacing, intensely dramatic, intensely goofy, and so on and so on. Somehow Noel made all these shifts register really well, and every moment resonates with the moment before, surprisingly harmoniously for such a chaotic book. He lingers in moments so that the events can properly register. He isn't in any rush to show us his cooler-looking drawings. I say this because a lot of times comics fall flat for me in their refusal to be comics. The drawings might be labored over, but the sequence of events or images have no pulse whatsoever, so to speak. Not so with Old Ground, not by a long shot. When the comic is focused on the two people buried in the grave, it goes on and on because it needs to, and then as the comic progresses Noel uses this established rhythm of the two people in the grave, and plays with it. He doesn't just play with it – he confronts it. This comic doesn't feel like Noel did it at a distance, with vague suggestions that aren't a part of him. At least that was the feeling I was getting from reading the book. Noel is committed to displaying this vague feeling he has and pursuing it to the end (or no end). That's what makes it such a compelling read – and the results are evident there in the book. In the story, one of the corpses in the grave claims to be 5, and the other claims to be 8 (but I suppose if they've been able to talk for as many years as they've been buried, maybe they're even older). As one of the corpses – called Silver Spoon – put it, the worms maybe have eaten Cliffie's (the other corpse) memory. The way Silver Spoon says it seems to be alluding to this only happening to Cliffie. The age seems to be more connected with the age when they died than the length of time they've been thinking. Although at the end of the story even this is questionable. What would they be thinking about? How frogs were believed to be able to consume evil spirits, and how this means they can eat anything? They talk about how they're dead and what that means to them. Silver Spoon suggests that Cliffie's parents deserved to die in the fire in which they perished (for no reason whatsoever!) Meanwhile, we're also entertained by two wacky people whose goal is to demolish the graveyard. One is called Renaldo and is a very likeable character. I felt bad with how he was kind of forced into this situation by his boss, who is such a hilarious character. The story at a certain point turns into Silver Spoon trying to convince Cliffie that Renaldo and his boss aren't his parents. The interaction between the corpses reminded me of Jim Bored's adventures in Powr Mastrs 3. The way the characters' imaginations take shape, which is symbolically realized through each of the books' creators' efforts (Noel for Old Ground and CF for Powr Mastrs), are of the same nature. The pacing of it is based off of boredom, so it's a good excuse for imagination to suddenly take vivid shapes. I mean, there's also a good amount of differences, like how it's a dialogue in Old Ground, as opposed to a monologue in Powr Mastrs, or how instead of someone who is still alive but forgetting, it's two dead people remembering (albeit not with much luck). I guess Jim Bored is also about remembering, but I think what Noel was saying with the comic partly is: dead people are not only forgotten by others – they're also forgotten by themselves. So their goal of remembering is quite different from what Jim Bored's goal was (which seemed to be self preservation and survival). If you haven't read Old Ground it's probably in your best interest to do so. The ending of the story is an especially good one, with so many great moments leading up to it. The characters are excellent, and the sequences have done more than just simply blow me away; they've really astounded me. The lines Noel draws really bend to his mysterious whims. The drawings suggest they're based off of simplicity, but it's a trick. When I begin reading the comic I'm lured in and at the same time Noel is bent on driving me through this story, which has these sudden bursts of hyperkinetic movements. When motion is conveyed it's a real marvel to read. – Sam Ombiri Read more about Old Ground (Koyama Press, 2017) HERE, and get a copy of the comic HERE. ————————————————————————————————— Collected from the thousands of pages of material that Frank has left scattered all over the digital landscape, these 4 PDF collections contain Frank's best writing on comics and comics making from the past decade. Theory and process, reviews and discoveries, journeys both physical and spiritual. Check out the "Best of Frank Santoro" PDF collections, available HERE! ————————————————————————————————— Joanie and Jordie – 2-14-2018 – by Caleb Orecchio Share this page:Read More:Comic Arts Brooklyn 201803/13/201801/23/2018San Diego Comic-Con…...
THE ENVELOPE MANUFACTURER by Chris Oliveros
Chris Anthony DiazJuly 9, 2016The Diaz ArchiveTHE ENVELOPE MANUFACTURER (all versions, softcover collection and mini-comic book issues) by Chris Oliveros. Photo of Chris Oliveros taken at TCAF 2015, Toronto, Sunday, May 9th and photo colored by Graham Willcox Share this page:Read More:03/23/201801/25/201804/03/2018The Alabaster Pizzo…...
CREEP HIGHWAY & the CANDY BOYZ
Posted on May 23, 2016 June 9, 2016 by Chris Anthony Diaz
at the NAMING GALLERY & ElI'S MILE HIGH CLUB
oakland, monday, october 6, 2014
shot & edited by chris anthony diaz
featuring musical performances by michael deforge, patrick kyle, alvin buenaventura, simon hanselmann, marc arsenault and dylan dockstader
The Hannah K. Lee Interview
PIX 2016 | Sketchbook tour with Noah Van Sciver
"How we were thinking" – The Zeitgeist and The Complete Wimmen's Comix
MardouMay 26, 2016EssaysMystic novelist Doris Lessing interspersed her autobiographies with news clippings and thought-snippets that she'd saved from the years she was writing about. It's not something you see very often in personal biography; history books are preferred when pulling in contextual 'fact'. Instead Lessing supplies us with flavors of 60's London (such as "in cinemas and theatres we stood up for the national anthem"). There's something so evocative about how she pulls on that shared current of her time. Some of 'the times' get culturally hardened and recorded in history books, but lots of it doesn't. In a similar vein, singer Ian Svenonius notes the transient attitudes of the Then-and-Now, using The Velvet Underground as an example , "…groups that failed in their own era despite catchy tunes, cool shades, turtlenecks and solid connections might have 'felt' bad to their audience…conversely, groups which might have felt 'right' at the time (the Grateful Dead, Grand Funk, Free etc) may seem confusing to listeners of a later era who are not privy to the pheromones said groups were releasing at their concerts." Reading the two-volume release of The Complete Wimmen's Comix made me think about those sort of cultural assumptions and blank spots. The first volume in particular feels like a powerful raw gust of real comics history. The pretty pink and black covers (with inset blue, bruise-like half moons) kicks off with Trina Robbin's anthology It Aint Me, Babe (1970) and then the complete run of Wimmen's Comix. I've read individual issues before and was somewhat ambivalent. Getting to read the whole gamut is a much different experience, especially the aforementioned first volume (1970-1985). The second volume contains a lot of great stuff too (and more of the artists I'd cite as direct influences on my own work such as Julie Doucet, Phoebe Gloeckner and Alison Bechdel) but the first volume stands out. It seems more experimental, wilder and much less conventional. I wouldn't have name checked any of these artists in the 70's/early 80's as personal influences but this book has made me look with fresh eyes. There's bold storytelling, some crazy comics layouts and lewd, unapologetically sexy content. It's in stark relief to the relative lack of risk-taking I permit myself. (And yeah, I'm going to keep thinking about that one). Another aspect that occurs to me is that volume one is essentially my mother's generation making those comics (I was born in '75) which makes the lack of respect for cultural niceties and cartooning norms seem even more punk rock and revelatory, as well as being somewhat nostalgic. It reminds me of looking though my aunt's closet in the early 1980's and finding all her old platform shoes and boots. My childish trespassing got me yelled at after the event, but I'm glad to own that childhood memory of trying on and walking around in those beautiful and weird, too-big-for-me 'space' shoes. It's not just surface and style though, the content is a match to the macho mores of its time. I'm old enough to remember the casual chauvinism of early 80's primetime TV shows, as much as I remember seeing housewives with black eyes in the supermarket on Saturday mornings. Though, I was in 1980's Northern England and not 1970's San Francisco – yet it's close enough to spark that consciousness. It's kind of the thrust these feminist cartoonists were aiming at I think. This volume has also made me re-evaluate Aline Kominsky-Crumb's work. I found her book Need More Love a little tiresome in tone but reading her juxtaposed with other women artists in this context is such an enjoyable experience. Set amongst her generational peers it's easier to see the frank humor and flippant skill in her work. She's so great! A lot of the comics here do miss their mark artistically but it's not important overall. There was enough I found exciting (and fun!) in these volumes to remind me of the direct power of comics in print – a single cartoonist to a single reader through ink and paper, sharing the highs and degradations of the female experience. This is a big, beautiful, door-opening book and I'm really glad it's out there. ————————————————————————————————— Sacha Mardou is a Brit making comics in St Louis, Missouri. Sky in Stereo is her most recent comic. Share this page:Read More:03/30/201810/23/201807/11/201809/21/2018...
Sally IngrahamNovember 2, 2017NewsSally here with Mickey Z in FORGE.; political cartoonists in Africa, the UK, and the US; a reminder to watch She Draws Comics – and more! ————————————————————————————————— The new issue of FORGE. is out, and it is quite amazing – it is huge, for starters. More artists, more cities, more pages than ever before. Matthew James-Wilson, who single-handedly makes the magazine, recently quit a full-time job at VICE, so the theme of Issue 17 – Risk – seemed especially apt for him. He seems to have gone off the deep end with this issue – but in a good way! Here's a brief idea of what it includes: "Issue 17: Risk includes submissions by Sarah Mason, Leesh Adamerovich, Corrinne James, Jessica Pettway, Brian Ejar, Louise Reimer, Alexa Viscius, Will Dereume, Graham Lister, Ross Jackson, Chris Nordahl, Sophia Schultz, Melisa Cola, Sander Ettema, Alexander Laird, and Disa Wallander. This issue also includes interviews with cartoonist, Mickey Zacchilli, Dustin Payseur of Beach Fossils, photographer, Laurence Philomene, show promoter and booker, Yiwei Meng, and Rene Contreras of Viva! Presents. Issue 17 features comics by Patrick Kyle, Becca Tobin, and Patrick Edell in its OP-ED section. Lastly, Issue 17 also includes the FORGE. Summer Review, documenting several concerts and events that took place in New York, Los Angeles, and Providence during Summer 2017." You can read the whole thing online HERE. Among the things I'm excited about with this issue is the TWENTY PAGE LONG interview with Mickey Z (one spread shown above, complete with an appearance by Bread). I just read it at high speed (there are lots of pictures!) and will have to go back to actually digest it, but I must say that Mickey Z proves to be a constant source of inspiration to me. She's like a complete package of creative forces, doing a lot of different things at once – but only the things that make her happy and hold her interest. Comics, printing, jujitsu, massage therapy, video games – whatever she wants to do. In this interview she mentions that she's actually "anti-productivity" at the moment, which I find compelling. You'll have to explore her reasoning. There's a bunch of other good stuff in this issue, so take some time with it – and kudos to Matthew James-Wilson for getting it out there! (Be sure to check out Mickey Z's current comics project – Space Academy – available to read online HERE.) ————————————————————————————————— Abraham Riesman released his list on Vulture of the 8 Best Comics to Read (and One Comics Movie to Watch) in November. On the list is Leslie Stein's new comic Present, Julie Maroh's Body Music (which I wasn't aware of, oops!) and the new version of Runaways, written by beloved YA novelist Rainbow Rowell. Abraham also reports that Netflix has added the 2014 film She Makes Comics this month, so schedule a movie night and invite your friends over to listen to some of comics' female heavyweights talk about the industry and their place in it. Check out the list and it's other offerings HERE. ————————————————————————————————— I was perusing a list from 2016 of Africa's top 10 cartoonists and came across the names of Doaa Eladl (Egypt's most famous female cartoonist), Siham Zebiri (an Algerian cartoonist), and Nadia Khiari (Tunisian creator of the character Willis). All 3 women are political cartoonists, and as such they often face difficulties in their countries that are only exacerbated by their sex. However they all continue to work, draw, and speak out about topics that are important to them, from female genital mutilation (Doaa Eladl), to immigration (Siham Zebiri), to male guardianship (Nadia Khiari). Here is a sampling of work by each of these radical women: I have been repeatedly reminded recently that political cartooning is an ancient art form, and remains an important (and somewhat terrifying) space for artistic expression. I listened to Signe Wilkinson (the Pulitzer Prize-winning editorial cartoonist) speak at CXC in September, and she talked about "the trenches" in a way that gave me goosebumps. For herself and other political/editorial cartoonists, reality includes the possibility of bombed offices, arrest and lengthy imprisonment, and a regular, brutal dose of spite, malice, and outrage. You have to be pretty tough to deal with that, and pretty resilient, to find the power within to turn that harsh edge, somewhat, so that you can engage with people on a humorous level. I really admire and respect Signe, and Ann Telnaes, (who spoke about her similar work and experiences at CXC last year), and of course the African female cartoonists I've mentioned here, who are wielding their pencils and brushes in defense and celebration of themselves and the things they love. Here's a recent comic by Signe Wilkinson – check out more of her work on GoComics. ————————————————————————————————— In related news, the BBC recently published an article by Becky Morton about the "boys club" of political cartooning in the UK. Not surprisingly, there are only 6 full-time editorial cartoonists employed by national newspapers in the UK, and none of them are women. Becky Morton details why, and digs up a wealth of female cartoonists who have resorted (willingly or grudgingly) to publishing their comics online or outside of national media. Read the article HERE. ————————————————————————————————— Not Last and Not Least Kevin Bramer reviews Jenny Zervakis' The Complete Strange Growths on Optical Sloth – calling it a "remarkable achievement". Marnie Galloway has a new comic up on Mutha Magazine – read part 1 of Burrow HERE. Tom Spurgeon reviews The Wendy Project by Veronica Fish and Melissa Jane Osborne on The Comics Reporter. Marc Sobel interviews Ulli Lust for The Comics Journal and discusses her new book, Voices in the Dark, and how comics are a "musical medium" to her – read it HERE. ————————————————————————————————— Suzy and Cecil – 11-3-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 11-3-2017 – by Caleb Orecchio ————————————————————————————————— Cozytown- 11-3-2017 – by Juan Fernandez Share this page:Read More:07/27/201803/20/201802/06/201809/28/2018...
