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Michael Dean has been an editor at The Comics Journal since 1999 and is the co-author (with Tom Spurgeon) of the oral history of Fantagraphics Books, Comics As Art: We Told You So. He's currently editing Fantagraphics' Lost Marvels series, which restores forgotten Marvel classics in beautiful hardcover editions. Volume One reprints the never-before-collected 1969 horror and suspense series, Tower of Shadows. It hits shelves on April 29th and is available for preorder now from Fantagraphics' website and your local comics shop.For 70 minutes of bonus content — including more of our conversation with Michael, our coverage of the Trial of the Falcon in Captain America #191, and our Mighty MBTM Checklist feature — support us at patreon.com/marvelbythemonth. Subscribers at the $5/month level get instant access to our bonus feed of content that contains over 150 extended and exclusive episodes. Stories Covered in this Episode: "The Tarantula Is a Very Deadly Beast!" - Amazing Spider-Man #147, written by Gerry Conway, art by Ross Andru, Mike Esposito, and Dave Hunt, letters by Joe Rosen, colors by Stan Goldberg, edited by Len Wein, ©1975 Marvel Comics"Jackal, Jackal... Who's Got the Jackal?" - Amazing Spider-Man #148, written by Gerry Conway, art by Ross Andru, Mike Esposito, and Dave Hunt, letters by John Costanza, colors by Petra Goldberg, edited by Len Wein, ©1975 Marvel Comics"Even If I Live, I Die!" - Amazing Spider-Man #149, written by Gerry Conway, art by Ross Andru and Mike Esposito, letters by Annette Kawecki, colors by Janice Cohen, edited by Marv Wolfman, ©1975 Marvel Comics"Spider-Man... or Spider-Clone?" - Amazing Spider-Man #150, written by Archie Goodwin, art by Gil Kane, Mike Esposito, and Frank Giacoia, letters by Joe Rosen, colors by Petra Goldberg, edited by Marv Wolfman, ©1975 Marvel Comics "Marvel by the Month" theme v. 4 written by Robb Milne and performed by Robb Milne and Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Bluesky at @marvelbythemonth.com and Instagram (for now) at @marvelbythemonth, and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)
No es fácil, es incluso complicada, pero es sin duda una de las piezas de la historia de nuestro teatro más relevantes. Nos referimos a 'El público' de Federico García Lorca, escrita en los años 30: puro surrealismo, llena de simbolismo sobre el amor homosexual, pero también sobre el amor, en general, sobre el papel de la máscara en nuestra relaciones personales y sociales y el propio teatro. 'El público' es un reto para quienes la dirigen, la interpretan y para quienes acuden a verla. Ahora llega una nueva versión dirigida por Marta Pazos al Teatre Lliure de Barcelona. Una versión que ha escrito el uruguayo Gabriel Calderón, porque la interpreta la Compañía Nacional de Montevideo, que en su día dirigió Margarita Xirgu. Nuestro compañero de Territorio 9 de Radio 3, Javi Alonso, nuestro hombre de cómics, ha entrevistado a Joe Sacco, el periodista gráfico más importante de la actualidad. Hace 30 años publicó 'Palestina', el cómic en el que contaba su periplo por Cisjordania y la Franja de Gaza. Después de este cómic, que fue premiado con el American Book Award, llegaron otros sobre conflictos en diferentes partes del mundo. Ahora vuelve a Oriente Medio con 'La guerra en Gaza', 36 páginas editadas por Reservoir Books, en las que se recopilan las viñetas que publicó por entregas en la web de The Comics Journal.En la Groenlandia que Donald Trump quiere para EEUU, hubo dos compatriotas suyos a comienzos del siglo XX, dos exploradores, Mathew Henson y su ayudante Robert Peary. Se cree que los primeros humanos en pisar el Polo Norte, acompañados de cuatro inuits. Henson y Peary dejaron otra huella en Groenlandia: dejaron descendencia. Estos exploradores tenían la teoría de que, para alcanzar el Polo Norte, hacía falta una súper raza que combinara la fortaleza esquimal y la clarividencia occidental. Pusieron en práctica su teoría que sirve de punto de partida para el documental 'Objeto de Estudio', dirigido por Raúl Alaejos. Se estrenará el 31 de enero. Escuchar audio
Freddie och Anders tar en suplex på det gångna året delvis inspirerade av den voluminösa årsbästalistan från kollegorna på The Comics Journal. Det pratas aktuella läsupplevelser: Batman: Dark Age av Mark Russell, Michael och Laura Allred och arkivdykningar i Ghost Rider (2011) skriven av Daniel Way och tecknad av Richard Corben. 2024 var året då...
What If...? Donald Duck Became Thor, Houses of the Unholy, Get Fury, Hello Darkness, Night Club 2, Absolute Power, Bernie Mireault, Mr. Lovenstein Presents: Feelings, The Comics Journal #310, Grendel: Devil's Crucible: Defiance, Nice House by the Sea, plus a whole mess more!
Ambition. Perspective. Competition. Kindness. These themes are at the heart of our conversation with essayist and cartoonist Tim Kreider. Drawing from his essay, “The Ones Who Turned Back” we talk about mid-life changes in creative practice, plus thoughts on the tension between doing what you want and doing what you are rewarded for (or what people expect of you) and why you want to stay not only young at heart, but young at mind. Tim Kreider is the author of the essay collections We Learn Nothing and I Wrote This Book Because I Love You. His Substack is called “The Loaf” and he has contributed to The New York Times, The New Yorker, Vox, Nerve, Men's Journal, The Comics Journal, Film Quarterly, and Fangoria. His cartoons have been collected in three books by Fantagraphics Books. His cartoon, “The Pain—When Will It End?” ran for twelve years in the Baltimore City Paper and other alternative weeklies, and is archived at the paincomics.com. Tim was born and educated in Baltimore, Maryland. He lives in New York City and an idyllic compound in the Ozark woods. His cat The Quetzal died in 2013. His new cat is Richard, who is a fool, an adorable little fool.The ReferendumThe Ones Who Turned Back This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit emergingform.substack.com/subscribe
Become a Patron of Textual Healing: https://www.patreon.com/textualhealing The Whistler: 2421 N Milwaukee Ave, Chicago, IL 60647 Emily Capers (1:10): Emily Capers is a Midwestern mixed girl, who writes to begin conversations around identity by experimenting with form and genre. In Between My Bodies (Long Day Press) is her first chapbook. She currently lives in Chicago with her beautiful partner and dog, Millie. Dmitry Samarov (5:54): Dmitry Samarov paints and writes in Chicago. He is the author and illustrator of six books. He sends out a newsletter every Monday. An absurd amount of his work is collected at his website, which is seventeen years old now. Mallory Smart (14:14): Mallory Smart is a Chicago-based writer and Editor-in-Chief of Maudlin House. Some people even call her The Only Living Girl In Chicago. Mallory is also the host of Textual Healing and cohost of That Horrorcast. Her latest book, I Keep My Visions To Myself, is out now from With an X Books. Kyle François (17:38): Kyle François is a writer, musician, and educator in Chicago. He was raised in rural Iowa. He plays in the band Gold Dust and wrote the foreword to the 2024 edition of Arno E. Schmidt's The Accomplished Muskrat Trapper. Joshua Bohnsack (25:47): Joshua Bohnsack's work has appeared in AGNI, McSweeney's Internet Tendency, and others. He is the publisher of Long Day Press. He grew up on a farm and moved to Chicago. God'Aryan (32:30): God'Aryan is a producer; singer, songwriter and music artist based in Chicago. Inspired by artists like Frank ocean, paramore, and Charli xcx they make pop, hip hop, and alternative music. There music focuses on themes of vulnerability, relationships, and the struggles of being an artist in our current age. Aug Stone (38:56): Aug Stone is a writer, musician, & comedian. His 2023 novel, T_he Ballad Of Buttery Cake Ass, was one of Vulture's Best Comedy Books Of The Year. Aug is also author of the memoir Nick Cave's Bar and the comedy novel Off-License To Kill_, and his journalism has appeared in The Quietus, The Comics Journal, Under The Radar, and many more sites and magazines. Aug was a founding member of H Bird and The Soft Close-Ups, and has played in countless other bands. He performs comedy as absurdist stream-of-consciousness raconteur, Young Southpaw. Check out past episodes of Textual Healing on our website: https://textualpodcast.com/ Rate us on Apple Podcasts: https://podcasts.apple.com/us/podcast/textual-healing-with-mallory-smart/id1531379844 Follow us on Twitter: @PodHealing Take a look at Mallory's other work on her website: https://mallorysmart.com/ beats by God'Aryan
We're traveling back to The Comics Journal 60 from 1980, featuring an interview with Jim Shooter, who had just wrapped his first year as Editor-in-Chief at Marvel. EPS 62 Jim Shooter Show Stop! Let's Team-Up The Comics Journal Archive Subscription – Fantagraphics Fantastic Comic Fan Link Tree
Sally talks to fellow newly-minted Comics Journal co-editor Chris Mautner (Comic Books are Burning in Hell pod) about writing about comics, Bubbles Con, who isn't from Pennsylvania, Garfield, working in journalism, being a newspaper man, and what's next for TCJ. Check out Sally and Chris in action at The Comics Journal: tcj.com Listen to Chris on Comic Books Are Burning in Hell: comicsinhell.libsyn.com Follow Thick Lines on Instagram @thicklinespod. Support the show and get bonus episodes at patreon.com/thicklinespod.
In this bonus episode, Laura Paul takes the host chair to interview Alissa Hattman about her book Sift. Available here.Laura Paul is a writer and artist who has been published in The Brooklyn Rail, Los Angeles Review of Books, The Comics Journal, minor literature[s], Tarpaulin Sky Magazine, and other outlets. She holds an M.A. in Media Studies from UCLA and a B.A. in Comparative History of Ideas from the University of Washington. She works for the publisher Sublunary Editions and independent book distributor Asterism Books. To find out more, visit her website laurapaulwriter.com or connect with her on Instagram @laura_n_paulAlissa Hattman is author of the novel Sift, which engages with themes of ecological grief and climate repair. Her writing has appeared in The Rumpus, Carve, The Gravity of the Thing, Propeller, Big Other, Shirley Magazine, MAYDAY, and elsewhere. She holds an MFA in Fiction from Pacific University and an MA in English Literature from Portland State University. She has worked as a fiction editor, book reviewer, zine librarian, writing group facilitator, and teacher. Originally from North Dakota, she now lives and teaches in the Pacific Northwest. More at www.alissahattman.com.
