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blackkudos · 5 years ago

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Marlon Riggs

Marlon Troy Riggs (February 3, 1957 – April 5, 1994) was an American filmmaker, educator (professor), poet, and gay rights activist. He produced, wrote, and directed several documentary films, including Ethnic Notions, Tongues Untied, Color Adjustment, and Black is... Black Ain't. Riggs created aesthetically innovative and socially provocative films that examine past and present representations of race and sexuality in America. The Marlon Riggs Collection is now housed at Stanford University Libraries.

Early life

Riggs was born in Fort Worth, Texas, on February 3, 1957. He was a child of civilian employees of the military and spent a great deal of his childhood traveling. He lived in Texas and Georgia before moving to West Germany at the age of 11 with his family. He was the son of Jean (mother) and Alvin Riggs (father) and also had a sibling named Sascha. Later in his life, Riggs recalled the ostracism and name-calling that he experienced at Hephzibah Junior High School in Hephzibah, Georgia. He stated that black and white students alike called him a "punk," a "faggot," and "Uncle Tom." He felt isolated from everyone at the school: "I was caught between these two worlds where the whites hated me and the blacks disparaged me. It was so painful."

Riggs excelled at Nurnberg American High School, where he played football and ran track, and was elected President of the Varsity Club while only a sophomore. He also performed a solo interpretive dance in the school's talent show depicting American slaves' experiences from Africa through emancipation. From 1973 to 1974 Riggs attended Ansbach American High School's opening year in Katterbach, Germany. He was elected student body president at the military dependents school. In 1974, Riggs returned to the United States to attend college. As an undergraduate, he studied history at Harvard University and graduated magna cum laude in 1978. While a student at Harvard, Riggs became conscious that he was gay. Because there were no courses that supported the study of homosexuality, he petitioned the history department and received approval to pursue independent study of the portrayal of "male homosexuality in American fiction and poetry". As he began studying the history of American racism and homophobia, Riggs became interested in communicating his ideas about these subjects through film.

After working for a local television station in Texas for about a year, he moved to Oakland, California, where he lived for 15 years with his life partner, Jack Vincent. Riggs entered graduate school and received his master's degree in journalism with a specialization in Documentary film in 1981 from the University of California, Berkeley, having co-produced/co-directed with Peter Webster a master's thesis titled Long Train Running: The Story of the Oakland Blues, a half-hour video on the history of blues music in Oakland, California.

Film career

Upon finishing graduate school, Riggs began working on many independent documentary productions in the Bay Area. He assisted documentary directors and producers initially as an assistant editor and later as a post-production supervisor, editor on documentaries about the American arms race, Nicaragua, Central America, sexism, and disability rights. Because of his proficiency in video technology, Riggs was the on-line editor for a video production company, Espresso Productions. In 1987, Riggs was hired as a part-time faculty member at the Graduate School of Journalism at Berkeley to teach documentary filmmaking. He became the youngest tenured professor at Berkeley shortly thereafter.

That same year he completed his first professional feature documentary Ethnic Notions. An independently produced documentary, the film received technical support (online editing) from KQED, a public television station in San Francisco, and aired on public television stations throughout the United States. In Ethnic Notions, Riggs sought to explore widespread and persistent stereotypes of black people – images of ugly, savage brutes and happy servants – in American popular culture of the late 19th and early 20th centuries. Edited by Debbie Hoffmann, the film uses a narrative voice-over provided by African-American actress Esther Rolle in explaining striking film footage and historical stills which expose the blatant racism of the era immediately following the Civil War. The documentary also presents a set of contemporary interviews with expert commentators, including historians George Fredrickson and Larry Levine, cultural critic Barbara Christian, folklorist Patricia Turner, collector Jan Faulkner, and many others, who discuss the consequences of historical African-American stereotypes. This film expanded the commonly held assumptions about the parameters of documentary film aesthetics through its bold use of original performance, dance, and music to explore a historical narrative.

While Riggs continued working as an educator at Berkeley, he kept making his own films. The 1989 film Tongues Untied, a highly personalized and moving documentary about the life experiences of gay African-American men, was aired as part of the PBS television series P.O.V. The film employs autobiographical footage as well as performance, including monologues, songs, poems, and nonverbal gestures such as snapping, to convey an authentic and positive black gay identity. In order to demonstrate the harmful effects of silence on self-esteem, the film contrasts this image with negative representations of gay black men as comic-tragic stock caricatures and drag queens in contemporary American popular culture. The three principle voices of Tongues Untied are those of Riggs as well as gay rights activists and men infected with HIV Essex Hemphill and Joseph Beam. Riggs characterized the film as his legacy, his "last gift to the community," that displays him as both a filmmaker and a gay rights activist. Tongues Untied was so controversial, that its airing was a major event; some local public TV stations refused to put it on the air, while others celebrated its creation and originality. "Tongues Untied," held political backlash; Republican Senator Jesse Helms famously argued to defund the arts after its release. This documentary also paved the way for other films to come later such as Paris is Burning (1990). He described the production as his own personal "coming out" film celebrating black gay life experiences and that he ultimately became "the person, the vehicle, and the vessel" for these experiences. Riggs explained that Tongues Untied was a catharsis for him: "It was a release of a lot of decades-old, pent-up emotion, rage, guilt, feelings of impotence in the face of some of my experiences as a youth. . . It allowed me to move past all of those things that were bottled up inside me. . . I could finally let go."

In 1988, while working both on Color Adjustment and Tongues Untied, Riggs was diagnosed with HIV after undergoing treatment for near-fatal kidney failure at a hospital in Germany. The film shows the pain as well as the mentally and physically agonizing therapy that Riggs had to go through in order to deal with his kidney failure. But despite his deteriorating health, Riggs decided to continue to teach at Berkeley and make documentaries.

In the short 1990 piece Affirmations, Riggs further developed his critique of homophobia that he originally expressed in Tongues Untied. In Affirmations, a film made from the outtakes of Tongues Untied, Riggs explored the African-American males' sexuality and relationship with the African-American community at large. Voice overs of gay African-American men described their feelings of isolation from a community in which they were once raised with love and support. Some of the men expressed the lack of acceptance within the African-American community and the divide their sexual orientation caused. They vocalized they wanted to identify as both gay and African American with support from family, friends, and the African-American community. Riggs included a coming-out story of black gay writer Reginald T. Jackson and footage of black gay men marching in a Harlem African American Freedom Day Parade. In 1991, Riggs directed and produced Anthem, a short documentary about African-American male sexuality. The film includes a collage of erotic images of black men, hip-hop music, and a call to celebrate difference in sexuality.

In 1991, Marlon founded Signifyin' Works, a non-profit corporation whose mission is to produce films about African-American history and culture. The founding Board of Directors included Herman Gray, Vivian Kleiman, Cornelius Moore, and Patricia Turner.

The 1992 documentary Color Adjustment was Riggs's second film to air on the PBS television series P.O.V. The film Color Adjustment was Riggs's follow-up to Ethnic Notions, focusing on the representation of African Americans in American television from Amos 'n' Andy to the Cosby Show. However, unlike Ethnic Notions, which presents a putative, neutral stance on popular American representations of blacks, Color Adjustment presents a cultural criticism of these images through an African-American perspective on race. The film was produced with Vivian Kleiman, edited by Debbie Hoffmann, and narrated by actress Ruby Dee. It includes an original music score by Mary Watkins. Using contemporary interviews of television actors, directors, producers, and cultural commentators, the documentary conveys personal reflections and academic analyses of such television programs as Good Times and The Cosby Show.

In 1992, Riggs directed the film [Non, Je Ne Regrette Rien (No Regret)], in which five gay Black men who are HIV-positive discuss how they are battling the double stigmas surrounding their infection and homosexuality. It was commissioned by Executive Producer Jonathan Lee as part of a series of documentaries on the AIDS crisis, The Fear of Disclosure Project. The series was screened in observation of World AIDS Day and Day Without Art. It included the participation of Phil Zwickler, David Wojnarowicz, Ellen Spiro, Vivian Kleiman, and others.

In 1993, Riggs received an honorary doctorate degree from the California College of Arts and Crafts. That same year, Riggs's experimental short Anthem was featured in a collection of short films entitled Boys' Shorts: The New Queer Cinema.

Shortly after completing Color Adjustment, Riggs began work on what was to be his final film Black Is. . . Black Ain't, but he died at the age of 37 from complications caused by AIDS on April 5, 1994, before he could complete it. The project was completed posthumously by co-producer Nicole Atkinson, co-director/editor Christiane Badgley, and the Signifyin' Works Board of Directors. Much of the final text of Black Is. . . Black Ain't was recounted by Riggs in his hospital room. "It was as if the film were rolling before me," he said, "and I was just transcribing; I almost couldn't keep up." The film therefore contains many scenes of Riggs on his hospital bed. The documentary takes on the topic of African-American identity, including considerations of skin color, religion, politics, class stratification, sexuality, and gender difference that revolve around it. "In this film, Marlon Riggs meets a cross-section of African Americans grappling with the paradox of numerous, often contradictory definitions of blackness. He shows many who have felt uncomfortable and even silenced within the race because their complexion, class, sexuality, gender, or speech has rendered them "not black enough," or conversely, "too black." The film scrutinizes the identification of "blackness" with masculinity as well as sexism, patriarchy and homophobia in black America."

Poetry

Besides making documentaries and teaching at Berkeley, Riggs also wrote poetry from time to time, as evidenced in Tongues Untied, which contains several of his poems about his life experiences as a black gay man. In his poem "Tongues Untied," Riggs discusses the racism he encountered as a child while living in Georgia as well as coming out about his homosexuality. Riggs's poetry was inspired by friend, poet, and activist Essex Hemphill.

Writings

Riggs's writings were published during the late 1980s and early 1990s in various art and literary journals such as Black American Literature Forum, Art Journal, and High Performance as well as anthologies such as Brother to Brother: Collected Writings by Black Gay Men. The themes of his writings include filmmaking, free speech and censorship, and criticism of racism and homophobia.

In his noteworthy essay "Black Macho Revisited: Reflections of a SNAP! Queen," Riggs discusses how representations of black gay men in the United States have been used to shape Americans' conceptions of race and sexuality. He argues that Americans' emphasis on the "black macho" figure – the warrior model of black masculinity based on a mythologized view of African history – signifies an exclusion of black homosexual males from the African-American community, which results in their dehumanization and rationalizes homophobia. Riggs makes a distinction between the black gay man's perception of himself and his representation in America as the "Negro faggot," an extreme displacement and distortion of black homosexuality. He explains that the "black macho" image is sustained through performances such as rap music, television shows, the films of Spike Lee, and the comedy routines of Eddie Murphy. According to Riggs, the black homosexual male is therefore defined as the deviant Other in relation to the African American community, and Riggs claims that this contemporary practice mirrors the historical racist constructions of the African-American identity: "Blacks are inferior because they are not white. Black gays are unnatural because they are not straight. Majority representations of both affirm the view that blackness and gayness constitute a fundamental rupture in the order of things, that our very existence is an affront to nature and humanity."

Themes and style

Riggs's films deal with representations of race and sexuality in the United States. Riggs was critical of American racism and homophobia. He used his films to show positive images of African-American culture as well as those of physical and emotional love between black men in order to challenge representations of African Americans and black gay men in popular culture. However, he recognized that the images he conveyed would cause resistance among many Americans: "People are often frightened of difference. . . that requires that they rethink their own beliefs, their own premises, their own sense of self, culture and history, and sense of belonging. When you present anything on the level of contention, you encounter resistance."

Riggs believed that being a filmmaker was a means to communicate his message, not an end in and of itself. Riggs explained that he did not become a filmmaker because he loved films as a child but because he wanted to communicate his message: "I didn't know anything about filmmaking when I decided to become a filmmaker. What drew me to film and video was that I wanted to communicate so much. . . I wanted to communicate to the broadest possible audience and for me that was television." Riggs strongly believed in speaking out about the topics he cared about through his films. He explained that whenever he became passionate about an issue, he could not stop himself from speaking out about it: "Silence kills the soul; it diminishes its possibilities to rise and fly and explore. Silence withers what makes you human. The soul shrinks, until it's nothing."

As a graduate student at Berkeley, Riggs was educated in journalism and conventional documentary filmmaking, which stresses objectivity and employing an academic stance. But his film style quickly evolved to be rather personal and emotional. His first professional film Ethnic Notions, was composed of expert commentary, historical stills and film footage, and omniscient narration—standard elements for documentary films of the time. Yet at the same time, the film greatly departs from the norm of the day through its playful use of performance, satire and audio. Philip Brian Harper, an associate professor of English at New York University, explains that by challenging the norms of standard television documentary, Riggs was an innovator of television programming in America: "Riggs's work itself challenged television's generic boundaries. Riggs troubled broadcast convention, seen as implicitly under attack in the presentation of his work."

According to Nichols, Marlon Riggs used the Performative Mode for films such as Anthem and Tongues Untied. His use of poetry and performance conveys the affective and emotion-laden quality of performative documentary.

Awards and Recognition

Riggs's documentaries have received much critical acclaim. Riggs received a National Emmy Award in 1987 for Ethnic Notions. Tongues Untied was awarded the Teddy Award at the Berlin Film Festival. The film also received recognition from the Los Angeles Film Critics Association, the New York Documentary Film Festival, the American Film and Video Festival, and the San Francisco International Lesbian and Gay Film Festival. In 1992, Riggs was awarded the Maya Daren Lifetime Achievement Award from the American Film Institute. Additionally, Color Adjustment won the prestigious George Foster Peabody Award, Erik Barnouw Award from the Organization of American Historians, the International Documentary Association Outstanding Achievement Award, and a premiere screening the Sundance Film Festival. "Color Adjustment" also garnered a nomination for a national Emmy Award for Outstanding Individual Achievement in Research. Riggs also received the Frameline Award from the San Francisco International Lesbian and Gay Film Festival for his film Non, Je Ne Regrette Rien (No Regret). Moreover, Black is. . . Black Ain't won the Golden Gate Award at the San Francisco International Film Festival and was praised by the Sundance Film Festival. Riggs also was awarded an honorary doctorate degree from the California College for the Arts & Crafts in 1993.

Alongside Riggs's many film awards he has also been given the honor to have a building for low-income housing dedicated in his name. There is a section of a housing unit named The Marlon Riggs Apartments / Vernon Street located in Oakland, California. In 1996 a plaque with a picture of Marlon was hung inside of the building's lobby area to commemorate Riggs. At the time the housing unit was the first building constructed for low-income people with HIV/AIDS. This property is funded through The John Stewart Company and was awarded $2 million for its construction to help people living with HIV/AIDS have a stable environment.

In 2006, Riggs was awarded into the NLGJA LGBTQ Journalists Hall of Fame

In 2014, Signifyin' Works donated $100,000 to create the Marlon T. Riggs Fellowship in Documentary Filmmaking at the UC Berkley Journalism for graduate students in documentary film. It is the first Fellowship named for a documentary filmmaker at a university in the United States.

In 2019, The Brooklyn Academy of Music featured Marlon Riggs's work with a show of Race, Sex & Cinema: The World of Marlon Riggs.

Controversy

During the late 1980s and early 1990s, Riggs's production Tongues Untied triggered a national controversy surrounding the airing of the video on American public television stations. Along with his own funds, Riggs had financed the documentary with a $5,000 grant from the Western States Regional Arts Fund, a re-granting agency funded by the National Endowment for the Arts, an independent federal agency that provides funding and support for visual, literary, and performing artists. The film received much contention due to its depiction of men kissing.

News of the film's airing sparked a national debate about whether or not it is appropriate for the Federal government of the United States to fund artistic creations that offended some. Artists stressed their basic right of free speech, of representation on public airwaves, and vehemently opposed censorship of their art. However, several right-wing United States government policymakers and many conservative watchdog groups were against using taxpayer money to fund what they believed were repulsive artistic works. In the 1992 Republican presidential primaries, presidential candidate Pat Buchanan cited Tongues Untied as an example of how President George H. W. Bush was investing "our tax dollars in pornographic and blasphemous art." Buchanan released an anti-Bush television advertisement for his campaign using re-edited clips from Tongues United. The ad was quickly removed from television channels after Riggs successfully demonstrated Buchanan's copyright infringement.

Reverend Donald E. Wildmon, the president of the American Family Association, opposed PBS and the National Endowment for the Arts for airing Tongues Untied but hoped that the film would be widely released, because he believed most Americans would find it offensive. "This will be the first time millions of Americans will have an opportunity to see the kinds of things their tax money is being spent on," he said. "This is the first time there is no third party telling them what is going on; they can see for themselves."

Riggs defended Tongues Untied for its ability to "shatter this nation's brutalizing silence on matters of sexual and racial difference." He explained that the widespread attack on PBS and the National Endowment for the Arts in response to the film was predictable, since "any public institution caught deviating from their puritanical morality is inexorably blasted as contributing to the nation's social decay." In his defense, Riggs claimed that "implicit in the much overworked rhetoric about 'community standards' is the assumption of only one central community (patriarchal, heterosexual and usually white) and only one overarching cultural standard to which television programming must necessarily appeal." Riggs stated that ironically, the censorship campaign against Tongues Untied actually brought more publicity to the film than it would have otherwise received and thus allowed it to achieve its initial aim of challenging societal standards regarding depictions of race and sexuality.

#02/03 #04/05

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eddycurrents · 6 years ago

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For the week of 5 May 2019

Quick Bits:

Age of Conan: Bêlit #3 throws a few road bumps in the way of Bêlit’s plans as the Kushites renege of their deal and her drunken “Captain” continues being a jerk. I’m really liking this exploration of Bêlit’s early days from Tini Howard, Kate Niemczyk, Scott Hanna, Jason Keith, and Travis Lanham.

| Published by Marvel

Archie #704 throws some roadblocks in the way of Archie and Sabrina’s relationship through the form of a “Bachelor”-like charity programme set up by Cheryl. I love the even more stylized pastel colour palette from Matt Herms.

| Published by Archie Comics

Batman & The Outsiders #1 is an entertaining debut from Bryan Hill, Dexter Soy, Veronica Gandini, Clayton Cowles. I’ve not read the arc in Detective Comics that feeds into this, but this first issue provides enough information for new readers now to be lost and gives good incentive to check out what’s come before. Great art from Soy and Gandini, with an interesting look inside a team and a compelling start to a mystery about the last survivor from a metahuman generating factory.

| Published by DC Comics

Bettie Page #4 concludes the QE2 aliens caper. Love the art from Julius Ohta, Ellie Wright, and Sheelagh D.

| Published by Dynamite

Bronze Age Boogie #2 continues the strangest Doom Patrol story as the Martian invasion angle has taken hold in the future and a motley crew of heroes bands together to try to stop them. Stuart Moore, Alberto Ponticelli, Giulia Brusco, and Rob Steen are playing with some interesting cross-media influences to tell a highly entertaining tale. It’s rounded out with the usual goodies in the form of prose, letters, and what’s probably my favourite of the back-up strips so far, Major Ursa, from Tyrone Finch, Mauricet, Lee Loughridge, and Rob Steen.

| Published by Ahoy

Conan the Barbarian #6 sees Jason Aaron, Mahmud Asrar, Matthew Wilson, and Travis Lanham tell a story of Conan’s frustrations as a mercenary in the skirmishes between Turan and Stygia. People constantly underestimating Conan is always a fun story.

| Published by Marvel

Deadly Class #38 sees Marcus and Maria return to King’s Dominion. It’s kind of messed up seeing the new status quo, but at the same time the tension that Rick Remender, Wes Craig, Jordan Boyd, and Rus Wooton build here between to old Legacy kids and Marcus & Maria feels like it’s going to explode, suggesting something even worse for the characters is coming soon. It’s very captivating.

| Published by Image / Giant Generator

Detective Comics #1003 reveals the identity of the Arkham Knight. It’s not really anyone you could have possibly guessed, but an interesting addition to Batman’s rogues gallery. Also the cult surrounding the Arkham Knight is certifiably insane. Gorgeous artwork again from Brad Walker, Andrew Hennessy, and Nathan Fairbairn.

| Published by Marvel

The Empty Man #7 goes full Clive Barker as we get an explanation for what the Empty Man really is and how he continues to manifest himself upon reality. I know I keep saying it, but the body horror brought about in the art from Jesús Hervás and Niko Guardia just can’t be stressed enough. Every issue they seem to outdo themselves with creepy and intriguing designs.

| Published by BOOM! Studios

Eve Stranger #1 looks to be another winner for Black Crown. This first issue sets up the titular character as a secret agent who seems to need to reboot her memory every week. Why, exactly, is left unknown, but that’s part of the fun. David Barnett, Philip Bond, Eva de la Cruz, and Jane Heir do a wonderful job here with the action and intrigue. Also it’s great to see Bond doing more espionage tinged action, his art always looks so great telling these kinds of stories.

| Published by IDW / Black Crown

Excellence #1 is a thoroughly excellent debut from Brandon Thomas, Khary Randolph, Emilio Lopez, and Deron Bennett. The world and character building in this first issue is impeccable and the art from Randolph and Lopez will just blow you away. Incredible development of a magic-based society and the class structure therein.

| Published by Image / Skybound

The Flash #70 begins “Year One” promising new insight and occurrences during Barry’s origin story. Given that the last time this happened his mother was murdered, changing the timeline and resulting down the line in Barry trying to fix it with Flashpoint, anything’s possible. The real draw, though, is the stunning artwork from Howard Porter and Hi-Fi. Porter is really giving this his all and it shines through wonderfully.

| Published by DC Comics

Hawkman #12 brings Bryan Hitch’s tenure on the series to an end with the conclusion to “Cataclysm”. This is an excellent, action-packed final confrontation between the legion of Hawkmen and the Deathbringers, setting up a whole Hawkman for possibly the first time and hints as to worse things waiting on the horizon.

| Published by DC Comics

Infinite Dark #6 amplifies the terror and chaos as the dead-ish things exposed to the void start spreading fear and panic throughout the station. Ryan Cady, Andrea Mutti, K. Michael Russell, and Troy Peteri ratchet up the horror here.

| Published by Image / Top Cow

Invaders #5 raises more questions after we thought some things were coming into focus in the previous issue, as Chip Zdarsky, Carlos Magno, Butch Guice, Alex Guimarães, and Travis Lanham continue “War Ghosts”. The tension here on the brink of all out war between the US and Atlantis is incredible, and there are more interesting twists that suggest something far more sinister occurring.

| Published by Marvel

Jim Henson’s The Storyteller: Sirens #2 features a gorgeous adaptation of the story of Chinese mother goddess, Nuwa, by Chan Chau with letters by Jim Campbell. The artwork is amazingly beautiful supporting a very sweet tale.

| Published by Boom Entertainment / Archaia

Justice League Odyssey #9 opens up an interesting thread that Starfire, Cyborg, and Azrael may be unduly under the influence of Darkseid. Dan Abnett is setting up some simmering conflict between Jessica Cruz and the rest of the team here, along with quite a few occult catchphrases thrown in to help amplify the mood.

| Published by DC Comics

Lodger #5 is the end to this excellent crime drama from the Laphams and it is all kinds of messed up. We learn what really happened to Ricky’s family and...yeah. This has been a strange, at times disturbing, ride and they stuck the landing.

| Published by IDW / Black Crown

Murder Falcon #8 is the epic conclusion to this series as Jake and Murf take on Magnum Khaos. Between this series and Extremity, Daniel Warren Johnson has proven himself time and again as a master storyteller and it shines through with the heartrending end to this story. This one goes up to eleven.

| Published by Image / Skybound

Red Sonja & Vampirella Meet Betty & Veronica #1 is an interesting mash-up of the three properties from Amy Chu, Maria Sanapo, Vinicius Andrade, and Taylor Esposito. Some nice fish out of water humour as Sonja and Vampirella acclimate to Riverdale.

| Published by Dynamite

Savage Sword of Conan #5 concludes “The Cult of Koga Thun” from Gerry Duggan, Ron Garney, Richard Isanove, and Travis Lanham. Some interesting twists in this finale of what has been a highly entertaining adventure.

| Published by Marvel

She Could Fly: The Lost Pilot #2 sees Martín Morazzo cut loose again with some of the designs and presentation for Luna’s dreams and schizophrenic episodes.

| Published by Dark Horse / Berger Books

Star Wars: Age of Rebellion - Boba Fett #1 features some incredibly rich artwork from Marc Laming and Neeraj Menon. Great detail throughout this story spotlighting Boba Fett’s cold, silent amorality.

| Published by Marvel

Star Wars: Doctor Aphra #32 begins “Unspeakable Rebel Superweapon” as Aphra and her young protege steal the titular MacGuffin. There’s some interesting flashbacks to Aphra’s youth and it’s great to see Caspar Wijngaard doing more Star Wars art, even if just the flashbacks.

| Published by Marvel

These Savage Shores #4 is a sumptuous feast. Ram V, Sumit Kumar, Vittorio Astone, and Aditya Bidikar are elevating the artform of comics which each subsequent issue. The epistolary narrative, the horror and mythological themes, the plays upon the nine-panel grid, the shadowy character designs, the lush and spooky colours, the overlap with historical events, the unique approach and detail in each character’s missive...just one of these elements would result in an entertaining tale, this comic mixes all of them into a superlative package. You’re doing yourself a disservice if you’re not reading this series.

| Published by Vault

The Unstoppable Wasp #7 throws Nadia a birthday party, wherein she learns of her relations to what seems like half of the Marvel universe. Also, issues a death threat to Tony Stark. It’s cute, from Jeremy Whitley, Alti Firmansyah, Espen Grundetjern, and Joe Caramagna.

| Published by Marvel

War of the Realms: New Agents of Atlas #1 sets up the conflict in the Pacific with Sindr while introducing a swath of new international characters to the Marvel universe. Also, Amadeus Cho continues to be a massive idiot, even at his shrunken size. Great art from Gang Hyuk Lim and Federico Blee.

| Published by Marvel

Wonder Twins #4 sets up the twins with a pair of dates, allowing for some hilarious misadventures. Also, Polly seems to have a weird obsession with testicular cancer. Mark Russell, Stephen Byrne, and Dave Sharpe continue the fun, even though this one kind of takes us away from all ages material.

| Published by DC Comics / Wonder Comics

Wyrd #3 opens up the messy can of worms of Wyrd’s past further as a figure out of the past he can’t remember emerges for a “meet”. Great tone and atmosphere for this story from Curt Pires, Antonio Fuso, Stefano Simeone, and Micah Myers.

| Published by Dark Horse

X-Force #7 begins “The Counterfeit King” from Ed Brisson, Dylan Burnett, Damian Couceiro, Jesus Aburtov, and Joe Caramagna as past and present threaten to collide. Some nice character development for the team as they wait for Deathlok to do his thing.

| Published by Marvel

Other Highlights: Accell #20, Age of X-Man: Apocalypse & The X-Tracts #3, Battlestar Galactica: Twilight Command #3, Betty & Veronica #5, Black Hammer: Age of Doom #10, By Night #11, Captain America #10, Captain Marvel #5, Catwoman #11, Curse Words #21, Friendly Neighborhood Spider-Man #6, Gunning for Hits #5, Hack/Slash vs. Chaos #5, Hit Girl: Season Two #4, House of Whispers #9, Ice Cream Man #12, James Bond: Origin #9, The Last Space Race #4, The Long Con #9, Marvels Annotated #3, Oberon #4, Ronin Island #3, Section Zero #2, Shadow Roads #7, Six Days, Spider-Man/Deadpool #50, Star Wars Adventures #21, Supergirl #30, Symbiote Spider-Man #2, The Unbeatable Squirrel Girl #44, Unnatural #9, Vindication #4, War of the Realms: Journey Into Mystery #2, Wasted Space #9, Waves, Wonder Woman #70

Recommended Collections: Accell - Volume 4: Slipstream Dream, Beyonders - Volume 1, Blackbird - Volume 1, Doctor Who: The Thirteenth Doctor - Volume 1, The Freeze - Volume 1, Justice League - Volume 2: Graveyard of the Gods, Pearl - Volume 1, Quantum & Woody! - Volume 2: Separation Anxiety, Red Sonja/Tarzan, Spider-Gwen: Ghost Spider - Volume 1: Spider-Geddon, Star Wars: Age of Republic - Villains, Thor by Jason Aaron: Complete Collection - Volume 1, The Woods: Yearbook Edition - Volume 1

d. emerson eddy feels like a frappuccino.

#This Week in Comics

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dccomicsnews · 6 years ago

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Fun. No matter genre or style, comics should always be fun. Unfortunately, sometimes, comics fail on this point either through content or execution. While it’s true that “fun” may be a quickly moving target for audiences generation to generation, it shouldn’t be too hard to point out comics that miss this. Even the most progressive and innovative comics have a “fun” quotient. Currently, DC Comics seems to be struggling with this notion in a significant segment of their line. However, there are some titles which have no problem exuding “fun!” It’s telling that the company that would be known as DC launched their first title in 1935, New Fun: The Big Comic Magazine. It’s even more telling, that this title evolved into More Fun Comics. From the very beginning, there’s been a notion of “fun.”

It may be easy to say that the element of “fun” is elusive and subjective. However, there are some classic titles that due to mature themes may seem to contradict this notion. Let’s look at Watchmen. While this comic is full of mature elements, it never eliminates the aspect of fun. The use of the Charlton Comics characters as analogs is an instant indicator of “fun.” It’s clear that Alan Moore is tying in to the history of comics, not only Charlton’s history, but the very history of comics as his backstory evokes the Golden Age of DC’s history. While Nite Owl, Silk Spectre and the rest are more or less original creations, it’s clear that they echo characters like the Golden Age Flash, Green Lantern and Atom that were in use in the DC Universe at the time. Any contemporary reader would be aware of this. It’s not hard to imagine that reader understanding that Moore was creating a sort of synergy with the legacies in the DC Universe. While not an analog for the Justice Society of America, the Minutemen are that world’s first team of mystery men like the JSA in the traditional DC Universe. Evoking legacy is one of the primal elements of comic book “fun.” This is what made the reintroduction of the Justice Society of America in Justice League of America #21 and #22 such a hit in 1963.

If something as highly acclaimed and serious as Watchmen can contain “fun,” what’s going on with today’s books? There’s no shortage of fun in the current Hawkman, and The Terrifics as well as the recent Plastic Man mini-series. However, the Heroes in Crisis mini-series/event is anything but fun. Issue #1 was essentially a bloodbath with 1/2 the issue devoted to Harley Quinn stabbing Booster Gold, repeatedly and unrelentingly. There’s no fun here. The tone is somber and the action mired in gratuitous violence. The basic premise of the series is that sometimes super-heroes need some mental and emotional counseling.�� At Sanctuary, the heroes hope to receive that assistance, but there’s a mass murder at the facility that takes the lives of some fan favorite characters, Wally West and Roy Harper. The premise is about as far from fun as could be imagined. While it has the potential to be a truly moving story, so far it has felt more like spectacle with little substance. It would’ve been much more effective to have created an emotional connection with the victims before dispatching them.

Even a moment that could be perceived as fun in issue #2, when Harley Quinn takes out the Trinity, feels awkward and incongruous. Perhaps, one needs to be a full on Harley fanatic to appreciate this moment. To the average reader, it feels incredibly bizarre and absurd considering the accepted portrayal of Superman, Batman and Wonder Woman. Perhaps, there is more going on, but on the surface, it appears to be quite ridiculous considering Harley Quinn’s power set. In the end, it feels out of place and damning of the Trinity. It’s hard to smile with such an indictment of DC’s big three.

The fallout from Heroes in Crisis naturally extends over to Titans. The team has lost Roy Harper and Wally West, Arsenal and the Flash respectively to the events at Sanctuary. Additionally, Donna Troy seems to be struggling with alcohol. And, to add insult to injury (pun intended), Nightwing their leader suffered a gunshot to the head in Batman #55 that has left him with amnesia. He only remembers his life before his parents were killed. Dick Grayson has no memory of his life as the original Robin or Nightwing, nor of Bruce Wayne as his adoptive father. This whole storyline plays like an attempt to remold Dick Grayson’s personality and affect a name change to “Ric” in order the pacify the perpetually immature that can’t handle the traditional nickname for Richard, Dick. All this trauma leaves very little fun in the Titans book, which is 180 degree turn from where it started out with the pre-Rebirth mini-series, Titans Hunt, and the first story arcs during the Rebirth branding of the DC line. These stories relied on the nostalgia for the return of the original Teen Titans to the history of the DC Universe and featured friends rediscovering friendships. Nostalgia is a major fun factor, as is friends reconnecting, either in real life or between beloved fictional characters.

Looking at the recent Plastic Man mini-series by Gail Simone and Adriana Melo, it’s not hard to see the fun in it. While the character may lend itself to something more humorous, there’s a fun in exploring Plas’s character. Addressing Pado Swakatoon’s identity issues is just as serious as what Tom King is attempting in Heroes in Crisis. The difference seems to be that Simone and Melo find an element of fun embedded in the themes. King appears to have lost this in his Batman run as well. His lead up to the “non-wedding” included some great character moments and “fun”, most significantly the double date with Lois and Clark at the carnival. However, with Batman #50, the “non-wedding” issue, was a great disappointment. Weddings are generally considered to be fun events, even if just in the moment. However, Bruce and Selina never got that far. There’s nothing fun about a wedding that doesn’t happen. Ask any guest….

Let’s look at Hawkman and The Terrifics, two DC Comics series that both exude “fun.” Hawkman not only presents an interesting plot, but builds on the main character, Carter Hall. There’s a lot going on with this character as his history is explored and yet not destroyed. Robert Venditti has managed to build on Hawkman’s past in an interesting way which doesn’t eliminate any aspect of his history. Instead, it embraces it. This is a real triumph! It exudes “fun.” It doesn’t necessarily require previous knowledge and it doesn’t eliminate ANYTHING that’s come before.

The Terrifics channels the fun and themes that the Fantastic Four originally produced back in 1961 for Marvel Comics. It’s no secret that The Terrifics draws on the chemistry of the Fantastic Four, but more importantly it manages to remain “fun” utilizing the unique personalities of Plastic Man and Metamorpho contrasted against the Mr. Fantastic intellectual analog, Mr. Terrific.

It’s prescient to look at Marvel’s The Immortal Hulk, a series which is not only doing well and receiving positive response, but also serious, somewhat scary and definitely mature. Despite all of these attributes going against it, this series manages to remain “fun.” It is able to channel the original horror element of the basic concept while maintaining a modern sensibility. There is no doubt, however, that Immortal Hulk is fun. Most recently issue #8 has featured a dismembered Hulk still able to provide succor for Bruce Banner. Perhaps, it is the relationship between the two that remains most salient element in the book.

Maybe, the most damning titles in DC’s stable are the Superman books by Brian Michael Bendis. What should be fun is not, and what’s left is sometimes boring and mostly depressing. The Rogol Zaar storyline is progressing too slowly and quite underwhelmingly while the Lois Lane subplot in Action Comics feels completely wrong. The solicits for February’s comics seem to project a future for Jon Kent (Lois and Clark’s son) that has robbed the reader of Jon’s growth and development. Bendis seems to be robbing the reader of understanding how Jon matures and grows, as well as robbing Lois and Clark of raising their child. Not only is this not fun, it is disturbing. If you haven’t dropped Bendis’ Superman books, go ahead and do it now so there may be a chance of salvaging the Kent family. “Fun” is watching the Kent’s raising their son. Depriving them of this opportunity shows a complete lack of respect for the characters, and an agenda of spectacle over character development. There’s enough inherent conflict and story ideas in raising a child with superpowers that Bendis’s contrived plot are not only unnecessary, but uninteresting and depressing- the opposite of “fun.” Not mention, a status quo that absolutely no one asked for. There’s an ominous cloud hanging over Superman’s head as Bendis seems to be purposely breaking down the Man of Steel instead of writing legitimately interesting character development. A mopey, sad Superman is just depressing, and it doesn’t feel genuine when the conflict is so clearly contrived.

It’s not as if there is just one title or character that seems to be suffering from a lack of fun. The widely reaching Heroes in Crisis event sort of permeates the tenor of the DC Universe. Interestingly, this atmosphere isn’t isolated in the books that are dealing with the repercussions of Heroes in Crisis directly. Superman and Nightwing both have some very somber elements that tinge the overall tone of their current storylines and suck the fun out of the drama. At some point, if the comics you are reading aren’t fun and enjoyable you should drop them. Superman, Action, Titans, Heroes in Crisis, maybe Batman…. Send a message, read what you like…buy what you want to read…don’t be afraid of change….

Editorial: Comics Should Be Fun Fun. No matter genre or style, comics should always be fun. Unfortunately, sometimes, comics fail on this point either through content or execution.

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tabloidtoc · 6 years ago

Text

People, January 11

Cover: Anne Hathaway -- Life, Love and Surviving Hollywood

Page 4: Chatter -- Sam Elliott on his Oscar nomination, Leslie Jones on Jennifer Lopez’s diet, Debra Messing on dating, Jada Pinkett Smith on not hosting the Oscars, John Travolta on shaving his head, Gina Rodriguez on being asked if she’s a virgin

Page 8: 5 Things We’re Talking About -- Male cheerleaders head to the Super Bowl, Mindy Kaling jokes that Kelly killed Ryan, Candy sweethearts are missing this Valentine’s Day, Sandra Bullock eyes another Netflix movie, Rent Live goes on not-so-live, a chat with Shane West of Gotham

Page 10: Contents

Page 14: Editor’s Letter -- SAG Awards -- Emily Blunt, Black Panther cast members and Darren Criss, Mailbag

Page 16: StarTracks -- SAG Awards -- John Krasinski and Emily Blunt

Page 17: Glenn Close, Crazy Rich Asians costars Michelle Yeoh and Henry Golding Jr. and Gemma Chan, Black Panther cast Andy Serkis and Michael B. Jordan and Chadwick Boseman and Danai Gurira and Angela Bassett and Lupita Nyong’o and Sterling K. Brown, Lady Gaga

Page 18: Mahershala Ali, Rami Malek, Sandra Oh, Bradley Cooper and his mom Gloria Campano, Lily Tomlin and Jane Fonda

Page 19: People SAG Awards Gala -- Lyric Ross and Eris Baker of This Is Us, Ken Jeong and Ellen Wong and Kate Nash, Melissa McCarthy and husband Ben Falcone, Darren Criss and Mike Myers, Jason Bateman and wife Amanda Anka

Page 20: Style Standouts -- SAG Awards -- Megan Mullally, Mandy Moore, Rachel Weisz, Emma Stone, Lupita Nyong’o

Page 22: Danai Gurira, Margot Robbie, Yara Shahidi, Constance Wu, Patricia Clarkson

Page 25: StarTracks -- Andy Cohen’s baby shower with more than 30 stars from Bravo’s Real Housewives franchise and John Mayer, Keegan-Michael Key and wife Elisa Pugliese, Zac Efron goes blonde

Page 26: Celine Dion, Jennifer Lopez, Uma Thurman and daughter Maya Hawke, Maya with dad Ethan Hawke, James Middleton

Page 29: Carrie Underwood’s baby joy after heartbreak

Page 31: Michael Jackson documentary sparks outrage

Page 32: Heart Monitor -- Channing Tatum and Jessie J heating up, Tom Arnold and Ashley Groussman divorcing, Chris Harrison and Lauren Zima new love, Suki Waterhouse and Robert Pattinson going strong

Page 35: Andrew Dice Clay finds new role in A Star Is Born, Miley Cyrus and Liam Hemsworth step out as newlyweds, Jameela Jamil fights body shamers

Page 36: Bruce Willis selling his mansion in Bedford Corners, N.Y., James Gandolfini’s son Michael will play Tony Soprano in a prequel to The Sopranos called The Many Saints of Newark

Page 38: Julia Michaels -- Hits and heartbreak

Page 41: Stories to Make You Smile

Page 43: Passages, Why I Care -- John Stamos is working to prevent child abuse

Page 47: People Picks -- Margaret: The Rebel Princess

Page 48: Conan, High Flying Bird, One to Watch -- The Passage’s Brianne Howey

Page 50: American Soul

Page 51: Ray Romano: Right Here, Around the Corner, Maggie Rogers -- Heard It in a Past Life, Arctic

Page 52: Russian Doll, Cassadee Pope -- Stages, Q&A with Christina Perri

Page 55: Books

Page 57: Grammy Insider -- Alicia Keys, Women to Watch

Page 58: Bebe Rexha, Brandi Carlile, Grammy night throwbacks -- Christina Aguilera, Backstreet Boys, Justin Timberlake

Page 60: Who’ll take home a Grammy?

Page 62: Grammy Awards ballot

Page 64: Cover Story -- Anne Hathaway

Page 72: Top Chef’s Fatima Ali -- A life cut short

Page 73: Padma Lakshmi remembers her “Angel” friend Fatima

Page 74: Princess Kate Middleton on motherhood

Page 77: Keeping Kate Spade’s legacy alive

Page 80: Jennifer Asbenson survived serial killer Andrew Urdiales

Page 84: Gabrielle Union -- fashion and family

Page 86: Troy and Sarah Rufing and their 6 kids opened their home and their hearts to become a foster family to 3 disabled veterans

Page 93: Style -- Natalie Portman, Kerry Washington

Page 95: Editor’s Picks

Page 96: Beauty Questions Answered -- Emily Blunt’s pretty pink makeup look

Page 99: Food -- Please try a plant-based diet

Page 109 -- Second Look -- Victoria Beckham

Page 110: One Last Thing -- Matt LeBlanc

#tabloids #anne hathaway #sag awards #robert pattinson #rob pattinson #suki waterhouse

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collectorscorner · 3 years ago

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CC Blogger - New Arrivals @ Collectors Corner : Wednesday 6/30/21

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chicfashionaccessories · 5 years ago

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Glenda Bailey Steps Down as Editor in Chief of 'Harper's Bazaar'

Photo: Dimitrios Kambouris/Getty Images for Lincoln Center After nearly two decades in the influential role, Dame Glenda Bailey is stepping down as editor-in-chief of Harper's Bazaar U.S., Hearst announced Wednesday. She's not leaving the brand entirely: Effective March 1, Bailey will take on the title of global consultant, working as Hearst's liaison with the 29 global editions of Harper's BAZAAR. A successor, who Bailey will help identify, has not yet been named. "I've wanted Bazaar to be a party that everyone is invited to, and I thank my incredibly talented team for helping me do just that," Bailey said in a statement. "Fashion and beauty are my career and my hobby—there’s nothing that inspires me more. With the exhibition ["Harper’s Bazaar: First in Fashion" opening Feb. 28 at the at the Musée des Arts Décoratifs] opening during Paris Fashion Week, the timing is perfect for a new adventure. I'm looking forward to working with brands to find creative solutions and with our global editors to learn about their audiences and devise ways to surprise and delight them.” Bailey obviously has a strong legacy at the title after almost 19 years, presiding over some of the most memorable covers and editorials in magazine history, from Rihanna inside a shark to Demi Moore with the giraffe. "Glenda Bailey’s Harper's Bazaar has been a powerful voice for fashion innovation around the world," said Hearst President and CEO Steven R. Swartz. "We are so pleased that she will remain with Hearst as she transitions to a role of global fashion thought leader and brand ambassador for Harper's Bazaar." "Glenda's mark on the Bazaar brand is indelible and her contributions immeasurable," added Hearst Magazines President Troy Young. "She's passionate about fashion as both entertainment and high art, and we're happy to be able to access her creativity and imagination for our global editions." Bailey's departure is the latest in a series of high-profile masthead changes at legacy fashion titles that are grappling with a new era in media. Never miss the latest fashion industry news. Sign up for the Fashionista daily newsletter.

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smashpages · 7 years ago

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Skottie Young, Tom King, ‘March: Book Three’ and more take home Ringo Awards

The winners for the first-ever Ringo Awards were announced this weekend at the Baltimore Comic-Con. The awards are named for artist Mike Wieringo, who passed away in 2007.

The Ringos showed Skottie Young’s I Hate Fairyland some love, as the creator took home awards for Best Cartoonist and Best Humor Comic. March: Book Three by Congressman John Lewis, Andrew Aydin and Nate Powell continued to rack up accolades as it took home the awards for Best Non-fiction Comic Work and Best Original Graphic Novel. And Tom King, writer of Best Series winner The Vision, won for Best Writer. Other winners included Fiona Staples, Sean Murphy, Todd Klein, Laura Martin, Bloom County and Dean Haspiel’s The Red Hook.

The nomination process was open to anyone, while comic professionals voted on the final winners. Check out the full list of nominees below, with the winners in bold.

Best Cartoonist (Writer/Artist)

Skottie Young

Daniel Clowes

Steve Conley

Hernandez Brothers

Aydin Anh Huynh (Snailords)

Kaitlyn Narvaza (instantmiso)

Best Writer

Tom King

PJ Haarsma & Alan Tudyk

Jody Houser

Robert Kirkman

Jeff Lemire

Alan Moore

Mark Waid

David Walker

Gerard Way

Best Artist or Penciller

Fiona Staples

Kaare Andrews

Cliff Chiang

Rafael de Latorre

Mitch Gerards

Jason Johnson

Jason Latour

Dustin Nguyen

Best Inker

Sean Murphy

Mark Brooks

Jeremy Freeman

Jonathan Glapion

Jason Latour

Jae Lee

Danny Miki

Victor Olazaba

Best Letterer

Todd Klein

Clayton Cowles

Taylor Esposito

Troy Peteri

John Workman

Best Colorist

Laura Martin

Jordie Bellaire

Tamra Bonvillain

Elizabeth Breitweiser

Rico Renzi

Sarah Stone

Matt Wilson

Best Cover Artist

Frank Cho

Mike Del Mundo

JG Jones

Phil Noto

Ryan Sook

Fiona Staples

Sana Takeda

Best Series

Vision, Marvel Comics

Faith, Valiant Entertainment

Paper Girls, Image Comics

Saga, Image Comics

Spectrum, Automatic Pictures

Best Single Issue or Story

Emancipation Day, http://ift.tt/2oketu3

Deadly Hands of Criminal, Image Comics

DC Universe Rebirth #1, DC Comics

Faith #1, Valiant Entertainment

Locke & Key: Small World, IDW Publishing

Best Original Graphic Novel

March: Book III, Top Shelf Productions

Ghosts, Scholastic/Graphix

Patience, Daniel Clowes, Fantagraphics

Tetris: The Games People Play, First Second

Wonder Woman: The True Amazon, DC Comics

Best Anthology

Love is Love, DC Comics/IDW Publishing

Dark Horse Presents, Dark Horse Comics

Island, Image Comics

ReDistrictedComics.com (http://ift.tt/2oketu3)

Wonder Woman 75th Anniversary Special, DC Comics

Best Humor Comic

I Hate Fairyland, Image Comics

Adventures of God, Line Webtoons

Blue Chair, Line Webtoons

Giant Days, BOOM! Studios

Jughead, Archie Comics

Unbeatable Squirrel Girl, Marvel Comics

Best Comic Strip or Panel

Bloom County, Berkeley Breathed, Universal Uclick

Dick Tracy, Joe Staton & Mike Curtis, Tribune Media Services

Foxtrot, Bill Amend, Universal Press Syndicate

Mutts, Patrick McDonnell, King Features Syndicate

Pearls Before Swine, Stephan Pastis, Universal Uclick

Best Webcomic

The Red Hook, Dean Haspiel (http://ift.tt/1qZWwPZ)

Girl Genius, Phil Foglio (http://ift.tt/qQ7Fyn)

Siren’s Lament, Kaitlyn Narvaza (instantmiso)(http://ift.tt/21RRoue)

The Middle Age, Steve Conley (http://ift.tt/2uG0j8l)

unOrdinary, uru-chan (http://ift.tt/2tUo66A)

Best Non-fiction Comic Work

March: Book Three, Top Shelf Productions

Cooking Comically (http://ift.tt/og2Zo5)

Dark Night, A True Batman Story, DC Comics

ReDistrictedComics.com (http://ift.tt/2oketu3)

Rolling Blackouts, Drawn and Quarterly

Tetris: The Games People Play, First Second

Best Presentation in Design

Mike Mignola’s Screw-On Head and Other Curious Objects: Artist’s Edition Hardcover, IDW Publishing

Aliens 30th Anniversary: The Original Comic Series, Dark Horse Comics

Al Williamson’s Star Wars: The Empire Strikes Back Artist Edition, IDW Publishing

Britannia, Valiant Entertainment

Legacy of Luther Strode, Image Comics

Moebius Library: The World of Edena, Dark Horse Books

The ODY-C: Cycle One Hardcover, Image Comics

Spectrum, Automatic Pictures

#comic books #Smash Pages #ringo awards

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mrjeremydylan · 7 years ago

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My Favorite Album #210 - #BeatlesMonth Heartbreaker Benmont Tench on playing with Ringo, the Beatles RnB roots, the genius of 'No Reply' and why 'I Wanna Hold Your Hand' scared him

Keyboard legend Benmont Tench (Tom Petty and the Heartbreakers, Mudcrutch) returns to the show as Beatles Month rolls on.

Benmont unpacks the multi-layered genius of Beatles for Sale opening track 'No Reply', explores why the Beatles R'n'B roots are at the heart of their greatness, recalls how his first exposure to the band scared him as a kid, why the Heartbreakers avoided playing Beatles covers, wonders about his friend Ryan Adams' recent discovery of the Beatles albums and talks about his relationship with Ringo Starr across 20+ years of playing on each other's records.

Listen in the player above or download the episode by clicking here.

Subscribe to the podcast in iTunes here or in other podcasting apps by copying/pasting our RSS feed - http://myfavoritealbum.libsyn.com/rss My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album’s influence on their own music. Jeremy Dylan is a filmmaker, journalist and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos.

If you’ve got any feedback or suggestions, drop us a line at [email protected].

LINKS

- Benmont Tench on Twitter, Instagram and Facebook. Get his great solo record here.

- Buy 'Beatles for Sale’ here.

- Jeremy Dylan’s website, Twitter, Instagram and Facebook page.

- Like the podcast on Facebook here.

- If you dig the show, please leave a rating or review of the show on iTunes here.

CHECK OUT OUR OTHER EPISODES

209. #BeatlesMonth Ken Levine on ‘Sgt Pepper’s Lonely Hearts Club Band’ (1967) 208. All Our Exes Live In Texas on Rufus Wainwright ‘Want’ (2004) 207. Eilish Gilligan on Counting Crows ‘August and Everthing After’ (1993) 206. Katie Brianna on Rilo Kiley ‘Under the Blacklight’ (2007) 205. Pegi Young on her biggest influences, from Janis to Joni, Clapton to the Dead 204. Margaret Glaspy on Bjork ‘Vespertine’ (2001) 203. Iluka on Marvin Gaye ‘What’s Going On’ (1971) 202. Veronica Milsom (triple J) on The Shins ‘Wincing the Night Away’ (2007) 201. Charles Esten on Bruce Springsteen ‘Born to Run’ (1975) 200. What’s Your Favorite Aussie Music? with Benmont Tench, Duglas T Stewart, Natalie Prass, Sam Palladio and Jeff Greenstein 199. Showrunner Jeff Lieber on Gregory Alan Isakov ‘The Weatherman’ and how music fuels his writing process 198. Jack Colwell on Tori Amos ‘Boys for Pele’ (1996) 197. Benmont Tench on playing with Bob Dylan, Jenny Lewis and Ryan Adams and the worst advice he’s received 196. Ella Thompson (Dorsal Fins, GL) on Renee Geyer ‘Moving On’ 195. The Shires on Lady Antebellum ‘Own the Night’ (2011) 194. Duglas T Stewart (BMX Bandits) on Beach Boys ‘Love You’ (1977) 193. