Album Premiere: Paper Tigers - East Coaster
1 hour ago
"The first person who, having enclosed a plot of land, took it into his head to say this is mine and found people simple enough to believe him was the true founder of civil society. What crimes, wars, murders, what miseries and horrors would the human race have been spared, had some one pulled up the stakes or filled in the ditch and cried out to his fellow men: "'o not listen to this imposter. You are lost if you forget that the fruits of the earth belong to all and the earth to no one!'"
Back in the 1970s I remember reading a book by Jules Feiffer called The Great Comic Book Heroes, which talked about (and reprinted old adventures of) a lot of familiar costumed characters like Superman, Batman and Wonder Woman. The one character that was new to me, though he too dated from decades earlier, was The Spirit. That single sample was a real eye-opener, with both art and story that were noticeably more sophisticated than that of most of the others included in the anthology. A short time later, I discovered that Spirit stories were being collected and reprinted in a Warren magazine, and I gobbled them up. Eventually Kitchen Sink took over the reprinting and began to include considerable new material by the Spirit's creator Will Eisner. It was remarkable to see that someone who was present at the birth of the comic book genre back in the 1930s was still a creative force in the medium, and eventually became one of the guiding forces behind the emergence of graphic novels which moved comics clearly in a more adult and literary direction. Michael Schumacher's biography of Eisner does a great job of telling this story, linking Eisner's personal evolution to that of the medium itself-- totally appropriate given the influence he wielded both as an artist and businessman who operated his own shop employing many other fine creators over the years including Jack Kirby, Joe Kubert, Wally Wood, the aforementioned Feiffer, and a lot more. It's no coincidence that the most prestigious awards in the industry are named after Eisner, who always saw comics as having greater potential than almost anyone else, and then worked hard to help them reach that potential, right up to his death just a few years ago. It's hard to imagine that someone unfamiliar with Eisner's work would find his story as interesting as a long-time fan like me, but by the same token I'm not sure there's another book out there that does such a good job of summarizing the history of comics so effectively from the 1930s to the 2000s, even if it is mostly through the prism of one man's career. That certainly speaks to the key role played by Eisner in shaping that history.
Well, for the first time in a long while, I've now had two consecutive good bowls of soup at old favorite Fables. The first, you may recall, was their Brazilian Black Bean, and now I've also enjoyed a very satisfying dish of Loaded Potato Soup. The "loaded" part may have been a bit of an exaggeration (does anyone else remember the brief fad of potato bars at restaurants, sometime back in the eighties?), as all I detected was some bacon, cheese , and onion mixed in with the potato. But that was plenty, and in fact, none was overly abundant, allowing the potato flavor to dominate. I was half expecting something overly cheesy and was pleasantly surprised that they were fairly restrained with the cheddar. This would've been an even better selection if this were winter, as it promised to keep my insides warm for quite awhile after lunch. I'll probably be back to Fables sometime in the next couple of days and I hope they can extend their modest winning streak.
"America is a unique sociological fabric, and it bespeaks poverty of imagination not to be thrilled at the incalculable potentialities of so novel a union of men. To seek no other goal than the weary old nationalism, belligerent, exclusive, inbreeding... is to make patriotism a hollow sham, and to declare that, in spite of our boastings, America must ever be a follower and not a leader of nations."
Without question, the most purely entertaining book I've read in the last six months (at least) was Punk Rock and Trailer Parks by an artist who goes by the name of Derf. It's a graphic novel covering the adventures of one Otto "The Baron" Pizcok, a young man whose sense of self seems pretty well formed (by fantasy novels and films primarily) until he discovers punk rock, which really allows him to flower socially. Working first as a gopher in a club called "The Bank" in Akron (which was actually a real hotbed of cutting edge music back in the 70s), Otto meets some of the heroes of the genre like Stiv Bators, Wendy O. Williams and Joe Strummer, becomes a singer himself, and comes of age in an environment that proves to be surprisingly nourishing (given punk's reputation among non-believers). The book is funny and occasionally touching, and it really does a great job of perpetuating the myth of rock and roll's redemptive powers (and by myth, I don't mean to imply it's not true). I really hope Derf has a sequel in the works, because I'd really like to spend some more time with The Baron (and see how he might react to some of the greats of the following decade).
I've written here before that a 1973 PBS series called Men Who Made the Movies, produced by critic Richard Schickel, really launched my interest in movies as something more than mere entertainment or time fillers. But pretty close behind was the book Movie-Made America by Robert Sklar, which was assigned by Professor Milton Plesur in a class I took my freshman year at the University of Buffalo called "Movies In America." The class was devoted to showing how movies were integrated with certain social and political themes that marked different eras of the twentieth century, and Sklar's book was masterful at demonstrating those connections. I've since used the updated version of the book in an Honors class I teach called "Movies as History," and I'd like to believe that students today still find it a compelling read. Anyway, I was sad to see that Robert Sklar passed away a couple days ago as a result of a bicycling accident. Over the years since I first read his book, I've looked for other of his work (especially in the magazine Cineaste) and always been rewarded with intelligent commentary that places the films covered into a broader context than is evident in most of the reviews found in most mainstream sources. There are too few critics who straddle the academic/popular divide as ably as Sklar did, and as a result, he will be missed by those of us who valued that perspective.
Many many years ago I had a Super 8 movie camera and made a bunch of films, most of which were incomprehensibly abstract or badly directed plays made with my friends and siblings as the actors. In my entire oeuvre, I believe there is only one shot that was in any way memorable, a fluke of timing which created a rather nice backlit shot of a chase through an alley. Take away that 20 second sequence and it's safe to say that my adolescent filmmaking career was pretty much a bust, but I still have fond memories of playing with the camera and seeing what I could come up with. Pretty much the only enjoyment I took from the recent movie called Super 8, directed by J. J. Abrams, was the nostalgic kick of watching the youthful protagonists trying to shoot their own opus early on in the story (I know I smiled when one of them pulled out a copy of Super 8 Filmmaker, a magazine I used to read fairly regularly myself). After that, it became a pretty standard alien invasion movie, with massive jumps in narrative logic and thematic continuity. In other words, pretty much what most Super 8 movies made by teens were probably like, though I feel safe in saying none of them had this one's budget. A bad sign: I saw this movie several weeks ago and almost immediately forgot all about it, until someone mentioned it yesterday (which prompted these comments). I'm not saying it wasn't enjoyable, but it sure ain't gonna inspire any deep thoughts.
I've been dumping a bit lately on Fables Cafe in the Buffalo and Erie County Library. They apparently changed vendors or chefs or something last fall, and the general quality of their soups just plummeted (a term that reflects just how high they were in my estimation). But they are still capable of turning out something good, as was the case a few days ago with their Brazilian Black Bean. Now, this is hardly the kind of exotic variation on which they built their reputation-- after all, black bean soup can probably be found in places like Denny's. But theirs really was quite tasty, with just the right amount of spiciness and a creamy texture peppered (beaned?) with tiny chunks of black bean. It would have been a nice touch to add a dollop of sour cream (the old crew did that), but the sprinkles of sharp cheddar and green onions were a decent substitute. Maybe the key to finding something good when I visit there these days is to stick to the less adventurous items (they generally have at least three on offer every day), since they've pretty much proven recently that they can't do justice to the fancier options.
I stumbled across this series at the I Love Comix Archive (where you can see more examples). I get the "closeup" part of the title, though I have to admit the "comedy" eludes me (especially curious, given the era, are the Marriage Scorecards). Still, these seem like interesting relics of the 1930s and the Golden Age of Hollywood.