COMICS ROT YOUR BRAIN! is a deep dive into ‘80s comics (plus a few noteworthy exceptions).In this weekly podcast, screenwriters Chris Derrick (STAR TREK: PICARD) and Steven Bagatourian (AMERICAN GUN) discuss their favorite books, runs, and creators from the Bronze Age.• EPISODE 1: Steven and Chris embark on the paradigm-shattering psychedelic trip that is the first seven issues of THRILLER — published by DC Comics in 1983 — and find themselves awestruck in its wake. One thing is certain: Trevor Von Eeden is a goddamn genius.SHOW NOTES0:05 - Discussing our first exposure to this "unsung-shock-your-brain" idea bomb of a comic.9:07 - An attempt to summarize our unwieldy pulp beast of a story, with an assist from Robert Loren Fleming, as well as discursive detours into THE SHADOW, DOC SAVAGE, and the great Richard Pryor.18:04 - Unconventional pacing in THRILLER and the powerful "delayed cumulative impact" of its story rhythms.23:20 - Novel panel compositions ("an obscene amount of panels!"), storytelling innovations, and the downright psychedelic properties of THRILLER. “…an incredible sense of discovery... Trevor Von Eden is literally inventing new storytelling mechanics on every page." "It's impossible for us to convey verbally how inventive this guy was."39:27 - TVE's atypical, kinetic, emotionally resonant approach to inking. "...no one was finishing their work with this roughness and gestural vitality... Von Eeden is all about the emotion..." With detours into the styles of Alex Toth, Neal Adams, and David Mazzuchelli.44:23 - Drawing characters "acting" without masks in non-superhero comics. 50:09 - Innovation in art, from Michaelangelo to manga, Frank Miller to Steven Spielberg, and how David Mazzuchelli's relatively small body of work that casts a huge shadow.1:30:17 - Dick Giordano's inking of TVE plus TVE being uniquely unrecognized for being such an absolute friggin' genius.1:37:17 - Celebrating the vibrant and unique voice of Robert Loren Fleming — way ahead of his time in his decompressed approach to comic book storytelling, as well as the bold originality of his ideas.1:38:45 - Reading from Heidi MacDonald's amazingly astute, contemporaneous review of THRILLER from THE COMICS JOURNAL #93.1:47 - Discussing the outrageous letter column (mis)behavior of THRILLER's so-called editor, Alan Gold.1:49:34 - Back to Heidi MacDonald's absurdly prescient review, praising the overarching ambition,+ Visit ComicsRotYourBrain.com to get a look at some of the fantastic art discussed in our episodes!+ We appreciate your support of the show via Patreon: ComicsRotYourBrain+ Join us! Sign up for our newsletter, Letter Column, at CRYB! Check out our YouTube channel. You can also find us wherever you stream your favorite podcasts.+ Read, Subscribe to, and Support Chris's Substack - THIN ICE©2024 Comics Rot Your Brain!#comics #comic #comicbooks #comicbook #comicbookfan #comicbookfans #comicpodcast #comicspodcast #comicbookpodcast #comiccollecting #comicscollecting #comiccollector #comicscollector #comiccollection #comix #80s #bronzeagecomics #bronzeage #thebronzeage #1980s #dc #dccomics #dccomic #dcuniverse #marvel #manga #marvelcomic #marvelcomics #comiccon #indiecomics #darkhorsecomics #imagecomics #vertigocomics #eighties #comicsrotyourbrain #cryb #graphicnovel #graphicnovels #sf #scifi #sciencefiction #spaceopera #80scomics #80scomic #1980scomic #1980scomics #eightiescomics
It's another chapter in The Dialogue Series - A chill ‘n chat with authors, fellow podcasters, musicians, and more. Our guest is Pop Culture Historian Mark Arnold. He's the author of several books about comic books, music, and animation. Among the books he's released - The Best of The Harveyville Fun Times!, focused on the comic book publisher Harvey Comics, Created and Produced by Total TeleVision productions: The Story of Underdog, Tennessee Tuxedo and the Rest, If You're Cracked, You're Happy: The History of Cracked Magazine, a two-volume set followed in 2011. More recently, Arnold wrote Mark Arnold Picks On The Beatles and Frozen in Ice: The Story of Walt Disney Productions 1966-1985.Along with a book on The Beatles, Mark has published books on The Monkees, including Long Title: Looking for the Good Times; Examining the Monkees' Songs, One By One and Headquartered: A Timeline of The Monkees Solo Years. He's contributed to several publications in the United States, including The Comics Journal, Hogan's Alley, Back Issue!, and Comics Buyer's Guide. Arnold also worked with Jerry Beck and Leslie Cabarga on their Harvey Comics Classics series for Dark Horse Comics. Mark and I talk about The Chipmunks, The Beatles, The Monkees (including the urban legend that Charles Manson tried out for the band!), along with some of Marks' other favorite classic rock bands and artists. We also detour into our favorite comic books, Disney past, present, and future, our love of The Three Stooges and more!Visit Mark Arnold's Fun Ideas WebsiteListen To The Fun Ideas PodcastFollow Mark Arnold on Facebook----------BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKXFind Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe
Storycomic Presents: Interviews with Amazing Storytellers and Artists
#MikeRhode #ComicArt #Cartooning #ComicBooks #StorycomicPresents #ComicsHistory #ComicScholar #ArtOfComics #ComicIndustry #ComicBookCulture #GraphicNovels #ComicArtists #ComicBookExperts #ComicBookScholarship #ComicsResearch Welcome to Episode 330 of Storycomic Presents! I'm your host, Barney Smith, and today we're delving into the fascinating world of comic art with our distinguished guest, Mike Rhode. An award-winning editor and scholar, Mike is renowned for his contributions to the International Journal of Comic Art and the Comics Research Bibliography. Discover more about Mike's work at his blog. About Mike Rhode: Mike Rhode's passion for comic art is evident in his extensive career. He's co-edited the Art of Richard Thompson book with Bill Watterson and authored numerous articles for the Comics Journal and Hogan's Alley. His role as editor of Exhibition and Media Reviews & general assistant editor of the International Journal of Comic Art reflects his deep involvement in the field. Mike's accolades include being a judge for the RFK Journalism Awards editorial cartoon division and the Herblock Award. His published works, such as "Harvey Pekar: Conversations" and "The Art of Richard Thompson," showcase his expertise. He's also contributed to the Swann Collection of the Library of Congress and has collections named after him at the Library of Congress and Michigan State University's Library's Comic Art Collection. In our conversation, Mike shares his insights on the expansive history of cartooning and comic books, as well as the future direction of comics. He offers invaluable advice for those aspiring to make their mark in the world of cartooning and comic books. Join us for this enlightening episode as we explore the rich tapestry of comic art with Mike Rhode. This Episode is sponsored by Janus Point Press. Learn more about their amazing work at: https://januspointpress.com/ The Title sequence was designed and created by Morgan Quaid. See more of Morgan's Work at: https://morganquaid.com/ Storycomic Logo designed by Gregory Giordano See more of Greg's work at: https://www.instagram.com/gregory_c_giordano_art/ Want to start your own podcast? Click on the link to get started: https://www.podbean.com/storycomic Follow us: Are you curious to see the video version of this interview? It's on our website too! www.storycomic.com www.patreon.com/storycomic www.facebook.com/storycomic1 https://www.instagram.com/storycomic/ https://twitter.com/storycomic1 For information on being a guest or curious to learn more about Storycomic? Contact us at info@storycomic.com Thank you to our Founders Club Patrons, Higgins802, Von Allan, Stephanie Nina Pitsirilos, Marek Bennett, and Matt & Therese. Check out their fantastic work at: https://marekbennett.com/ https://www.hexapus-ink.com/ https://www.stephanieninapitsirilos.com/ https://www.vonallan.com/ https://higgins802.com/
Beat the Kayfabe Effect at our Patreon: https://patreon.com/cartoonistkayfabe Ed's Links (Order RED ROOM!, Patreon, etc): https://linktr.ee/edpiskor Jim's Links (Patreon, Store, social media): https://linktr.ee/jimrugg ------------------------- E-NEWSLETTER: Keep up with all things Cartoonist Kayfabe through our newsletter! News, appearances, special offers, and more - signup here for free: https://cartoonistkayfabe.substack.com/ --------------------- SNAIL MAIL! Cartoonist Kayfabe, PO Box 3071, Munhall, Pa 15120 --------------------- T-SHIRTS and MERCH: https://shop.spreadshirt.com/cartoonist-kayfabe --------------------- Connect with us: Instagram: https://www.instagram.com/cartoonist.kayfabe/ Twitter: https://twitter.com/CartoonKayfabe Facebook: https://www.facebook.com/Cartoonist.Kayfabe Ed's Contact info: https://Patreon.com/edpiskor https://www.instagram.com/ed_piskor https://www.twitter.com/edpiskor https://www.amazon.com/Ed-Piskor/e/B00LDURW7A/ref=dp_byline_cont_book_1 Jim's contact info: https://www.patreon.com/jimrugg https://www.jimrugg.com/shop https://www.instagram.com/jimruggart https://www.twitter.com/jimruggart https://www.amazon.com/Jim-Rugg/e/B0034Q8PH2/ref=sr_tc_2_0?qid=1543440388&sr=1-2-ent
"I was really frightened of being near a dead body... until I held his hands"Hayley Campbell writes for WIRED, BuzzFeed, The Guardian, GQ, Esquire, Empire, VICE, FIGHTLAND, New Statesman, McSweeney's, The Comics Journal, hosts the Unpopped podcast for the BBC and Must Watch on BBC Radio 5 Live. She wrote a book about Neil Gaiman and her latest book, All the Living and the Dead: A Personal Investigation into the Death Trade, was published in 2022.Don't forget you can watch these interviews, fully extended, exclusively on Global Player. Download it from the App Store, or head to globalplayer.com. You can get in touch with Dan Schreiber on Twitter and Instagram (@Schreiberland). In his bio, you'll find the link to our Discord channel - a global community of likeminded weirdos!
Even if you don't recognize Tim Kreider's name, there's a good chance you've read his work. In addition to his two collections of essays, We Learn Nothing and I Wrote This Book Because I Love You, he's published many short essays in the New York Times opinion section, nearly all of which seem to go viral. The first such essay was The Busy Trap, published more than 10 years ago, wherein he called out Americans' perpetual condition of being “crazy busy” as “a kind of existential reassurance, a hedge against emptiness; obviously, your life cannot possibly be silly or trivial or meaningless if you are so busy.” He's also famous for an essay about knowing people are talking about you behind your back, which Meghan has mentioned several times on the podcast and which has been immortalized in a famous meme. In this conversation, Tim shares his thoughts about writing about yourself, writing about other people, teaching writing to college students and (unrelatedly) getting stabbed. He also talks about the process of deciding not to have kids, the difficulty of living with another person as you get older, and a phenomenon he describes as the “soul toupee.” For paying subscribers, Tim stays overtime and talks about (among other things) being 56-years-old, contemplating mortality, coping with a diminished attention span, and dating his fans – although he insists they're not really fans once you start dating them. To hear that portion, become a paying subscriber at https://meghandaum.substack.com/. Guest Bio Tim Kreider is the author of the essay collections We Learn Nothing and I Wrote This Book Because I Love You. He has contributed to The New York Times, The New Yorker's Page-Turner blog, Men's Journal, The Comics Journal, Film Quarterly, and Fangoria. His cartoon “The Pain–When Will It End?” ran for 12 years in the Baltimore City Paper and other weeklies and is archived at thepaincomics.com. Learn more about him at timkreider.com
Anne Elizabeth Moore is the author of the essay collection Body Horror: Capitalism, Fear, Misogyny, Jokes, available from The Feminist Press. It is the official May pick of the Otherppl Book Club. Moore was born in Winner, SD. She is the author of Unmarketable (2007), the Eisner Award-winning Sweet Little Cunt (2018), Gentrifier: A Memoir (2021), which was an NPR Best Book of the Year, and others. She is the founding editor of Houghton Mifflin's Best American Comics and the former editor of Punk Planet, The Comics Journal, and the Chicago Reader. She has received support from the National Endowment for the Arts, the New York State Council on the Arts, and the Ragdale Foundation. She is a Fulbright Senior Scholar, has taught in the Visual Critical Studies department at the School of the Art Institute of Chicago, and was the 2019 Mackey Chair of Creative Writing at Beloit College. She lives in the Catskills with her ineffective feline personal assistants, Taku and Captain America. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Google Podcasts, Spotify, Stitcher, iHeart Radio, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram YouTube TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices
Témoignage de Marc Tessier, présent lors de la dernière édition du Festival international de la bande dessinée d'Angoulême où fut présenté une exposition consacrée à la présidente d'honneur Julie Doucet, ainsi qu'à Marseille où s'est tenue une exposition en mémoire d'Henriette Valium.Pour suivre Julie Doucet : http://juliedoucet.net/Pour suivre Valium For Ever du Valium pour toujours : https://www.facebook.com/groups/600390791588910Pour lire le reportage de Marc Tessier publié sur le site du Comics Journal : https://www.tcj.com/doucet-and-valium-angouleme-and-marseille/Pour contribuer à la campagne de sociofinancement du coffret intégral de Valium publié en anglais chez Conundrum Press : https://crowdfundr.com/valiumboxsetPour écouter l'épisode d'Entre 2 cases consacré à Julie Doucet : https://rss.com/podcasts/entre2cases/903356/
In today's episode, Tsultrim speaks with UK-based writer, journalist and broadcaster Hayley Campbell about her new book “All the Living and the Dead”. This compelling and heartfelt book explores the death industry and those who work in it, as Hayley strives to answer her own questions about death and better understand society's attitudes towards the topic. Her research leads her to share conversations with many interesting people including embalmers, a former death row executioner, gravediggers and even people with jobs she'd never heard of before, such as a bereavement midwife. Hayley tells Tsultrim about her experiences meeting with these incredible people who have made death their life's work, but who often go unrecognised in society until we need them.In addition to her own books, Hayley's work has been featured on WIRED, BuzzFeed, The Guardian, GQ, Esquire, Empire, VICE, FIGHTLAND, New Statesman, McSweeney's, The Comics Journal. She also hosts the Unpopped podcast for the BBC and Must Watch on BBC Radio 5 Live. Visit Hayley's website: https://www.hayleycampbell.com/Follow Hayley on Twitter: https://twitter.com/hayleycampbellFollow Hayley on Instagram: https://www.instagram.com/hayleycampbelly/This episode of What About Death!? is hosted by Tsultrim and edited by Werner Mathiuet. Special thanks to Shannon Callander and the whole Karuna team.Brought to you by karuna.org.auFollow What About Death!? on social media: @whataboutdeathpodcastOur music is Bling Heights by Ahjay Stelino.If listening to these podcasts raises any concerns or issues for you please contact Lifeline on 13 11 14 or Beyond Blue on 1300 224 636.
The Comics Journal and Chuck Rozanski, Planet of the Apes #1 and Dave Wachter, Image-O-Rama: Local Man #2 and Tony Fleecs, The Ambassadors #1 by Mark Millar and Frank Quitely, Blood Stained Teeth by Christian Ward and Patric Reynolds, and I Hate this Place #7 by Kyle Starks, Artyom Topilin, and Lee Loughridge, Heimdall by Max Baitinger from Rotopol, Ronin Book 2 #2 by Frank Miller, Philip Tan, and Daniel Henriques from FMP, Wednesday, Wolverine, 2000AD Prog 2326 and Rogue Trooper by Garth Ennis and Patrick Goddard from Rebellion, Waller Vs. Wildstorm, Praise-O-Rama: Hairball #1, Mister Mammoth, and Miss Davis, plus a whole mess more!
This week's episode takes a look back at the career of trailblazing independent filmmaker Robert Downey, father of Robert Downey, Jr., and his single foray into the world of Hollywood filmmaking, Mad Magazine Presents Up the Academy. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we follow up on a movie based on a series of articles from a humor magazine that was trying to build their brand name by slapping their name on movies with a movie that was sponsored by a humor magazine trying to build their brand name by slapping their name on movies not unlike the other humor magazine had been doing but ended up removing their name from the movie, and boy is brain already fried and we're not even a minute into the episode. We're talking about Robert Downey's 1980 comedy Up the Academy. But, as always, before we get to Up the Academy, let's hit the backstory. If you know the name Robert Downey, it's likely because you know his son. Robert Downey, Jr. You know, Iron Man. Yes, Robert Downey, Jr. is a repo baby. Maybe you've seen the documentary he made about his dad, Sr., that was released by Netflix last year. But it's more than likely you've never heard of Robert Downey, Sr., who, ironically, was a junior himself like his son. Robert Downey was born Robert John Elias, Jr. in New York City in 1936, the son of a model and a manager of hotels and restaurants. His parents would divorce when he was young, and his mom would remarry while Robert was still in school. Robert Elias, Jr. would take the last name of his stepfather when he enlisted in the Army, in part because was wanted to get away from home but he was technically too young to actually join the Army. He would invent a whole new persona for himself, and he would, by his own estimate, spend the vast majority of his military career in the stockade, where he wrote his first novel, which still has never been published. After leaving the Army, Downey would spend some time playing semi-pro baseball, not quite good enough to go pro, spending his time away from the game writing plays he hoped to take, if not to Broadway, at least off-Broadway. But he would not make his mark in the arts until 1961, when Downey started to write and direct low-budget counterculture short films, starting with Ball's Bluff, about a Civil War soldier who wakes up in New York City's Central Park a century later. In 1969, he would write and direct a satirical film about the only black executive at a Madison Avenue advertising firm who is, through a strange circumstance, becomes the head of the firm when its chairman unexpectedly passes away. Featuring a cameo by Mel Brooks Putney Swope was the perfect anti-establishment film for the end of that decade, and the $120k film would gross more than $2.75m during its successful year and a half run in theatres. 1970's Pound, based on one of Downey's early plays, would be his first movie to be distributed by a major distributor, although it was independently produced outside the Hollywood system. Several dogs, played by humans, are at a pound, waiting to be euthanized. Oh, did I forget to mention it was a comedy? The film would be somewhat of a success at the time, but today, it's best known as being the acting debut of the director's five year old son, Robert Downey, Jr., although the young boy would be credited as Bob Downey. 1972's Greaser Palace was part of an early 1970s trend of trippy “acid Westerns,” like Alejandro Jodorowsky's El Topo and Dennis Hopper's The Last Movie. Character actor Allan Arbus plays Jesse, a man with amnesia who heals the sick, resurrects the dead and tap dances on water on the American frontier. It would be the first movie Downey would make with a million dollar budget. The critical consensus of the film at the time was not positive, although Jay Cocks, a critic for Time Magazine who would go on to be a regular screenwriter for Martin Scorsese in the 1980s, would proclaim the film to be “the most adventurous movie of the year.” The film was not a hit, and it would be decades before it would be discovered and appreciated by the next generation of cineastes. After another disappointing film, 1975's Moment to Moment, which would later be retitled Two Tons of Turquoise to Taos Tonight in order to not be confused with the 1978 movie of the same name starring John Travolta and Lily Tomlin that really, truly stunk, Downey would take some time off from filmmaking to deal with his divorce from his first wife and to spend more time with his son Robert and daughter Allyson. By 1978, Robert Downey was ready to get back to work. He would get a job quickly helping Chuck Barris write a movie version of Barris' cult television show, The Gong Show, but that wasn't going to pay the bills with two teenagers at home. What would, though, is the one thing he hadn't done yet in movies… Direct a Hollywood film. Enter Mad Magazine. In 1978, Mad Magazine was one of the biggest humor magazines in America. I had personally discovered Mad in late 1977, when my dad, stepmom and I were on a cross country trip, staying with friends outside Detroit, the day before my tenth birthday, when I saw an issue of Mad at a local grocery store, with something Star Wars-y on its cover. I begged my dad to give me the sixty cents to buy it, and I don't think I missed another issue for the next decade. Mad's biggest competition in the humor magazine game was National Lampoon, which appealed to a more adult funny bone than Mad. In 1978, National Lampoon saw a huge boost in sales when the John Landis-directed comedy Animal House, which had the name of the magazine in the title, became an unexpected smash hit at the box office. Warner Brothers, the media conglomerate who happened to own Mad Magazine, was eager to do something similar, and worked with Mad's publisher, Bill Gaines, to find the right script that could be molded into a Mad Magazine movie, even if, like Animal House, it wouldn't have any real connection to the magazine itself. They would find that script in The Brave Young Men of Weinberg, a comedy script by Tom Patchett and Jay Tarses, a pair of television comedy writers on shows like The Carol Burnett Show, The Sandy Duncan Show, The Bob Newhart Show and The Tony Randall Show, who had never sold a movie script before. The story would follow the misadventures of four teenage boys who, for different reasons, depend on each other for their very survival when they end up at the same military academy. Now, of all the research I've done for this episode, the one very important aspect of the production I was never able to find out was exactly how Robert Downey became involved in the film. Again, he had never made a Hollywood movie before. He had only made one movie with a budget of a million dollars. His movies were satirical and critical of society in general. This was not a match made in heaven. But somehow, someone at Warner Brothers thought he'd be the right director for the film, and somehow, Downey didn't disagree. Unlike Animal House, Downey and Warners didn't try to land a known commodity like John Belushi to play one of the four leads. In fact, all four of the leads, Wendell Brown, Tommy Citera, Joseph Hutchinson, and Ralph Macchio, would all be making their feature debuts. But there would be some familiar faces in the film. Ron Liebman, who was a familiar face from such films has Slaughterhouse-Five, Won Ton Ton: The Dog Who Saved Hollywood and Norma Rae, would play the head of the Academy. Tom Poston, who played Mindy's downstairs neighbor on Mork and Mindy, plays what would now be considered to be a rather offensive gay caricature as the guy who handles the uniforms of the cadets, Antonio Fargas, best known as Huggy Bear on Starsky and Hutch but who had previously worked with Downey on Putney Swope and Pound, as the Coach, and Barbara Bach, who had starred as Anya Amasova in the 1977 Bond film The Spy Who Loved Me. The $5m film would begin production in Salina, Kansas, on September 17th, 1979, still using the title The Brave Young Men of Weinberg. The primary shooting location would be the St. John's Military School, which was still functioning while the film was in production, and would use most of the 144 students as extras during the shoot. The film would shoot for nine weeks without much incident, and the cast and crew would be home in time to enjoy Thanksgiving with their friends and family. Unlike Animal House, the makers of The Brave Young Men of Weinberg did attempt to tie the movie into the magazine that would be presenting the film. At the very end of the movie, the magazine's mascot, Alfred E. Neuman, shows up on the side of the road, to wave goodbye to people and deliver his signature line, “What, Me Worry?” in a thought bubble that leads into the end credits. The person wearing the not quite realistic looking Neuman head gear, fourteen year old Scott Shapiro, was the son of the executive vice president of worldwide production at Warner Brothers. After the first of the year, as Downey worked on his edit of the film, the studio decided to change the title from The Brave Young Men of Weinberg to Mad Magazine Presents Up the Academy. Bill Gaines, the publisher of Mad Magazine, suggested a slightly different title, Mad Magazine Completely Disassociates Itself from Up the Academy, but the studio decided that was too long for theater marquees. But we'll come back to that in a moment. Warner Brothers set a June 6, 1980 release for the film, and Downey would finish his cut of the film by the end of March. A screening on the Warners lot in early April did not go well. Ron Liebman hated the film so much, he demanded that Warners completely remove his name from everything associated with the film. His name would not appear on the poster, the newspaper ads, the television commercials, the lobby cards, the press kit, or even in the movie itself. Bill Gaines would hate it to, such much in fact that he really did try to disassociate the magazine from the film. In a 1983 interview with The Comics Journal, Gaines would explain without much detail that there were a number of things he had objected to in the script that he was told would not be shot and not end up in the final film that were shot and did end up in the final film. But he wouldn't be able to get the magazine's name off the movie before it opened in theatres. Now, one of the problems with trying to research how well films did in 1980 is that you really have only two sources for grosses, Variety and The Hollywood Reporter, and they didn't always report national grosses every week, depending on outside factors. It just hadn't the national sport it's been since, say, 1983. So when Up the Academy opened in theatres on June 6th, we don't have a full idea of how many theatres it played in nationwide, or how much it grossed. The closest thing we do have for this Variety's listing of the top movies of the week based on a limited selection of showcase theatres in the top 20 markets. So we know that the film played at 7 showcase screens in New York City that weekend, grossing $175k, and in Los Angeles on 15 showcase screens, grossing $149k. But we also know, thanks to newspaper ads in the New York Times and the Los Angeles Times that the film was playing in 11 theatres in the New York Metro area, and in 30 theatres in the Los Angeles Metro area, so those listed grosses are merely a snapshot and not the whole picture. According to Variety's limited tracking of major market showcase theatres for the week, Up the Academy was the second highest grossing film of the week, bringing in $729k from 82 theatres. And according to their chart's side notes, this usually accounts for about 25% of a movie's national gross, if a film is playing in wide release around the entire country. In its second week, Up the Academy would place ninth on that showcase theatre listing, with $377k from 87 theatres. But by the time Variety did bring back proper national grosses in the film's third week of release, there would be no mention of Up the Academy in those listings, as Warners by this time had bigger fish to handle, namely Stanley Kubrick's adaptation of the Stephen King novel The Shining, and Bronco Billy, their Clint Eastwood movie for the year. In that showcase theatre listing, though, Up the Academy had fallen to 16th place, with $103k from 34 theatres. In fact, there is no publicly available record of how many theatres Up the Academy played in during its theatrical run, and it wouldn't be until the 1981 Warner Brothers 10-K annual filing with the Securities and Exchange Commission that Up the Academy had earned $10m from American movie theatres. If studios get about 55% of the box office grosses in rental fees, that would put the $5m film in a very good position to be profitable, depending on how much was spent on P&A, prints and advertising. The film wasn't an Animal House-level hit, but it wasn't exactly the bomb many have painted it to be. After Up the Academy, two of the actors, Wendell Brown and Joseph Hutchinson, would never act in another movie, although, billed as Hutch Parker, the latter would produce six X-Men related movies between 2013 and 2019, including Logan. Tommy Citera would make two more movies until he left acting in 1988. And Ralph Macchio would, of course, go on to play Daniel LaRusso, the Karate Kid, in a career-defining role that he's still playing nearly forty years later. Robert Downey would make another wacky comedy, called Moonbeam, in 1982. Co-written with Richard Belzer, Moonbeam would feature a fairly interesting cast including Zack Norman, Tammy Grimes, Michael J. Pollard, Liz Torres and Mr. Belzer, and tells the story of a New York cable television station that becomes world famous when they accidentally bounce their signal off the moon. But the film would not get released until October 1986, in one theatre in New York City for one week. It couldn't even benefit from being able to promote Robert Downey, Jr., who in the ensuing years had started to build an acting career by being featured in John Sayles' Baby It's You, Fritz Kiersch's Tuff Turf, John Hughes' Weird Science, and the Rodney Dangerfield movie Back to School, as well as being a member of the cast of Saturday Night Live for a year. There's be sporadic work in television, working on shows like Matlock and The Twilight Zone, but what few movies he could get made would be pale shadows of her earlier, edgier work. Even with his son regularly taking supporting roles in his dad's movies to help the old man out, movies like Rented Lips and Too Much Sun would be critically panned and ignored by audiences. His final movie as a writer and director, Hugo Pool, would gross just $13k when it was released in December 1997, despite having a cast that included Patrick Dempsey, Richard Lewis, Malcolm McDowell, Alyssa Milano, Cathy Moriarty and Sean Penn, along with Junior. Downey would also continue to act in other director's movies, including two written and directed by one of his biggest fans, Paul Thomas Anderson. Downey would play Burt, the studio manager, in Boogie Nights, and the WDKK Show director in Magnolia. Anderson adored Downey so much, the Oscar-nominated filmmaker would sit down with Downey for a four-part conversation filmed for the Criterion Company in 2013. Robert Downey would pass away in July 2021, a curious footnote in the history of cinema, mostly because of the superstar he sired. Most of his movies are hard to find on video, and nearly impossible to find on streaming services, outside of a wonderful two disc DVD set issued by Criterion's Eclipse specialty label and several titles streaming on The Criterion Channel. Outside of Up the Academy, which is available to rent or purchase from Amazon, Apple TV and several other streaming services, you can find Putney Swope, Greaser's Palace and Too Much Sun on several of the more popular streaming services, but the majority of them are completely missing in action. You can also learn more about Robert Downey in Sr., a documentary streaming on Netflix produced by Robert Downey, Jr. where the son recounts the life and career of his recently passed father, alongside Paul Thomas Anderson, Alan Arkin, and mega-producer Norman Lear. Thank you for joining us. We'll talk again soon, when Episode 107, on John Landis's underrated 1985 comedy Into the Night, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
This week's episode takes a look back at the career of trailblazing independent filmmaker Robert Downey, father of Robert Downey, Jr., and his single foray into the world of Hollywood filmmaking, Mad Magazine Presents Up the Academy. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we follow up on a movie based on a series of articles from a humor magazine that was trying to build their brand name by slapping their name on movies with a movie that was sponsored by a humor magazine trying to build their brand name by slapping their name on movies not unlike the other humor magazine had been doing but ended up removing their name from the movie, and boy is brain already fried and we're not even a minute into the episode. We're talking about Robert Downey's 1980 comedy Up the Academy. But, as always, before we get to Up the Academy, let's hit the backstory. If you know the name Robert Downey, it's likely because you know his son. Robert Downey, Jr. You know, Iron Man. Yes, Robert Downey, Jr. is a repo baby. Maybe you've seen the documentary he made about his dad, Sr., that was released by Netflix last year. But it's more than likely you've never heard of Robert Downey, Sr., who, ironically, was a junior himself like his son. Robert Downey was born Robert John Elias, Jr. in New York City in 1936, the son of a model and a manager of hotels and restaurants. His parents would divorce when he was young, and his mom would remarry while Robert was still in school. Robert Elias, Jr. would take the last name of his stepfather when he enlisted in the Army, in part because was wanted to get away from home but he was technically too young to actually join the Army. He would invent a whole new persona for himself, and he would, by his own estimate, spend the vast majority of his military career in the stockade, where he wrote his first novel, which still has never been published. After leaving the Army, Downey would spend some time playing semi-pro baseball, not quite good enough to go pro, spending his time away from the game writing plays he hoped to take, if not to Broadway, at least off-Broadway. But he would not make his mark in the arts until 1961, when Downey started to write and direct low-budget counterculture short films, starting with Ball's Bluff, about a Civil War soldier who wakes up in New York City's Central Park a century later. In 1969, he would write and direct a satirical film about the only black executive at a Madison Avenue advertising firm who is, through a strange circumstance, becomes the head of the firm when its chairman unexpectedly passes away. Featuring a cameo by Mel Brooks Putney Swope was the perfect anti-establishment film for the end of that decade, and the $120k film would gross more than $2.75m during its successful year and a half run in theatres. 1970's Pound, based on one of Downey's early plays, would be his first movie to be distributed by a major distributor, although it was independently produced outside the Hollywood system. Several dogs, played by humans, are at a pound, waiting to be euthanized. Oh, did I forget to mention it was a comedy? The film would be somewhat of a success at the time, but today, it's best known as being the acting debut of the director's five year old son, Robert Downey, Jr., although the young boy would be credited as Bob Downey. 