Sally IngrahamOctober 12, 2017NewsSally here with announcements and excitement from Adam Griffiths, Kyle Baker, Derick Jones, Ronald Wimberly, and more! ————————————————————————————————— East City Art featured an official shout-out regarding Adam Griffiths' forthcoming graphic novel Washington White: "Science fiction meets the aftermath of the 1960s civil rights movement in Adam Griffiths' forthcoming self-published graphic novel, Washington White, a pseudo techno-thriller about corporate greed, gentrification, and corruption set inside the District of Columbia. Drawn in pencil with digital coloring, Griffiths has been working on the 600-page book for nine years; the first installment will be published as a 70-page newspaper tabloid. Written in the form of a spy thriller, the civil rights science-fiction plot and the mad-cap challenges that the story's range of characters face make for a bombastic, silly, and disturbing experience." If you're in the D.C. area keep an eye out for this newspaper and perhaps catch Adam at CAB this year with copies of the comic. Adam gave Frank and I a peek at the manuscript of this work when he was here in January for a Comics Workbook Rowhouse Residency, and I can tell you right now, it exists in a parallel dimension. I am eagerly anticipating this one! ————————————————————————————————— Like Derick Jones says, sometimes you gotta just use brute force to dig into a comics project, or page, or panel…! Above is part of a page from his new minicomic Rhythm Man, written by Storme Smith and recently published by Buno (which was founded in 2016 by Ulises Farinas and Storme Smith). You can see more pages and learn some of Derick's thoughts behind them over on his Instagram – @skudsink – and get a copy of the comic HERE. ————————————————————————————————— An exciting announcement that came out of the New York Comic Con last week was that the Milestone imprint is coming back to DC Comics. A number of characters will return to or be born in the world of Earth M, including Static Shock (above) drawn by Kyle Baker and written by Denys Cowan and Reginald Hudlin. Cheers of delight met the announcement, made by Kyle Baker himself, as the character is a fan favorite. I'm just excited or anything and everything drawn by Kyle Baker, so we all must keep an eye out in 2018 for Static Shock #1…! Read the full report HERE on The Comics Beat. ————————————————————————————————— Ronald Wimberly is the featured artist at Superchief Gallery NY tonight (Oct. 12th 2017), so if you're in the area you should go hang out with him from 7 PM – 12 AM. ————————————————————————————————— Suzy and Cecil – 10-12-2017 – by Sally Ingraham ————————————————————————————————— Cozytown – 10-12-2017 – by Juan Fernandez ————————————————————————————————— Joanie and Jordie – 10-12-2017 – by Caleb Orecchio Share this page:Read More:04/03/201804/23/201804/27/2018Rowhouse Residency…...
Kurt Ankeny on MICE Boston 2016
Kurt AnkenyOctober 31, 2016Festivals and ShowsWell, last night we wrapped up yet another lovely MICE Boston! MICE is my local indie comics expo, and it is the equal of any American event, as far as I am concerned. The staff, led by Shelli Paroline, Dan Mazur, Rebecca Viola (I couldn't find a website!), Zach Clemente, and volunteers by the dozens, is the nicest and most attentive of any in the country, hands down. As cartoonists, we aren't used to being spoiled by people coming around, asking us if we need snacks, food, or someone to watch our table while we take a short break. While other indie expos are starting to follow suit (CXC had a set of volunteers that were just as lovely as the MICE staff providing most of the same perqs, and Autoptic and CAKE provide lots of free snacks) I believe MICE was the first to provide this level of courtesy to the exhibitors, and it is the favorite show for lots of cartoonists for that reason. MICE consistently packs in a widely varied crowd, full of people from every age group and background. Part of this is the fact that it is held in Cambridge, Massachusetts, which has one of the most highly educated and diverse citizenries in the nation (it's home to both Harvard and MIT.) But MICE just has some magic about it. The show has been steadily growing over the past few years. Last year, they broke the 3,000 attendee mark for the first time, and preliminary figures for this past Saturday's attendance were over 1600, so they seem on par to keep that streak going. People are there to immerse themselves in the comics culture, and to buy, which is always helpful. There was a great representation of different cartoonists at the show. Featured guests included Faith Erin Hicks, the ubiquitous-in-2016 golden-boy-of-the-year Nate Powell, the French husband-wife team known as Kerascoët, local art-and-comics phenom Raúl the Third, Wren McDonald, Sara Varon, Jeremy Sorese, and Drew Weing. Kevin Czap was in attendance, fresh off their amazing weekend at CXC where they took home the Most Promising Talent grant award. Tony Davis of Million Year Picnic was there with his wife and son, selling comics and generally being the hub of the local scene. Nobrow had a table, Neil of Radiator Comics was there, the Boston Comics Roundtable was out in force, alums and current students from the Center for Cartoon Studies were down from Vermont, and several Comics Workbook folks were either tabling or wandering around the show. Comics on parade at the end of a long con season! Saturday was a blast. My new book In Pieces, debuting at the show, was a big hit, and I sold copies to lots of people coming up and telling me how much they had enjoyed the book on Comics Workbook's Tumblr, and how they had been waiting to buy it! That was a great feeling. I had a great time tabling next to David Marshall, a local comics guy and someone I know from the monthly comics hangouts in Salem. David makes retro-homage superhero comics that are full of nerdy puns, references to UNIX coding, and Doctor Who in-jokes. He knows tons of people from the immediate neighborhood, and spent his time talking them up and accosting the attendees he didn't know in the most jovial and pleasant way possible. David's one of those guys who's the life of the con. Someone truly at home among the comickers. To my other side was the lovely and talented Molly Dean, who makes webcomics and had several printed issues to sell. I waited too late to ask her if she'd like to trade, and she'd already sold out of all of her books! I will see her around though, and I'm looking forward to reading her webcomics at meedean.com. Saturday night, MICE puts on a free dinner for all attendees at Lesley University's neighboring art gallery, the Lunder Arts Center. (They also provide bagels, cream cheese, donut holes and coffee each morning… I'll stop talking about the free food.) While I would have LOVED to hang out with everyone, I'd been fighting a sore throat for the last week, and after talking all day, I knew my voice couldn't handle small talk in a loud and echoing cement room, so I met my wife for dinner in Harvard Square and we had a quiet night. Meanwhile, the party there continued until 9pm, and then the various groups decamped for other venues and watering holes. Much to my chagrin, I missed what Mimi Chrzanowski described as a "magical" night of karaoke at Limelight, near Boston's Chinatown. I know for sure that Kevin Czap and Cathy G. Johnson were there singing their hearts out. I assume that Dustin Harbin also made it. Sunday at MICE is Kid's Day, and so the little ones made up a slightly larger percentage of the attendees than on Saturday. Kerascoët frequently had a line as they tag-teamed signing books with full-color sketches as the European cartoonists are accustomed to. I finally got to meet K.L. Ricks, whose illustration work and comics I deeply admire. I got to chat over breakfast with Maria Hoey, who is half of the brother-sister team behind Coin-Op books, and who I'd met for the first time at Autoptic in 2015. Maria's looking forward to Comic Arts Brooklyn next weekend, and made me regret not taking up Whit Taylor's offer of sharing her table there this year. At noon, I was a guest at MICE's new feature, the Cartoonarium, which is a little table set up to project your drawing to a screen, where people can watch cartoonists work and ask questions about their process. Zach Clemente came around to record a brief Twitter interview. First Cartoonarium of the day! We chat with @kurtankeny about his writing process! pic.twitter.com/bOaDRFRYg5 — MICExpo (@MassMICE) October 30, 2016 Sundays crowds had more ebb and flow to them that Saturday, but the sales were steady and people were engaged and fun to talk to, which is always the best part of a con. Since MICE was on the weekend before Halloween, costumes were in effect more than usual. I counted four girls and women dressed as Kiki from Kiki's Delivery Service, there was a very well done Daphne and Velma from Scooby Doo, Saga seemed to be popular as I saw at least three separate groups dressed as various characters from that comic, and there were several low-key Steven Universes and even a person dressed as Neil Gaiman's version of Death, complete with parade of people with rainclouds and a concertina. Thanks again to all involved in making MICE such a smooth and friendly and successful show for everyone! Until next year! Kurt Share this page:Read More:The Niall Breen Interview02/05/2018The Alabaster Pizzo…07/13/2018...
ESCAPE FROM NEW YORK by Charles Forsman
Chris Anthony DiazJuly 11, 2016The Diaz ArchiveCharles Forsman's b&w portrayal of Kurt Russell as Snake Plissken and Season Hubley as the Girl In Chock Full O'Nuts in John Carpenter's ESCAPE FROM NEW YORK (1981, USA) for my ILLUSTRATED MOMENTS IN CINEMA/TELEVISION collection. The illustration was completed late 2015 in ink, and Charles' photo was taken at Comic Arts Brooklyn, Saturday, November 7, 2015. And Graham Willcox did the color for Charles' portrait Share this page:Read More:07/25/201804/17/201803/06/201802/01/2018...
Sally IngrahamSeptember 20, 2017NewsSally here with upcoming local and regional comics events that you don't want to miss! ————————————————————————————————— This evening in Pittsburgh, Connor Willumsen, Noel Freibert, and Patrick Kyle will be reading and signing their new books at Copacetic Comics – 6-8PM. Details HERE. Catch the guys tomorrow in Columbus, OH, at Kafe Kerouac! Next weekend you can find Connor Willumsen at Cartoon Crossroads Columbus as a special guest and the featured Comics Workbook workshop leader. Here's the complete programming schedule for the show. Even though I am fresh off of a fantastic trip to the Small Press Expo, I am already raring to go for CXC, which blew me away last year with its programming designed especially for cartoonists. ————————————————————————————————— Also in Pittsburgh, the 7th annual Pittsburgh Zine Fair is this Sunday, Sept. 24th 2017. 2-8PM. Full details HERE. ————————————————————————————————— Also, also – coming right up, PaperJazz Small Press Festival. Comics Workbook will be in Ohio for Cartoon Crossroads Columbus, but one of these years I'm going to make the tough choice and head to Bushwick instead…! Check out the show HERE and go to it if you're in the area. ————————————————————————————————— The fall semester of thee Santoro Correspondence Course for Comic Book Makers starts October 1st 2017. 8 weeks of comics instruction that will bang your practice into shape – 500 bux. Full details about the course and how to apply can be found HERE. ————————————————————————————————— Suzy and Cecil – 9-21-2017 – by Sally Ingraham Share this page:Read More:04/03/201808/17/2018Rowhouse Residency…03/27/2018...
