#Rick Geary

[smashedpages]

Happy birthday to Rick Geary!

[lil-doodles]

Another quick sketch in the tiny Moleskine sketchbook I carry around at work. This is a copy of a drawing by Rick Geary of Bela Legosi.

[misterradio]

"Cyberantics" by Stanislaw Mayakovsky (Jerry Prosser), illustrated by Rick Geary

[re-readingcomics]

Comics Read 07/01-15/2023

A little over a year ago I did a post about reading two comic book biographies of Artemisia Gentileschi back-to-back. I wrote some lines about how the inclusion of them in my collection helps makes the act of collecting semi-autobiographical. Consider this a sequel to that post.

Over the two weeks I am writing about I read Glass Town written and drawn by Isabel Greenberg and The Brontës Infernal Angria written by Craig Hurd-McKenney and art by Rick Geary. Different takes on the same subject, how the Brontë children had a shared alternate universe which they all wrote stories about. I have owned a copy ofThe Juvenilia of Jane Austen and Charlotte Brontë from when I was a child, but I never read it. I probably should. The names of Angria and Gondal were familiar from reading about the Brontës. But because of not actually reading the Juvenilia, I first encountered Glass Town by name in Die, where it was treated as a proto-multi-player role playing game. Which, seems fair enough. Die wasn’t much interested in the subject of their writings, so this is all new to me.

Greenberg’s art in Glass Town is crude in the same way ND Stevenson’s and Gus Allen art work is. If anything it’s more childlike and inconsistent. I don’t love it, but I like how the lines work the limited pallet with a lot of dark, cool reds. It hints at the early industrial feel of their time period as well as the harsh climate of their surroundings. 

The narrative starts in the aftermath of the the eldest Brontë sisters, Elizabeth and Maria, deaths. The creation of Glass Town is an escape from the trauma of their final illnesses at a poorly kept boarding school.

Charlotte narrates her tale of Glass Town, to a minor character from her stories who appears as her imaginary friend. They talk through the plot she worked on, which as presented here seems more related to Wuthering Heights than Charlotte’s actual novels. The story includes how while the children started sharing Glass Town, they split with Charlotte and Bramwell writing about Angria while Emily and Anne created Gondor. (Less of Emily and Anne’s writing on Gondal survives to the modern day than Charlotte’s work on Angria, hence why less of it is included in either of these accounts.) Probably because of this shared fantasy world with her brother, Charlotte is shocked by his decent into alcoholism while Emily catches early warning signs. It’s a rumination on the building of escapist fantasy in the face of tragedy and the creation of art. I don’t think it entirely works, but it makes me want to get back to reading the Brontë’s and writing about them. 

Infernal Angria takes the shared fantasy world and creates an actual portal fantasy. The Brontës literally go between worlds and get used in political machinations in an alternate world’s monarchy. I hated it. The text is something of an apologia for Bramwell for being such a failure. He didn’t really fail, he was manipulated by much more mature people from a world he loved. Also it takes the “artists don’t die, they live through their art” to the extreme of the Brontës didn’t all die at shockingly young ages, they relocated to the other side of a portal. It’s silly and also unclear. It shouldn’t be both. The end had the author talking about his long love of the Brontës as well as a suggested reading list. Everyone in a while you find someone who has some shared enthusiasms but seem to take it in a direction that rubs you wrong.

At first glance, I would think that Geary’s art style is more my type than Greenberg's. But eventually I hated it because the shading was made with a crosshatching that got too easily confused with paterns used for fabrics or wood grains. It’s the shorter of these two books and the one that felt more like a chore to read. 

The contrasting treatments of the the worlds of Angria/Glass Town is pretty interesting. The character in both have essentially the same back story, but as presented in Infernal Angria I didn’t feel like the narrative came off as a rough draft of Wuthering Heights. Glass Town treats the alternate world as a reflection on contemporary colonialism, while Infernal Angria approaches it as a pastiche of Medieval fantasy. It makes me wish I had read the source material even more. 

Despite finding these books lacking, there will be more comic book takes on the Brontës in my reading future. 

[cryptocollectibles]

Wild Animals #1 (December 1982) by Pacific Comics

Written and drawn by Jim Engel, Larry Gonick, Rick Geary, Scott Shaw!, Sergio Aragones, George Erling, and Brian Narelle, cover by Scott Shaw.

[graphicpolicy]

The Gimmick #1 pops with an interesting... gimmick

The Gimmick #1 pops with an interesting... gimmick #comics #comicbooks #ncbd #wrestling #wwe #aew

An athlete dying during a match isn’t something that’s new. A horrific physical act too isn’t something that’s all that uncommon (watch some MMA and the horrible leg breaks). But, what if you mix that with superpowers? The Gimmick #1 introduces us to Shane Bryant. After a run-in with a racist opponent, he punches through their brain… in front of 2.4 million viewers. Bryant has super strength and…

[northernexposuregifs]

The dog is not Rick. I'm stating categorically and in no uncertain terms as a scientist and as a human being... no dog can come back to Earth and be Rick.

[musicmags]

[ghclassic]

[arecomicsevengood]

Mike Mignola art, with script by Steve Purcell and lettering by Lois Buhalis, 1996. (Cover colored by Pamela Rambo)

I think this hasn’t been reprinted anywhere. I also believe it’s the latest (only?) example of a post-Hellboy Mignola drawing a script written by someone else.

This Bob Schreck edited issue of Dark Horse Presents is a top-tier anthology. Mignola gets the cover, but the rest of the issue includes a continuation of Paul Pope’s The One Trick Rip-Off and the first chapter of Renee French’s The Ninth Gland. Two artists I love. All these people are essentially avant-garde for their era, but with the most successful one being given the chance to experiment while the other two, emerging in their careers, making work for a wider audience than they would’ve had at this point. The issue is rounded out with the start of a story by Jack Pollock, whose comics I hadn’t read before but whose story seems promising, and a Rick Geary page.

I’m not going to track down a huge run of Dark Horse Presents but mostly because a lot of the work of interest I have already read in collected form: The One Trick Rip-Off I own in both black and white trade and color hardcover, The Ninth Gland I have as both a one-shot and as part of the Marbles In My Underpants collection. Around the same time, we also have the Hectic Planet short stories collected as a one-shot called The Bummer Trilogy, and assorted American Splendor short stories drawn by Joe Sacco later collected into issues. There is one more never-reprinted piece from this era I’ll be uploading with more thoughts.

[virtualmemoriespodcast]

Episode 565 - Danny Fingeroth

With the 60th anniversary of the assassinations of JFK & Lee Harvey Oswald, Danny Fingeroth brings us the new biography, JACK RUBY: The Many Faces of Oswald's Assassin (Chicago Review Press). Danny & I talk about what drew him to tell Ruby's story, how many JFK conspiracy rabbit-holes he had to avoid, the challenges of separating Ruby's life from myth & speculation, and how the bio began as a graphic novel collaboration with Rick Geary (!) before its prose incarnation (although he's still hoping for an adaptation). We get into what he learned from talking to Ruby's rabbi, Hillel Silverstein, the figures he would have loved to interview for this book, what Ruby's siblings & their kids went through in the aftermath of Jack's moment of infamy, the circus of Ruby's murder trial and Melvin Belli's failed epilepsy defense, and the danger of treating Ruby's life like a sitcom. We also discuss Danny's dizzying résumé, including his 20-year run as a writer & editor at Marvel Comics, discovering himself as a biographer with Stan Lee: A Marvelous Life, the complexity of the (working) relationships of Lee, Jack Kirby & Steve Ditko, the surreal of experience of meeting Gabe Kaplan while promoting JACK RUBY, and more! Follow Danny on Twitter, Facebook, Instagram, and Bluesky • More info at our site • Support The Virtual Memories Show via Patreon or Paypal and via our Substack

Check out the new episode of The Virtual Memories Show

[i-psofacto]

Transparent edit of Ari from "Cyberantics!" by Jerry Prosser and Rick Geary.