1972's Greaser Palace was part of an early 1970s trend of trippy “acid Westerns,” like Alejandro Jodorowsky's El Topo and Dennis Hopper's The Last Movie. Character actor Allan Arbus plays Jesse, a man with amnesia who heals the sick, resurrects the dead and tap dances on water on the American frontier. It would be the first movie Downey would make with a million dollar budget. The critical consensus of the film at the time was not positive, although Jay Cocks, a critic for Time Magazine who would go on to be a regular screenwriter for Martin Scorsese in the 1980s, would proclaim the film to be “the most adventurous movie of the year.” The film was not a hit, and it would be decades before it would be discovered and appreciated by the next generation of cineastes. After another disappointing film, 1975's Moment to Moment, which would later be retitled Two Tons of Turquoise to Taos Tonight in order to not be confused with the 1978 movie of the same name starring John Travolta and Lily Tomlin that really, truly stunk, Downey would take some time off from filmmaking to deal with his divorce from his first wife and to spend more time with his son Robert and daughter Allyson. By 1978, Robert Downey was ready to get back to work. He would get a job quickly helping Chuck Barris write a movie version of Barris' cult television show, The Gong Show, but that wasn't going to pay the bills with two teenagers at home. What would, though, is the one thing he hadn't done yet in movies… Direct a Hollywood film. Enter Mad Magazine. In 1978, Mad Magazine was one of the biggest humor magazines in America. I had personally discovered Mad in late 1977, when my dad, stepmom and I were on a cross country trip, staying with friends outside Detroit, the day before my tenth birthday, when I saw an issue of Mad at a local grocery store, with something Star Wars-y on its cover. I begged my dad to give me the sixty cents to buy it, and I don't think I missed another issue for the next decade. Mad's biggest competition in the humor magazine game was National Lampoon, which appealed to a more adult funny bone than Mad. In 1978, National Lampoon saw a huge boost in sales when the John Landis-directed comedy Animal House, which had the name of the magazine in the title, became an unexpected smash hit at the box office. Warner Brothers, the media conglomerate who happened to own Mad Magazine, was eager to do something similar, and worked with Mad's publisher, Bill Gaines, to find the right script that could be molded into a Mad Magazine movie, even if, like Animal House, it wouldn't have any real connection to the magazine itself. They would find that script in The Brave Young Men of Weinberg, a comedy script by Tom Patchett and Jay Tarses, a pair of television comedy writers on shows like The Carol Burnett Show, The Sandy Duncan Show, The Bob Newhart Show and The Tony Randall Show, who had never sold a movie script before. The story would follow the misadventures of four teenage boys who, for different reasons, depend on each other for their very survival when they end up at the same military academy. Now, of all the research I've done for this episode, the one very important aspect of the production I was never able to find out was exactly how Robert Downey became involved in the film. Again, he had never made a Hollywood movie before. He had only made one movie with a budget of a million dollars. His movies were satirical and critical of society in general. This was not a match made in heaven. But somehow, someone at Warner Brothers thought he'd be the right director for the film, and somehow, Downey didn't disagree. Unlike Animal House, Downey and Warners didn't try to land a known commodity like John Belushi to play one of the four leads. In fact, all four of the leads, Wendell Brown, Tommy Citera, Joseph Hutchinson, and Ralph Macchio, would all be making their feature debuts. But there would be some familiar faces in the film. Ron Liebman, who was a familiar face from such films has Slaughterhouse-Five, Won Ton Ton: The Dog Who Saved Hollywood and Norma Rae, would play the head of the Academy. Tom Poston, who played Mindy's downstairs neighbor on Mork and Mindy, plays what would now be considered to be a rather offensive gay caricature as the guy who handles the uniforms of the cadets, Antonio Fargas, best known as Huggy Bear on Starsky and Hutch but who had previously worked with Downey on Putney Swope and Pound, as the Coach, and Barbara Bach, who had starred as Anya Amasova in the 1977 Bond film The Spy Who Loved Me. The $5m film would begin production in Salina, Kansas, on September 17th, 1979, still using the title The Brave Young Men of Weinberg. The primary shooting location would be the St. John's Military School, which was still functioning while the film was in production, and would use most of the 144 students as extras during the shoot. The film would shoot for nine weeks without much incident, and the cast and crew would be home in time to enjoy Thanksgiving with their friends and family. Unlike Animal House, the makers of The Brave Young Men of Weinberg did attempt to tie the movie into the magazine that would be presenting the film. At the very end of the movie, the magazine's mascot, Alfred E. Neuman, shows up on the side of the road, to wave goodbye to people and deliver his signature line, “What, Me Worry?” in a thought bubble that leads into the end credits. The person wearing the not quite realistic looking Neuman head gear, fourteen year old Scott Shapiro, was the son of the executive vice president of worldwide production at Warner Brothers. After the first of the year, as Downey worked on his edit of the film, the studio decided to change the title from The Brave Young Men of Weinberg to Mad Magazine Presents Up the Academy. Bill Gaines, the publisher of Mad Magazine, suggested a slightly different title, Mad Magazine Completely Disassociates Itself from Up the Academy, but the studio decided that was too long for theater marquees. But we'll come back to that in a moment. Warner Brothers set a June 6, 1980 release for the film, and Downey would finish his cut of the film by the end of March. A screening on the Warners lot in early April did not go well. Ron Liebman hated the film so much, he demanded that Warners completely remove his name from everything associated with the film. His name would not appear on the poster, the newspaper ads, the television commercials, the lobby cards, the press kit, or even in the movie itself. Bill Gaines would hate it to, such much in fact that he really did try to disassociate the magazine from the film. In a 1983 interview with The Comics Journal, Gaines would explain without much detail that there were a number of things he had objected to in the script that he was told would not be shot and not end up in the final film that were shot and did end up in the final film. But he wouldn't be able to get the magazine's name off the movie before it opened in theatres. Now, one of the problems with trying to research how well films did in 1980 is that you really have only two sources for grosses, Variety and The Hollywood Reporter, and they didn't always report national grosses every week, depending on outside factors. It just hadn't the national sport it's been since, say, 1983. So when Up the Academy opened in theatres on June 6th, we don't have a full idea of how many theatres it played in nationwide, or how much it grossed. The closest thing we do have for this Variety's listing of the top movies of the week based on a limited selection of showcase theatres in the top 20 markets. So we know that the film played at 7 showcase screens in New York City that weekend, grossing $175k, and in Los Angeles on 15 showcase screens, grossing $149k. But we also know, thanks to newspaper ads in the New York Times and the Los Angeles Times that the film was playing in 11 theatres in the New York Metro area, and in 30 theatres in the Los Angeles Metro area, so those listed grosses are merely a snapshot and not the whole picture. According to Variety's limited tracking of major market showcase theatres for the week, Up the Academy was the second highest grossing film of the week, bringing in $729k from 82 theatres. And according to their chart's side notes, this usually accounts for about 25% of a movie's national gross, if a film is playing in wide release around the entire country. In its second week, Up the Academy would place ninth on that showcase theatre listing, with $377k from 87 theatres. But by the time Variety did bring back proper national grosses in the film's third week of release, there would be no mention of Up the Academy in those listings, as Warners by this time had bigger fish to handle, namely Stanley Kubrick's adaptation of the Stephen King novel The Shining, and Bronco Billy, their Clint Eastwood movie for the year. In that showcase theatre listing, though, Up the Academy had fallen to 16th place, with $103k from 34 theatres. In fact, there is no publicly available record of how many theatres Up the Academy played in during its theatrical run, and it wouldn't be until the 1981 Warner Brothers 10-K annual filing with the Securities and Exchange Commission that Up the Academy had earned $10m from American movie theatres. If studios get about 55% of the box office grosses in rental fees, that would put the $5m film in a very good position to be profitable, depending on how much was spent on P&A, prints and advertising. The film wasn't an Animal House-level hit, but it wasn't exactly the bomb many have painted it to be. After Up the Academy, two of the actors, Wendell Brown and Joseph Hutchinson, would never act in another movie, although, billed as Hutch Parker, the latter would produce six X-Men related movies between 2013 and 2019, including Logan. Tommy Citera would make two more movies until he left acting in 1988. And Ralph Macchio would, of course, go on to play Daniel LaRusso, the Karate Kid, in a career-defining role that he's still playing nearly forty years later. Robert Downey would make another wacky comedy, called Moonbeam, in 1982. Co-written with Richard Belzer, Moonbeam would feature a fairly interesting cast including Zack Norman, Tammy Grimes, Michael J. Pollard, Liz Torres and Mr. Belzer, and tells the story of a New York cable television station that becomes world famous when they accidentally bounce their signal off the moon. But the film would not get released until October 1986, in one theatre in New York City for one week. It couldn't even benefit from being able to promote Robert Downey, Jr., who in the ensuing years had started to build an acting career by being featured in John Sayles' Baby It's You, Fritz Kiersch's Tuff Turf, John Hughes' Weird Science, and the Rodney Dangerfield movie Back to School, as well as being a member of the cast of Saturday Night Live for a year. There's be sporadic work in television, working on shows like Matlock and The Twilight Zone, but what few movies he could get made would be pale shadows of her earlier, edgier work. Even with his son regularly taking supporting roles in his dad's movies to help the old man out, movies like Rented Lips and Too Much Sun would be critically panned and ignored by audiences. His final movie as a writer and director, Hugo Pool, would gross just $13k when it was released in December 1997, despite having a cast that included Patrick Dempsey, Richard Lewis, Malcolm McDowell, Alyssa Milano, Cathy Moriarty and Sean Penn, along with Junior. Downey would also continue to act in other director's movies, including two written and directed by one of his biggest fans, Paul Thomas Anderson. Downey would play Burt, the studio manager, in Boogie Nights, and the WDKK Show director in Magnolia. Anderson adored Downey so much, the Oscar-nominated filmmaker would sit down with Downey for a four-part conversation filmed for the Criterion Company in 2013. Robert Downey would pass away in July 2021, a curious footnote in the history of cinema, mostly because of the superstar he sired. Most of his movies are hard to find on video, and nearly impossible to find on streaming services, outside of a wonderful two disc DVD set issued by Criterion's Eclipse specialty label and several titles streaming on The Criterion Channel. Outside of Up the Academy, which is available to rent or purchase from Amazon, Apple TV and several other streaming services, you can find Putney Swope, Greaser's Palace and Too Much Sun on several of the more popular streaming services, but the majority of them are completely missing in action. You can also learn more about Robert Downey in Sr., a documentary streaming on Netflix produced by Robert Downey, Jr. where the son recounts the life and career of his recently passed father, alongside Paul Thomas Anderson, Alan Arkin, and mega-producer Norman Lear. Thank you for joining us. We'll talk again soon, when Episode 107, on John Landis's underrated 1985 comedy Into the Night, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
*Theme Music: Richter FM – Hibiscus* Bandcamp: https://tinyurl.com/55sw82j8 Spotify: https://tinyurl.com/mr2pmykv Apple Music: https://tinyurl.com/y7kwm3nu Soundcloud: https://tinyurl.com/2p8wyh6h YouTube: https://tinyurl.com/yh6puhwn That Comic Smell Issue 1&2 are now available from Big Cartel Go to thatcomicsmell.com for more details on how to get your copy today! Back in 2022 we spoke about Mr Grant after sadly hearing of his passing. We were all very big fans and it was great to share around the work we had of his and talk about times we had either seen or met him. A true gentleman and a master of his craft. He is sorely missed. https://www.tcj.com/alan-grant-1949-2022/ (Above is The Comics Journal obituary to Alan Grant) This and all the usual comics chat on… That Comic Smell! To find out where to find, listen, contact us and buy our comics then please visit thatcomicsmell.com Don't forget to Like, Share, Subscribe, Rate & Review. Most importantly… Read/Make More Comics! Thanks again for listening and supporting the podcast
Subscribe to our channel: youtube.com/thecomicspals?sub_confirm... Watch us LIVE on Twitch every: Thursday at 6 PM EST for Pals Pulls Saturday at 10:15 AM EST for The Comics Pals Support us on Patreon at patreon.com/thecomicspals Join us on Discord: https://discord.gg/6RAX3sT 00:00 Intro 05:24 Jonathan Hickman RETURNS to Marvel to Bring Back the Ultimate Universe - Main Topic 52:24 Steven Yeun Joins Marvel's Thunderbolts Film in Secret Role 1:05:39 ComicsPRO Summit Held This Week 1:12:30 Marvel Announces Contest of Chaos Event 1:16:36 Star Wars Crossover Event Coming From Marvel 1:20:55 DC Officially Announces Knight Terrors Event 1:30:37 Boom Studios ComicsPRO Announcements 1:46:49 Bombshell Interview with Dan DiDio with The Comics Journal - https://www.tcj.com/youve-got-to-constantly-reinvent-yourself-dan-didio-is-on-a-mission-to-save-comics-from-itself/ The Comics Pals is a weekly comic book podcast where a group of comic book journalists and friends get together to talk comics. ------------------------------------------------------------------------------------------------- PodBean: https://thecomicspals.podbean.com/ Twitter: https://twitter.com/thecomicspals Instagram: https://instagram.com/thecomicspals ------------------------------------------------------------------------------------------------- Join us on Discord: https://discord.gg/6RAX3sT ------------------------------------------------------------------------------------------------- The Pals: Sean: https://twitter.com/SeansSoapbox Tyler: https://twitter.com/TheTylerOlson Cale: https://twitter.com/Totointow Marco: https://twitter.com/mrmarcoanimoto
AUG STONE is a writer, musician, & comedian. Author of the comedy novels The Ballad Of Buttery Cake Ass and Off-License To Kill, as well as the memoir _Nick Cave's Bar, _his journalism has appeared in The Quietus, The Comics Journal, Under The Radar, and many more sites and magazines. Aug was a founding member of H Bird and The Soft Close-Ups, and has played in countless other bands. He performs comedy as absurdist stream-of-consciousness raconteur, Young Southpaw. His Twitter is @AugStone and his website is: http://www.augstone.com/ Intro beats by God'Aryan Support Textual Healing with Mallory Smart by contributing to their tip jar: https://tips.pinecast.com/jar/textual-healing
AUG STONE is a writer, musician, & comedian. Author of the comedy novels The Ballad Of Buttery Cake Ass and Off-License To Kill, as well as the memoir _Nick Cave's Bar, _his journalism has appeared in The Quietus, The Comics Journal, Under The Radar, and many more sites and magazines. Aug was a founding member of H Bird and The Soft Close-Ups, and has played in countless other bands. He performs comedy as absurdist stream-of-consciousness raconteur, Young Southpaw. Support Textual Healing with Mallory Smart by contributing to their tip jar: https://tips.pinecast.com/jar/textual-healing
A Zoo in Winter by Jiro Taniguchi is an engrossing semi-autobiographical coming of age story about breaking into the manga industry. It's a one-volume manga that we warmly recommend. In this episode, we talk a bit about Taniguchi's work and our familiarity with him before going into our book discussion. This is an excellent comic that we hope you check out! It's another episode for our #mangamenagerie! The Taniguchi obituary written by Zack Davisson and published on The Comics Journal website, which is referenced in our episode, can be found here: https://www.tcj.com/jiro-taniguchi-1947-2017/ Thanks again to Corey J. Beats for producing our theme music. Check out all of his music on various platforms here: linktr.ee/Coreyjbeats If you have any thoughts, comments, questions, or corrections, we're here. Feel free to hit us up on our socials, or email us! We have a Linktree here: linktr.ee/betweenthegutters
Katie and Sally discuss their top comic picks from 2022, plus the first inaugural Reading of the Patrons and a Thick Lines/Bubbles contest announcement. Sally's picks: "Romantic 3-D Sci-Fi Nightmare Goes to War #2" by Brad McGinty (Glorp Gum) "Acid Nun" by Corinne Halbert (Silver Sprocket) "The Archway" by Emma Jon-Michael Frank & Patrick Kyle (self-published) "The Devil's Grin #2" by Alex Graham (self-published) "Give My Best to Your Kind, Part One: I'm Sympathetic to Your Situation, Friend!" by Frances Cordelia Beaver (self-published) "Late Harvest" by Noel Freibert with Leomi Sadler (self-published) "Sauve-Qui-Peut Comics" by Sophie Crumb, Aline Kominsky-Crumb & R. Crumb (David Zwirner Books) "CRIME HOT 2" by Alex Robbins (The Teenagers Company) "15 Things to Do with a Sculpture" by Shary Boyle (self-published) "Puttana Cartoonist" by Heather Loase (self-published) "Betty's First Swinger's Party" by David Sandlin (self-published) "HORSE" by Bread Tarleton (self-published) Katie's picks: "Rock Collector" by Becca Tobin (Silver Sprocket) "The Complete Crepax Vol. 7: Erotic Stories, Part I" by Guido Crepax (Fantagraphics) "Orochi: The Perfect Edition, Vol. 2" by Kazuo Umezz (VIZ) "Crickets #7" by Sammy Harkham (Commonwealth Comics Co. & Secret Headquarters) "Meddle #1" by Marc Wagner (Strangers Fanzine) "Love and Rockets Vol. IV #12" by Gilbert Hernandez & Jaime Hernandez (Fantagraphics) "How Jarred Kelenic Got His Groove Back" by Gina Wynbrandt (Bubbles #15) Mutual picks: "Fondant #2 & #3" - J. Webster Sharp (self-published) Honorable mention from 2020: "Pinky and Pepper Forever" by Eddy Atoms (Silver Sprocket) Become a Thick Lines patron by January 31 to enter to win a 3-issue subscription to Bubbles Zine: patreon.com/thicklinespod Join Sally in conversation with Tommi Parrish on Saturday, January 21 at Partners and Son: partnersandson.com Read the Best of 2022 on The Comics Journal: tcj.com/the-best-comics-of-2022 Follow Thick Lines on Instagram @thicklinespod. Happy New Year!
Full episode at patreon.com/thicklinespod. Katie and Sally discuss the second issue of comics periodical Panels from 1981, including a lengthy interview with Carl Barks aka The Good Duck Artist. Also discussed: Aline Kominsky-Crumb, Jesse Marsh, Alex Toth, The Comics Journal, getting mad, Tarzan, Trina Robbins, Bill Griffith, Bugs Bunny, and lots more. Thank you to our patrons for making this episode possible! Catch Katie at the Permanent Damage show in Los Angeles on Sunday, December 4: roadhouse.permanentrecordsla.com
Andrea Fiamma"Il grande libro dei quiz sulle serie tv"Illustrazioni di Riccardo RosannaNewton Compton Editorihttps://www.newtoncompton.com/Chi ha deciso che i Simpson dovevano essere gialli? Come si chiamano le protagoniste di Sex & the City? Qual è la prima serie TV mai trasmessa in Italia? Perché il pesce rosso di René Ferretti si chiama Boris? A chi è ispirata la maschera di La casa di carta? E quelle di Squid Game?Le domande di questo libro vi guideranno in un divertente viaggio attraverso la storia della serialità televisiva, spaziando in ogni epoca, nazione e genere, in un percorso fatto di serie imperdibili, episodi rimasti negli annali, personaggi indimenticabili e frasi cult, momenti rivoluzionari del linguaggio televisivo, ma anche scandali, grandi record e fiaschi spettacolari. Grazie agli originali quiz di questo manuale, adatti sia ai conoscitori che agli appassionati, metterete alla prova la vostra conoscenza delle serie TV. Un gioco avvincente per sfidare gli amici o sé stessi e diventare dei veri esperti di televisione!Divertiti a indovinare tutte le risposte e sfida i tuoi amici• qual è il cibo preferito di Homer Simpson?• quante sono le serie TV con protagonisti medici?• chi è il primo supereroe della storia della TV?• qual è l'episodio più visto di sempre?• quali sono i segreti della regina degli scacchi?• dove lavora il commissario Montalbano?...e tanti altri quiz sulle serie TV!Andrea FiammaSi occupa di fumetti, cinema e televisione. Vincitore di premi presso Treccani, Scuola Holden e Treviso Comic Book Festival, ha collaborato con il festival della letteratura di Mantova e il Comicon di Napoli. Ha scritto per Link - Idee per la TV, Fumettologica, Rivista Studio e The Comics Journal. Per la Newton Compton ha scritto Cinematerapia, 50 manga da leggere almeno una volta nella vita, Il grande libro dei quiz sulle serie TV e Il grande libro dei quiz sui fumetti e i manga.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/
Today, Luke Geddes (Heart of Junk) talks to us about his ideal relationship with his fans, how readings can go wrong, the unique way his book found a publisher, kitsch and pop culture, his record company, and more! Luke Geddes holds a PhD in comparative literature and creative writing from the University of Cincinnati. He lives in Milwaukee, WI. He is the author of the novel Heart of Junk, the short story collection I Am a Magical Teenage Princess, and his writing has appeared in Conjunctions, Mid-American Review, Hayden's Ferry Review, Washington Square Review, The Comics Journal, Electric Literature, and elsewhere. SPECIAL SHOW NOTES: Sam Sweet! Hadley Lee Lightcap! All Night Menu! Luke's Halloween-themed TV project: TV GRIME Learn more about your ad choices. Visit megaphone.fm/adchoices
Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies
Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature
Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies
Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture
Ed's Links (Order RED ROOM!, Patreon, etc): https://linktr.ee/edpiskor Jim's Links (Patreon, Store, social media): https://linktr.ee/jimrugg Michel Fiffe: http://michelfiffe.com/ ------------------------- E-NEWSLETTER: Keep up with all things Cartoonist Kayfabe through our newsletter! News, appearances, special offers, and more - signup here for free: https://cartoonistkayfabe.substack.com/ --------------------- SNAIL MAIL! Cartoonist Kayfabe, PO Box 3071, Munhall, Pa 15120 --------------------- T-SHIRTS and MERCH: https://shop.spreadshirt.com/cartoonist-kayfabe --------------------- Connect with us: Instagram: https://www.instagram.com/cartoonist.kayfabe/ Twitter: https://twitter.com/CartoonKayfabe Facebook: https://www.facebook.com/Cartoonist.Kayfabe Ed's Contact info: https://Patreon.com/edpiskor https://www.instagram.com/ed_piskor https://www.twitter.com/edpiskor https://www.amazon.com/Ed-Piskor/e/B00LDURW7A/ref=dp_byline_cont_book_1 Jim's contact info: https://www.patreon.com/jimrugg https://www.jimrugg.com/shop https://www.instagram.com/jimruggart https://www.twitter.com/jimruggart https://www.amazon.com/Jim-Rugg/e/B0034Q8PH2/ref=sr_tc_2_0?qid=1543440388&sr=1-2-ent
Alex Grand and co-host Jim Thompson interview Fantagraphics publisher, The Comics Journal co-founder, and Genius in Literature Award recipient Gary Groth, in part 2 of a 2 parter covering his full publishing career starting at age 13, his greatest accomplishments and failures, feuds and friends, journalistic influences and ideals, lawsuits and controversies. Learn which category best describes ventures like Fantastic Fanzine, Metro Con ‘71, The Rock n Roll Expo '75, Amazing Heroes, Honk!, Eros Comics, Peanuts, Dennis the Menace, Love and Rockets, Jacques Tardi, Neat Stuff and the famous Jack Kirby interview; and personalities like Jim Steranko, Pauline Kael,Harlan Ellison, Hunter S. Thompson, Kim Thompson, CC Beck, Jim Shooter, Alan Light and Jules Feiffer. Plus, Groth expresses his opinions ... on everything! Edited & Produced by Alex Grand. Images used in artwork ©Their Respective Copyright holders, Photo ©Chris Anthony Diaz CBH Podcast ©Comic Book Historians. Thumbnail Artwork ©Comic Book Historians. Music - standard license, Lost European.CBH Interview SeriesComic Book Historians Podcast#TheComicsJournal #GaryGroth #FantagraphicsSupport the show
Alex Grand and co-host Jim Thompson interview Fantagraphics publisher, The Comics Journal co-founder, and Genius in Literature Award recipient Gary Groth, in Part 1 of a 2 parter covering his full publishing career starting at age 13, his greatest accomplishments and failures, feuds and friends, journalistic influences and ideals, lawsuits and controversies. Learn which category best describes ventures like Fantastic Fanzine, Metro Con ‘71, The Rock n Roll Expo '75, Amazing Heroes, Honk!, Eros Comics, Peanuts, Dennis the Menace, Love and Rockets, Jacques Tardi, Neat Stuff and the famous Jack Kirby interview; and personalities like Jim Steranko, Pauline Kael,Harlan Ellison, Hunter S. Thompson, Kim Thompson, CC Beck, Jim Shooter, Alan Light and Jules Feiffer. Plus, Groth expresses his opinions ... on everything! Edited & Produced by Alex Grand. Images used in artwork ©Their Respective Copyright holders, Photo ©Chris Anthony Diaz CBH Podcast ©Comic Book Historians. Thumbnail Artwork ©Comic Book Historians. Music - standard license, Lost European.CBH Interview SeriesComic Book Historians Podcast#TheComicsJournal #GaryGroth #FantagraphicsSupport the show (https://www.patreon.com/comicbookhistorians)
This week Lou is solo again, but has another great guest, as Eisner Award-winning cartoonist Jim Rugg joins the show to talk about one of Lou's long time loves...COMIC BOOKS! Jim talks about how his own love of comics lead him to a career as a cartoonist, the comic books he's created like The Plain Janes and Street Angel, and his upcoming Marvel project "Hulk: Grand Design", where he gets to put his take on the entire original Incredible Hulk Comic run! Of course, we will also talk about Wizard magazine, The Comics Journal, what it's like collecting comics today, and of course, the incredibly popular Youtube channel he is on with his pal, cartoonist Ed Piskor called "Cartoonist Kayfabe". All that, and the boss move he and Ed pulled on comic legend Todd McFarlane (to his credit Jim doesn't know what I'm talking about here).
Andrea Fiamma, Sebastiano Barcaroli"Cinematerapia"Curarsi con i filmIllustrazioni di Diego RiselliNewton Compton Editorihttps://www.newtoncompton.com/Rimedi cinematografici per ogni stato d'animoVuoi scacciare la tristezza? Ti serve una serata di relax per combattere lo stress? Hai voglia di una sana iniezione di felicità?Spesso usiamo il cinema per mettere in pausa i problemi di tutti i giorni, ma qual è il film giusto da vedere in un particolare stato d'animo? La risposta a questa domanda è finalmente arrivata. Cinematerapia è un atlante emotivo che attraverso più di cento film di epoche, paesi e generi diversi, consiglia la pellicola adatta al tuo stato emotivo.Quando siamo innamorati non adoriamo forse guardare film romantici? E se siamo affranti, un bel dramma che asseconda un pianto liberatorio non rimette a posto le cose? E spesso non è il personaggio di un film a ispirarci per trovare il coraggio di fare una scelta importante?Ogni scheda di Cinematerapia racconta la trama del film, l'emozione a esso associata - in una raccolta che unisce quelle più comuni come l'amore o la rabbia a quelle più particolari che non sapevi come definire finora - e poi curiosità, storie e critiche della pellicola, per ricordarci che i film, tra le tante cose che sanno fare, riflettono, ispirano, confortano. Ogni emozione ha trovato spazio sul grande schermo, anche quella che stiamo provando in questo momento. Non resta che sintonizzarsi ogni volta con un sentimento diverso: sorpresa, nostalgia, gioia, paura, meraviglia e tanto altro. Ci aspetta un viaggio indimenticabile alla scoperta del cinema... e di noi stessi.La prima guida cinematografica delle emozioni da consultare ogni giorno per scegliere il film giustoTi serve una carica di energia?Vuoi combattere lo stress?La tua relazione è finita?Non perdere più intere serate per decidere quale film guardare... esiste il film giusto per ogni stato d'animo!Innamorati con:Pretty woman • Titanic • Chiamami col tuo nomeEntusiasmati con:Bohemian Rhapsody • Harry Potter • Guerre stellariRitrova il buonumore con:Tootsie • Smetto quando voglio • Il ciclone...e vivi tante altre emozioni sul grande schermoAndrea Fiamma, si occupa di fumetti, cinema e televisione. Vincitore di premi presso Treccani, Scuola Holden e Treviso Comic Book Festival, ha collaborato con il festival della letteratura di Mantova e il Comicon di Napoli. Ha scritto per Link - Idee per la TV, Fumettologica, Rivista Studio e The Comics Journal. Per la Newton Compton ha scritto Cinematerapia e 50 manga da leggere almeno una volta nella vita.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/
This week Ryan rides solo and recommends a podcast, TV show, and some teams NOT to follow unless you're also a fan of misery. After that he cracks open a 9-2 first place beer and answers 20 questions for cartoonists from The Comics Journal website. Become a Patreon supporter and get early video versions of each episode plus much more. // Visit www.tigshow.com/merch to pick up one of our new shirts, coasters or stickers! // You can follow the show on twitter and Instagram at @tig_show. // Our intro music is a sample from Cockpit, by Silent Partner. #comics #podcasts #beer #TV #art #process #makingcomics #cartoonists #illustrators #huion --- Send in a voice message: https://anchor.fm/tigshow/message
Katie and Sally discuss “Magician A” by Natsuko Ishitsuyo (2020). Topics discussed include: Kiriko Nananan, Mary Gaitskill, Jan Švankmajer, and more. Next time: “Nocturne” by Tara Booth and “Someone Please Have Sex with Me” by Gina Wynbrandt. Follow us on Instagram @thicklinespod. Comics Lounge interview: www.youtube.com/watch?v=uIOYnmf8PIc Katie on "Magician A" for The Comics Journal: www.tcj.com/reviews/magician-a/
In which we discuss the first of our Boggy Boys: the Swamp Thing! He's warm moist and most definitely wild! Hear us discuss his origin! Hear us discuss his creators! Hear us make plant jokes!In our eighth (8th!) episode, we get up to no good! Hopefully, as the format keeps evolving, you can follow the information flow well enough. Our various topics seem to always present a new way to uh...present the information. Anyway, hope you like! If you have any questions, problems, recommendations, thoughts on life in general, please send 'em our way! Links are below!Website: https://pencilusinpodcast.buzzsprout.comFacebook Page: https://www.facebook.com/PencilUsInPodcastTwitter: @pencilusinemail: PencilUsInPodcast@gmail.comPhil Here: For research on books from the 70s-90s, Back Issue continues to be the way to go. I could spend hours looking around the internet for stuff when I could just purchase an issue or two of Back Issue instead. Here's the issue I used:Back Issue #6 (TwoMorrows Publishing): This particular issue has a nice Pro2Pro interview with Len Wein and Bernie Wrightson. Interview conducted by Dan Johnson.And now the obligatory list of links that I think provide some good info too:Len Wein interviewed by the always cool Nerd Team 30:https://www.nerdteam30.com/creator-conversations-retro/an-interview-with-len-wein-co-creator-of-swamp-thing-and-wolverineAn interview from The Comics Journal from 1979:http://www.tcj.com/the-len-wein-interview/An interview conducted at WonderCon back in 2014:https://www.youtube.com/watch?v=bveIEopGyoQMarv Wolfman interviews his childhood friend:http://www.marvwolfman.com/marv/Speaking_With_Len_Wein_Part_One.htmlLen is interviewed at home:http://www.blastoffcomics.com/2012/07/the-blastoff-video-interview-len-wein/Here's what we read comic-wise for this topic:House of Secrets: 92Swamp Thing: 1-24
In which we discuss the much-celebrated work of Walter Simonson on Thor during the 80s! It is still resonant today as even now, people anticipate an appearance from Beta Ray Bill in the MCU. Will he appear? I don't know, that's not our purview! We will, however, be gushing over a mutual favorite run of comics.This is episode...6? Already? Norse gods, how time does fly. Anyway, if you're still with us after Saga, then hold your horses! I go a little harder on the creator bio this time since we're mostly talking about one person here. I do mention the contributions of others, but their bios can wait for other episodes. Next time, Sal! Anyway, please leave a rating and comment for us wherever you listen to the podcast. If you would be so kind as to hit us up on Twitter or Facebook, we should be ever so grateful.Website: https://pencilusinpodcast.buzzsprout.comFacebook Page: https://www.facebook.com/PencilUsInPodcastTwitter: @pencilusinemail: PencilUsInPodcast@gmail.comPhil here: I'm back on the research reins for this episode. And fun it was! It's one of my favorite runs from one of my favorite creators. Trust you me, there will be more work from Walt coming up! Anyway, on to references used or interesting!Back Issue (TwoMorrows Publishing): 53, 117 (One of my favorite things to have found recently is this whole magazine dedicated to my particular area of interest in comics: the Bronze Age! These guys do good work. Yes, you'd have to pay for individual issues, but it's worth your money!)The Comics Journal interviews Simonson for an Artist's Edition of his Thor stuff:http://www.tcj.com/the-walter-simonson-interview/Another interview with Simonson about Thor stuff and more (I've linked to a few interviews from this gentlemen before. Always worthwhile.)https://www.nerdteam30.com/creator-conversations-retro/an-interview-with-walt-simonson-master-of-the-mighty-thor-friend-of-the-fourth-worldAlex Jay breaks down the timeline and process for his redesign of the Thor logo:http://alphabettenthletter.blogspot.com/2011/09/anatomy-of-logo-mighty-thor-part-1.htmlLetterer Todd Klein examines Thor logos over the years:https://kleinletters.com/Blog/logo-study-thor-part-1/And now the particular comics we read for this episode!Thor (vol 1): 337-382Balder the Brave: 1-4
Today's discussion is about…two African Americans whose undeniable talent changed the comics industry forever. George Herriman (1880-1944) created "Krazy Kat" (1913-1944), the most revered strip ever made. When "The Comics Journal" chose its greatest comics of the 20th Century, Herriman's strip was #1. There is arguably no comic work as canonical as Krazy Kat. "The comic counted E.E. Cummings, Picasso and De Kooning among its fans." And Matt Baker (1921-1959), who created the endlessly imitated "good girl" style in comics, like "Phantom Lady". He created the first black hero/superhero, "Voodah" (1945) and was the artist on the first graphic novel ever made, "It Rhymes with Lust" (1950). We'll discuss their groundbreaking work and put their lives into historical context to truly understand the struggle they must have had during Jim Crow era America. Their stories are not well known, but they should be...because of...you know...racism. REFERENCES For links to everything we mention on the show, visit: www.7robots.com/podcast/ LINKS
Kreider is a renowned cartoonist and writer, whose critical essays have appeared in Film Quarterly, The Comics Journal, Jump Cut, and Lip, and have been anthologized in Depth of Field: Stanley Kubrick, Film, and the Uses of History. Support this podcast
Hart is a successful horror author, a critically acclaimed poet (Poems for the Dead), a gifted filmmaker with a knack for doing the impossible (producing & editing the critically acclaimed Flowers on the Razorwire feature film with a blind director), a cutting edge music video director who has worked with international death metal legends Obituary, kings of black metal Dark Funeral and metal superstar Glenn Danzig. Most recently Mr. Fisher was a guest of the 2011 South by Southwest as a featured panel speaker for the Reel Murder: From Crime Scene to Big Screen panel with multi-platinum selling musician Phil Anselmo, Ami Canaan Mann, Steve Mims and best selling true crime author Corey Mitchell. Not satisfied with that, Mr. Fisher has committed himself to conquering the horror industry with his new multi-platform horror entertainment company, American Horrors. In May 2011, Mr. Fisher entered into a worldwide licensing agreement with FilmOn to launch American Horrors as a new uncut 24 hour horror television channel as part of FilmOn's basic tier of channels. American Horrors joins industry brand names such as BBC News, Universal Sports and more as part of FilmOn's basic line up of channels that are available to subscribers for a $7.95 monthly fee (purchase a full year at $79.95 and receive two months free). FilmOn allows viewers to stream live TV on their Mac or PC computers, iPads/tablets, smart phones & mobile devices (iPhone, Android, Blackberry etc., etc.) and has just recently launched the world's first AP breaking 24 hour news channel With a long and controversial career which began in comic books, where Fisher discovered such talents as Gerard Way (lead singer for the chart-topping rock band My Chemical Romance); John Cassaday (Captain America) and political essayist Stephen Elliott (a regular contributor for the San Francisco Chronicle, award-winning novelist and child protection advocate) among others, Fisher has carved out a fierce reputation and was dubbed ‘The Most Dangerous Man in Comics.' (Hero Illustrated, 1994.) First put on the map by writing and publishing the infamous Jeffrey Dahmer comic book series, Mr. Fisher went on to write and publish books that would garner the young creator the ire of Milwaukee Brewing with the Jeffrey Dahmer: Milwaukee's Best t-shirts, the fear of Image Comics founders Todd McFarlane, Rob Liefield and Jim Lee with the release of Kill Image and even a lawsuit from OJ Simpson over the Doin' Time With OJ and OJ's Big Bust Out books. Fisher's opinions on serial killers and serial killer culture have been sought by numerous television producers for programs such as ABC's Day1, CNN's Murder By Numbers documentary, Entertainment Tonight, Larry King Live, The Jerry Springer Show, The Bertice Berry Show, CNN Headline News, A&E's Biography, American Scary, American Justice, on the radio with Crime Prevention 101 and True Crimes and in magazines such as Time, Tattoo Savage, Hero Illustrated, People, The Comics Journal, the non-fiction best seller The A-Z Guide to Serial Killers and many more. Fisher began his art career as the publisher behind Boneyard Press, a ferociously independent publishing house that has garnered coverage all over the world, in Japan (Words), Germany (Ego Magazine), England (The Sun) and brought the mass media (as well as protest marchers) to his door thanks to books such as Jeffrey Dahmer: An Unauthorized Biography of a Serial Killer, Rush Limbaugh Must Die, Dark Angel, Kill Marvel and Jeffrey Dahmer vs. Jesus Christ. Fisher's two collections of poetry (Poems for the Dead & Still Dead) were both carried in the Hot Topic chain of boutiques. Twice, Hero Illustrated placed Mr. Fisher in their 100 Most Important People In The Comics Industry list, and rock star Glenn Danzig hired Fisher to be the managing editor for his publishing company, Verotik, which Mr. Fisher promptly steered to the height of its popularity and controversy, when Mr. Fisher and co-author Christian Moore's story for Verotika #4, "A Taste of Cherry" was banned in Oklahoma on the grounds that it was obscene material and is banned in that state to this day. Never one to shy away from outrageous showmanship, Fisher has faked his own death for April Fool's Day (he was dead for a week before the hoax was uncovered by a pairing of The Comics Journal and The Comic's Buyers Guide), spit in the eye of industry goliath Marvel Comics (at the San Diego ComiCon Fisher printed up hundreds of black t-shirts proclaiming that "Marvel Can Suck My Cock”-- The shirts sold out instantly and dogged the larger comics publisher at comics conventions for years after going onto be declared the most controversial t-shirt in comics history) and has proven he has a gift for stirring up controversy that sells his products by the truckload. Mr. Fisher has been a paid feature speaker around the world (including a headlining role at the Festival of Fantasy & Terror in Mexico City, sharing a building with the President of Mexico at the time, Vincente Fox), and has spoken publicly about American poetry, team building, leadership development, and all things horror. Mr. Fisher is currently the subject of a new documentary, The Scariest Man in America, and his first feature film, The Garbage Man is available on DVD and Netflix. You can see more of Mr. Fisher's news clips, music videos and more on his Youtube channel that has received more than Half a Million Plays and counting at http://www.youtube.com/crimepayshart.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/1198501/advertisement
Hart is a successful horror author, a critically acclaimed poet (Poems for the Dead), a gifted filmmaker with a knack for doing the impossible (producing & editing the critically acclaimed Flowers on the Razorwire feature film with a blind director), a cutting edge music video director who has worked with international death metal legends Obituary, kings of black metal Dark Funeral and metal superstar Glenn Danzig. Most recently Mr. Fisher was a guest of the 2011 South by Southwest as a featured panel speaker for the Reel Murder: From Crime Scene to Big Screen panel with multi-platinum selling musician Phil Anselmo, Ami Canaan Mann, Steve Mims and best selling true crime author Corey Mitchell. Not satisfied with that, Mr. Fisher has committed himself to conquering the horror industry with his new multi-platform horror entertainment company, American Horrors. In May 2011, Mr. Fisher entered into a worldwide licensing agreement with FilmOn to launch American Horrors as a new uncut 24 hour horror television channel as part of FilmOn's basic tier of channels. American Horrors joins industry brand names such as BBC News, Universal Sports and more as part of FilmOn's basic line up of channels that are available to subscribers for a $7.95 monthly fee (purchase a full year at $79.95 and receive two months free). FilmOn allows viewers to stream live TV on their Mac or PC computers, iPads/tablets, smart phones & mobile devices (iPhone, Android, Blackberry etc., etc.) and has just recently launched the world's first AP breaking 24 hour news channel With a long and controversial career which began in comic books, where Fisher discovered such talents as Gerard Way (lead singer for the chart-topping rock band My Chemical Romance); John Cassaday (Captain America) and political essayist Stephen Elliott (a regular contributor for the San Francisco Chronicle, award-winning novelist and child protection advocate) among others, Fisher has carved out a fierce reputation and was dubbed ‘The Most Dangerous Man in Comics.' (Hero Illustrated, 1994.) First put on the map by writing and publishing the infamous Jeffrey Dahmer comic book series, Mr. Fisher went on to write and publish books that would garner the young creator the ire of Milwaukee Brewing with the Jeffrey Dahmer: Milwaukee's Best t-shirts, the fear of Image Comics founders Todd McFarlane, Rob Liefield and Jim Lee with the release of Kill Image and even a lawsuit from OJ Simpson over the Doin' Time With OJ and OJ's Big Bust Out books. Fisher's opinions on serial killers and serial killer culture have been sought by numerous television producers for programs such as ABC's Day1, CNN's Murder By Numbers documentary, Entertainment Tonight, Larry King Live, The Jerry Springer Show, The Bertice Berry Show, CNN Headline News, A&E's Biography, American Scary, American Justice, on the radio with Crime Prevention 101 and True Crimes and in magazines such as Time, Tattoo Savage, Hero Illustrated, People, The Comics Journal, the non-fiction best seller The A-Z Guide to Serial Killers and many more. Fisher began his art career as the publisher behind Boneyard Press, a ferociously independent publishing house that has garnered coverage all over the world, in Japan (Words), Germany (Ego Magazine), England (The Sun) and brought the mass media (as well as protest marchers) to his door thanks to books such as Jeffrey Dahmer: An Unauthorized Biography of a Serial Killer, Rush Limbaugh Must Die, Dark Angel, Kill Marvel and Jeffrey Dahmer vs. Jesus Christ. Fisher's two collections of poetry (Poems for the Dead & Still Dead) were both carried in the Hot Topic chain of boutiques. Twice, Hero Illustrated placed Mr. Fisher in their 100 Most Important People In The Comics Industry list, and rock star Glenn Danzig hired Fisher to be the managing editor for his publishing company, Verotik, which Mr. Fisher promptly steered to the height of its popularity and controversy, when Mr. Fisher and co-author Christian Moore's story for Verotika #4, "A Taste of Cherry" was banned in Oklahoma on the grounds that it was obscene material and is banned in that state to this day. Never one to shy away from outrageous showmanship, Fisher has faked his own death for April Fool's Day (he was dead for a week before the hoax was uncovered by a pairing of The Comics Journal and The Comic's Buyers Guide), spit in the eye of industry goliath Marvel Comics (at the San Diego ComiCon Fisher printed up hundreds of black t-shirts proclaiming that "Marvel Can Suck My Cock”-- The shirts sold out instantly and dogged the larger comics publisher at comics conventions for years after going onto be declared the most controversial t-shirt in comics history) and has proven he has a gift for stirring up controversy that sells his products by the truckload. Mr. Fisher has been a paid feature speaker around the world (including a headlining role at the Festival of Fantasy & Terror in Mexico City, sharing a building with the President of Mexico at the time, Vincente Fox), and has spoken publicly about American poetry, team building, leadership development, and all things horror. Mr. Fisher is currently the subject of a new documentary, The Scariest Man in America, and his first feature film, The Garbage Man is available on DVD and Netflix. You can see more of Mr. Fisher's news clips, music videos and more on his Youtube channel that has received more than Half a Million Plays and counting at http://www.youtube.com/crimepayshart.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/1198501/advertisement
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