Juan FernándezAugust 15, 2018NewsThinking out loud here today on publishing and patronage. The market will never, effectively, support what the world needs creatively. Patronage is essential for that. Naturally, publishers can function as patrons, but I see it happen less than I'd like to. I've been thinking a lot about this, since I heard that Annie Koyama was going to close the doors on her book publishing and transition to more focused arts patronage. I'm excited for that. The reason being that comics' commodity form feels broken. When publishers big or small say, "buy our books or we won't be able to exist", there's a problem. It's not on them, but it leads me to believe that our paradigm for publishing is broken. A short reflection on Eric Reynolds' conversation with Timothy Hodler on Amazon's disruptive print-on-demand practices makes this clear. The form is flourishing en masse, the distribution method is failing us collectively. This intersects with failures of capitalism and culture, of course – in other spheres you can separate them a good bit, but comics, being born as a commodity form wind up inextricably connected to the market. To be clear, I see a huge issue, when the responsibility of the "success" of works implicitly falls on the shoulders of the consumer. Crowdfunding is a hybrid of these ideas, so there's an evolution there towards the future. Some extremely smart and creative people like Spike Trotman and others have figured out how to use this system to make their comics flourish in the market. Though they succeed in existing in a market, what often times happens is, the campaigns fail to integrate the work into existing ecosystems of libraries, stores and schools in a way that traditional publishers are able to engage with. In this way reader and consumer end up being one and the same. For it's own needs, the comics market, inside and outside of crowdfunding conflates consumer and reader. If you're not around to buy it, you'll likely never experience the work. To be clear, this isn't a dig on crowdfunding, though I wish more crowdfunded publications were able to bridge that gap in how the campaigns were designed. It's not easy! I know! I'm just thinking out loud here about the larger issue of how comics wind up "locked up" in their own cultural space. When comics can be reproduced and shared, like music, by being saved to hard drives, by being clipped onto the fridge, by being shared with friends by loaning our copy of a book or pointing a friend to the library, we harness comics' ability to "float" as cultural experiences. To connect us to each other, and to new knowledge. When this happens, comics occupy a role that becomes personal, independent of our relations to what's going on in the comics market, a space that will likely never be hospitable to new ideas. Though I own plenty of comics, I read most comics through the library. My students read comics online, webcomics via sites and through social media. These experiences allow stories, jokes, images and abstractions to flow through our minds without forcing our hand in financial transactions. In these experiences, comics, especially strips become viral, they become important, they become part of our stories. It's in this spirit that we here at Comics Workbook shout the mantra: commodity form as community form. If you or someone you know is interested in private patronage for forward thinking and passionate comics making, please send me a message. I'd love to talk to you. I'm working on a project through Comics Workbook that aims to create an equitable work environment for comics-makers, particularly oriented around comic strips. This is important work as comics are a vital, contemporary art form that has an extremely flimsy infrastructure. This all comes from things that I've learned thanks to the Kelly Strayhorn Theater's Future Makers program, my work at the Greater Pittsburgh Arts Council, conversations with Johanna Lasner and The Copacetic Comics Company's Bill Boichel and my time here with Comics Workbook. Share this page:Read More:06/14/201807/27/201802/13/201802/27/2018...
Sally IngrahamAugust 25, 2017NewsBon voyage to Caitlin Rose Boyle, and to Suzy & Cecil too – plus weird longbox comics finds and other news! ———————————————————————————————— Caitlin Rose Boyle's work was featured on the cover of Pittsburgh's City Paper this week, and inside there's an interview with her, on the eve of her departure for L.A. After a successful stint as the artist for Jonsey, Caitlin is ready to focus on animation for awhile and wants to be nearer to the studios where she hopes to collaborate. One of the things she'll miss about Pittsburgh however are the comic makers here. "There are too many wonderful artists in this city. John Peña taught a comics class at CMU that kind of helped jumpstart my comics making process. Juan Fernandez has been a constant friend since our time at school and he's one of the hardest working comics people I know! I'm always inspired after a conversation with Juan. Jenn Lisa's drawings are so full of life and heart; her comics & drawings supercharge me when I look at them. Lizzie Solomon's work pushes me to be bolder and weirder, Rachel Masilamani's work is so powerful and raw and makes me want to share my heart on the page. I'm very lucky I got to share a space with Pittsburgh artists and comics-makers for awhile." Caitlin also makes note of her influences and the changing comics scene. "I wasn't super into American comics growing up, and the male-dominated atmosphere was a big part of it. I gravitated towards manga, which had a huge selection of female creators to choose from in a bunch of different genres. There's still totally an old guard of comics dudes making really stale stuff with the bigger publishers, but there are honestly SO many women and non-binary people doing amazing work in comics right now, here and all over the world. A large chunk of it is independently published, or published online, but it's accessible and there's so much of it that I frequently have a backlog of amazing work to read through." Read the rest of the interview HERE – and good luck to you Caitlin! ———————————————————————————————— Gabriella Tito and I are releasing a collection of Suzy & Cecil strips! Pulling from the comic strip that has been shared daily on Instagram and here in the Comics Workbook Daily News since November 2016, it will feature 44 strips picked out of the hundreds that we've made so far. Please pre-order a copy HERE! ———————————————————————————————— Digging through longboxes is often how I discover new-to-me comics makers who happen to be women. As with any sort of hunting, there are good days, and bad days, and just weird days. It's interesting and informative to add names to my mental list, and file comics titles away, but not surprising that there is a great deal of chaff to sift through. Above is a comic by Diana Sasse, which at first glance I thought was a story by Donna Barr, who made those wild Stinz comics about centaurs. There are talking animals and centaurs galore in Diana Sasse's Frenchie Doudou series, which follows a French soldier through a fantasy version of Europe in a time similar to WWI. The centaurs, and their more humanoid biped strain of being, are the Germans. Diana is Swiss, and began publishing comics in 1988. I think her most recent project was this Antique White House series from the early 2000's (a European fairy-tale-style take on JFK…) I guess the wind has blown away much other traces of her work. Far more interesting – probably I should have led with this one – is one of Rachel Pollack's Doom Patrol issues, with art by Linda Medley. Rachel Pollack took over the writing on Doom Patrol when Grant Morrison left, and scribbled issues 64-87. Fans were heartbroken when Morrison left, but Rachel Pollack did some pretty interesting stuff with the series despite being a newcomer to comics – most notably, introducing a transgender character. Here's an interview with Rachel from 2014 where she talks about some of what she tried to do with the series. DC is actually finally collecting Rachel's run of Doom Patrol – Doom Patrol Book Four will be released in February of 2018. Rachel Pollack's run of Doom Patrol featured a number of different artists, but the issue I found was penciled by Linda Medley. She, of course, went on to be the award-winning creator of Castle Waiting, a series she started publishing in 1996 with the help of a Xeric grant, and continued to self-published for years on her own. Fantagraphics collected two volumes of Castle Waiting, but as of now Linda is working on volume 3 and is back to funding it herself (with a little help from her friends, hopefully). One more longbox find – and this one IS by Donna Barr. No centaurs – instead we have the adventures of the (sadly fictitious) younger brother of the notorious German general the Desert Fox (Erwin Rommel). His little brother is Oberst Manfred Pfirsich Marie Rommel, and he is the Desert Peach. An openly gay German soldier during WWII is somewhat intriguing, and his misadventures as the commander of the 469th Halftrack, Gravedigging and Support Unit of the Afrika Korps, are pretty bonkers. Supposedly this unit is for the fellows who are really not "fit for service" in the German Army, the weirdos and strays who were nonetheless enlisted. The Desert Peach mainly tries to keep them out of any fighting, beyond what fighting they do among themselves. From the looks of issue #2, the series is pretty lively, and it appears that Donna aimed to bring a few more dimensions to the good vs. evil story-line of WWII. I guess I'd have to read the rest to see if she succeeded… Earlier this year Donna Barr announced that the San Diego State University Library had released her Black Manuscripts – a series of 12 "ornate" works that collect what she was writing and drawing about in the mid-1970's, soon after she got out of the army – things she never expected to see published (like many girls of the time, she noted). You can peruse the manuscripts in the digital library HERE. ———————————————————————————————— In Addition Andrea Ayres digs into the barrier breaking/industry leading work of Kelly Sue DeConnick and MariNaomi over on The Comics Beat, laying out the resources both women have created to combat the problem of diversity in comics. Read the article HERE. Sara Lautman gives a shoutout to her "Microgeneration" on the New Yorker. Check out new online magazine Anomaly 25, featuring the work of a bunch of rad women – HERE. Melissa Mendes shared a comic she created based on a Twitter thread written by Julius Groat that deals with the recent white supremacist activity in Charlottsville. Read it HERE. ———————————————————————————————— Suzy and Cecil – 8-25-2017 – by Sally Ingraham ———————————————————————————————— Joanie and Jordie- 8-25-2017 – by Caleb Orecchio Share this page:Read More:02/23/201809/11/201802/27/201802/09/2018...
MoCCA Arts Festival 2018
Chris Anthony DiazApril 12, 2018The Diaz ArchiveHeld during the weekend of April 7-8, 2018 at Metropolitan West and Ink48 in New York City Jaime Hernandez Leslie Stein and Jaime Hernandez Leslie Stein and Jaime Hernandez Leslie Stein sketched a beautiful watercolor in my sketchbook of cartoonists, only 10 pages left until it's filled which i started in 2012! Hazel Newlevant and Julia Gfrörer Kevin McCloskey and Jaime Hernandez Jaime Hernandez Matthew James-Wilson Patrick Crotty and Jane Mai Patrick Crotty, Wren McDonald and Jane Mai at the Peow! Studio table Ann Telnaes J.t. Yost Gary Panter Jaime Hernandez and Marc Sobel Paul Karasik Mark Newgarden Mike Mignola Emily Silva of Fantagraphics Books John Cuneo At his Fantagraphics Books signing, John Cuneo sketched in his new book for fans JooHee Yoon is the cartoonist who did the beautiful MoCCA Fest 2018 program cover Robyn Chapman of Paper Rocket Robyn Chapman, Colin Lidston and Mike Diana at the Paper Rocket table Max de Radigués and Anna Haifisch Mike Diana Max de Radigués Gregory Manchess Jaime Hernandez Leslie Stein Gregory Benton Anna Haifisch Tom Daly Bill Kartalopoulos Liz Suburbia Share this page:Read More:04/24/201803/13/201804/13/201807/25/2018...
Sally IngrahamApril 20, 2017NewsSally here with the PEN World Voices Festival lineup, a look at female cartoonists in mainstream publications, new work from Cecil Castellucci and Leela Corman, and more. ————————————————————————————————— The PEN World Voices Festival is coming up! Meg Lemke (editor in chief of Mutha Magazine, chair of the Comics and Graphic Novel Committee for the Brooklyn Book Festival, and guest editor of PEN America's Illustrated PEN series) is making sure that comics are well represented throughout the festival (see poster above!), and female creators especially are being given plenty of space to make some noise. From Rokudenashiko, to Roz Chaste, to Julia Gfrorer, to Gabrielle Bell, female cartoonists from all corners of the comics community are getting together to talk shop and share their work and their opinions. Please make an effort to get to these events and support all of the cartoonists and artists who will be lifting their voices during the festival. ————————————————————————————————— Hazel Cills wrote a detailed report for MTV News on the current place of female cartoonists in mainstream publications. It's a good moment to take notes, as it was announced recently that Bob Mankoff, the cartoon editor for The New Yorker, would be stepping down after 20 years in the role. Emma Allen will be picking up the reins in a few weeks (while maintaining her role as an editor for the magazine's Daily Shouts section) and it goes without saying that she's interested in hiring more female cartoonists. The New Yorker, along with other mainstream publications (especially in their print form), is a "notoriously hard place to submit cartoons" at the best of times, and despite the efforts of editors and staff here and there, comparatively few women succeed in getting their work published with any regularity. "Female illustrators make less money than their male counterparts on average and still have a long way to go when it comes to winning awards. The first Herblock Prize for editorial cartooning that was given to a woman went to Jen Sorensen in 2014, but just last year the prestigious comic artist award Angoulême Grand Prix nominated 30 men and zero women (which caused many male cartoonists, including Daniel Clowes and Chris Ware, to ask to be removed from the list). So while publications are seeking to diversify the bylines of writers and artists, when it comes to the artwork and cartoons published alongside them, the conversation is just getting started." The article serves as both a look at the current state of things, and a brief crash-course in the history of female cartoonists (and the wall of white males that they've been beating against for a century and more). It brings up an interesting note too about the "self-censoring" that women and POC creators apply to their work, knowing that white male characters are more likely to grab the attention of white male editors. " "As women we tend to self-censor a lot more," illustrator and Maryland Institute College of Art professor Shreyas R Krishnan says. "Whether it's OK to put something in the work or not purely because it doesn't conform to the default that's been established." Krishnan describes working, as an Indian woman, on a commissioned illustration of a female musician of color for white, male art directors. "I tend to abstract skin color, using blue or purple, so that's what I did," she says. "But then the art director was like, 'No, we need her to look like what she looks like,' and I was like , 'Sure, I can do that, I just wasn't sure if you guys would want it that way.' I was assuming they might not because they were white men." " There are many more interesting viewpoints and thoughts in the article – read the whole thing HERE. ————————————————————————————————— Although she is still working on Shade, the Changing Girl, Cecil Castellucci has another comics writing project coming from Dark Horse very soon. Soupy Leaves Home is "a Depression-era hobo odyssey about a young girl fleeing her stifling home to live life free on the rails under the mentorship of an elder vagabond who sees the world a little bit differently than most." It's a story that Cecil has been thinking about and working on since 2008. Paste Magazine sat down with her recently to talk about the comic. "Paste: Pearl's dad isn't her only obstacle—even other women in her life try to force her into the role of a dutiful daughter. Was it important to you to address gender inequality of the era in addition to Pearl's specific familial situation? And did your research lead you to any real-world tales of women hoboes living undercover as men? Castellucci: Absolutely it was important. Her family was, as were many others, still reeling from the Great Depression. That definitely plays a part in the dynamic that is going on there, which you can see on page one. Pinched times affect people and how and what they try to hold on to. I think for Soupy's family, gender dynamics and the idea of being proper and what is proper is what they cling to. You have to remember in 1932 a bobbed haircut was considered scandalous. Pants on women were still kind of weird. women had only gotten the vote a decade earlier. Bennington College, while not the first women's college, opened its doors that year. Soupy saw herself as a different kind of woman than what her family saw. She thinks of herself as becoming a modern woman, and while the idea about what that meant was emerging, it was still a very difficult road for a girl. Frankly, it still is. And while there was no particular girl or woman hobo that I can point to in my research, every book and documentary and fictional film about hoboes includes girls and women who rode the rails. They oftentimes traveled as boys, not only for safety reasons but for the freedom and ease it granted them." Read the rest of the interview HERE – look for the comic on shelves soon. ————————————————————————————————— There is an excerpt from Leela Corman's graphic novel-in-progress – Victory Parade – on Tablet Magazine. The story is about a Jewish American soldier named Sam Arensberg who helps "liberate a concentration camp – but the horrors he witnesses haunt his dreams". See the excerpt HERE. ————————————————————————————————— Shoots and Leaves Sarah Glidden's Rolling Blackouts: Dispatches from Turkey, Syria and Iraq has won the 2017 Lynd Ward Prize for Graphic Novel of the Year. Read more about it on The Comics Beat. Annie Mok speaks to Gabrielle Bell about Everything is Flammable – on The Comics Journal. AIGA Eye on Design has a review of Eleanor Davis' upcoming comic You & A Bike & A Road – read it HERE. Illustrated PEN has an excerpt from Mira Jacob's Questions From My Mixed-Race Son – guest editor Meg Lemke introduces it HERE. The Chicago Tribune has a review of Kristen Radtke's debut graphic memoir Imagine Wanting Only This. ————————————————————————————————— Blinkers – 4-21-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 4-21-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 4-21-2017 – by Caleb Orecchio Share this page:Read More:04/03/201803/23/201802/16/201810/30/2018...