[diceriadelluntore]

Storia Di Musica #244 - Blue Cheer, Vincebus Eruptum, 1968

A San Francisco verso la seconda metà degli anni ‘60 successero delle cose che furono centrali nell’evoluzione della mitologia del rock. Tra i più famosi avvenimenti, ricordo che due DJ di San Francisco, Larry Miller e Tom Donahue, rispettivamente di due radio underground di Old Frisco (il nomignolo di San Francisco), la KMPX e la KSAN, iniziano a trasmettere i nuovi brani acid rock senza porsi problemi di formato, programmando i brani non dai singoli ma dagli album, addirittura trasmettendo registrazioni che non apparivano nemmeno sui dischi. In pratica il DJ diviene protagonista attivo della promozione musicale, e non mero “riproduttore” di dinamiche promotrici delle case editrici, ridefinendo, almeno per un certo periodo, integralmente la struttura dell'industria discografica americana, stimolando la nascita di emittenti radiofoniche dello stesso tipo in tutto il paese; analogo successo ebbero i primi show che oggi definiremmo multimediali, i più famosi erano i "light show" organizzati da Alton Kelley o Bill Ham che segnano la strada dell'effetto speciale nei concerti che dalla baia di San Francisco diverrà centrale in ogni concerto del mondo; Kelley e altri artisti formidabili, come Stanley “Mouse” Miller o Rick Griffin, Victor Moscoso e Wes Wilson fanno esplodere la moda delle copertine, e i poster dei concerti, psichedelici, segnando l’arte della grafica discografica in maniera decisiva; nascono i primi impresari "moderni" come Bill Graham con il leggendario teatro Fillmore aperto su Geary Boulevard e la Family Dog Production con l'Avalon Ballroom in Sutter Street. E nasce anche l’heavy metal. Ovviamente questa ultima è una provocazione, ma il disco di oggi è un antesignano del genere e una delle perle sconosciute del grande periodo californiano. I Blue Cheer furono provocatori sin dal nome, che è un famoso tipo di LSD che la leggenda vuole inventato Owsley Stanley, mecenate e tecnico del suono dei Grateful Dead, che a sua volta prende il nome da un famoso detersivo, prodotto dalla Procter & Gamble. Sono stati probabilmente i primi a fare dell’amplificazione e dell’impatto sonoro il motivo dominante della loro musica, distorcendo il blues e il rock in maniera seminale. Nascono verso la fine del 1967, quando il bassista Dick Peterson è in cerca di musicisti per mettere su una band. Si presentano in molti, ma alla fine rimangono in tre, Peterson con Paul Whaley, batterista, e il chitarrista Leigh Stephens. Le ricerche di altri membri finiscono quando vedono la Jimi Hendrix Experience suonare a Monterey e capiscono che in tre si può suonare benissimo. Come manager si trovano un personaggio terrificante, Allen "Gut" Terk, ex componente degli Hell’s Angels. Registrano subito agli Amigo Studios di Los Angeles e verso l’inizio del 1968 danno alle stampe il loro primo disco, dal titolo di latino maccheronico Vincebus Eruptum (che si potrebbe tradurre con Controllo del Disordine). Il primo singolo è una devastante e urticante cover di Summertime Blues di Eddie Cochran, che diventerà universalmente conosciuta grazie alla cover che gli Who faranno più tardi nello storico Live At Leeds (1970): arriva addirittura in classifica e spinge altissimo il loro debutto, un disco che fa della forza sonora e delle distorsioni il perno su cui scrivere la loro versione del rock acido che stava ribollendo nella baia di San Francisco. Mezz’’ora di potenza, che da Summertime Blues si sposta a Rock Me Baby, altra cover dal catalogo del maestro B.B.King, prima della prima “bomba elettrica”, Doctor Please: scritta da Peterson come “una glorificazione delle droghe” sono 8 minuti di impatto sonoro che anticipa il doom, lo stoner, e potrebbe benissimo per passare per un brano dei System Of A Down a chi non li ha mai sentiti. Non è da meno Out Of Focus, che sembra un pezzo mancante dal III del Led Zeppelin, altro gioiello meraviglioso. Parchment Farm è una cover di un famoso blues di Mose Allison, Parchman Farm, che qui viene stravolta e rivoltata come un calzino, con la voce disperata e calda di Peterson. Chiude il disco Second Time Around, scritta sempre da Peterson, che alla brutale potenza rock blues dei nostri affianca dei nuovi percorsi, avviandosi in territori proto progressive, con atmosfere che ricordano quelle dei futuri Yes. Il disco è un successo insperato, e la band in pochi mesi ne pubblica un altro, Outsideinside, registrato in parte indoor e in parte outdoor (da cui il titolo) con simpatica copertina disegnata a caricatura. Altro disco di ottimo livello, con due cover stellari di nientemeno che Satisfaction dei Rolling Stones e di The Hunter di Albert King. Non ottenendo il successo del primo, iniziano dei problemi: Gut Kesh viene arrestato per loschi traffici, Stephens lascia e Bill Graham gli proibisce di suonare ai mitici Teatri Fillmore. Con una nuova formazione pubblicano New! Improved! ma nonostante l’abnegazione di Peterson non rimane nulla di quel suono devastante e intrigante del primo disco: continueranno però a suonare per decenni, fino agli anni 2000, cambiando in tutto ben 20 formazioni. E c’è una curiosità: nel 1985 Peterson, con il fratello Jerry, resuscitando per l’ennesima volta i Blue Cheer, pubblica The Beast Is Back: come singolo, una nuova cover di Summertime Blues, che a differenza di quella di venti anni prima non ha lo stesso clamore, dato che ormai tutti conoscono il seme da loro piantato da cui è cresciuto un robusto album: l’heavy metal.

[jonjmurakami]

So late! But Mahalo to Joy Shimabukuro @bfcrafts @radfordhighschool , all the vendors & artists, & all the people who came out to the @makers.explorium this past Saturday! •it was a lot of fun, and I met some great people! I ran into some high school classmates, fans, and a random little girl asking what my favorite color was (I answered wrong- lol ^_^) •I managed to get a few cool things (there were many great things for sale at several booths! But I didn’t have time to go around). •I got an angry cat musubi from @cutelootarts •A pair of handmade Espeon & Umbreon charms for Gwen from @oahu_charms •And the school library was clearing out a TON of books for FREE! The graphic novel section was insane! There were many Usagi Yojimbo and original Teenage Mutant Ninja Turtle books, but I refrained from taking anything until the end. I figured I’d give everyone else a chance first :) •I ended up picking up a lovely RIP KIRBY book! I also got three books from Rick Geary! (Sadly, these four books weren’t even checked out, or only once >_<). When I come to the school librarian, she said the kids just aren’t borrowing books which saddened me a bit :( •Thanks again, all! Hope to do this again soon! ^_^ https://www.instagram.com/p/Co8vqBWLP92/?igshid=NGJjMDIxMWI=

[ulkaralakbarova]

When Manny Singer’s wife dies, his young daughter Molly becomes mute and withdrawn. To help cope with looking after Molly, he hires sassy housekeeper Corrina Washington, who coaxes Molly out of her shell and shows father and daughter a whole new way of life. Manny and Corrina’s friendship delights Molly and enrages the other townspeople. Credits: TheMovieDb. Film Cast: Corrina Washington: Whoopi Goldberg Manny Singer: Ray Liotta Molly Singer: Tina Majorino Jonesy: Joan Cusack Sid: Larry Miller Jevina: Jenifer Lewis Jenny Davis: Wendy Crewson Grandma Eva: Erica Yohn Grandpa Harry: Don Ameche Brent Witherspoon: Brent Spiner Bratty Boy: Tommy Bertelsen Repeat Nanny: Lin Shaye High Heels: Noreen Hennessey Shirl: Lucy Webb Miss O’Herlihy: Juney Ellis Rita Lang: Mimi Lieber Liala Sheffield: Karen Leigh Hopkins Mrs. Wang: Pearl Huang Tommy: Marcus Toji Joe Allechinetti: Louis Mustillo Wilma: Patrika Darbo Delivery Man 1: Don Pugsley Annie: Lynette Walden Business Associate: Bryan Gordon Club Singer: Jevetta Steele Woman in Audience: Yonda Davis Percy: Curtis Williams Lizzie: Briahnna Odom Mavis: Ashley Taylor Walls Frank: Harold Sylvester Anthony T. Williams: Steven Williams Lewis: Asher Metchik Howard: Courtland Mead Mrs. Werner: Sue Carlton Gregory: Kyle Orsi Mrs. Rodgers: Maud Winchester Mrs. Morgan: K.T. Stevens John Brennan: Christopher Chisholm Chubby Boy: Bryan A. Robinson Mrs. Murphy: Roz Witt 2nd Delivery Man: Sean Moran Film Crew: Screenplay: Jessie Nelson Editor: Lee Percy Producer: Steve Tisch Executive Producer: Ruth Vitale Original Music Composer: Rick Cox Producer: Paula Mazur Executive Producer: Bernie Goldmann Director of Photography: Bruce Surtees Music: Thomas Newman Stunts: Ben Scott Stunts: Kym Washington Longino Associate Producer: Joe Fineman Line Producer: Eric McLeod Casting: Mary Gail Artz Casting: Barbara Cohen Music Supervisor: Bonnie Greenberg Costume Design: Francine Jamison-Tanchuck Production Design: Jeannine Oppewall First Assistant Director: Phillip Christon Second Assistant Director: David Minkowski Second Second Assistant Director: Peggy Hughes Production Accountant: Gwen Everman Script Supervisor: Benita Brazier Camera Operator: Geary McLeod First Assistant Camera: Heather Page Steadicam Operator: Kirk R. Gardner Still Photographer: Suzanne Hanover Gaffer: Alan Brownstein Best Boy Electric: Steve Reinhardt Key Grip: Charles Saldaña Production Sound Mixer: David Kelson Boom Operator: Randall L. Johnson Key Makeup Artist: Michael Germain Makeup Artist: Deborah La Mia Denaver Key Hair Stylist: Candy L. Walken Hairstylist: Julia L. Walker Hairstylist: Michael Pachal Property Master: Barbara Benz Assistant Property Master: Michael D’Imperio Art Direction: Dina Lipton Set Designer: Louisa Bonnie Set Decoration: Lauren Gabor Leadman: John Maskovich Construction Coordinator: Lars Petersen Construction Foreman: Steven C. Voll Transportation Coordinator: Billy G. Arter Additional Editor: Lynzee Klingman Supervising Sound Editor: Steve Richardson ADR Voice Casting: Barbara Harris Sound Re-Recording Mixer: Matthew Iadarola Sound Re-Recording Mixer: Gary Gegan Color Timer: Mato Dialogue Editor: Lewis Goldstein Dialogue Editor: James Matheny Dialogue Editor: Kimberly Lambert Dialogue Editor: Jim Brookshire Dialogue Editor: Alison Fisher Supervising Sound Effects Editor: Joel Valentine ADR Editor: Darrell Hanzalik ADR Editor: Mary Ruth Smith ADR Editor: Jeff Watts Assistant Sound Editor: Paul Silver Assistant Sound Editor: Catherine Calleson Assistant Sound Editor: Tony Cappelli Foley Artist: Alicia Stevenson Foley Artist: Zane D. Bruce Foley Mixer: David Jobe Foley Recordist: Don Givens ADR Mixer: Charleen Richards-Steeves ADR Recordist: Greg Steele Music Editor: Will Kaplan Set Dresser: Mike Malone Movie Reviews:

[wolfythoughts]

Book Review: The Saga of the Bloody Benders by Rick Geary

A true crime graphic novel telling of a family of serial killers in the 1870s. Summary:Out on a deserted stretch of Kansas road linking newly forming towns, a mysterious family stakes a claim and builds an inn for weary visitors. Soon, reports multiply of disappearances around that area. Generally, those who disappear have plenty of cash on them. A delicious tale of a gruesome family fronted by…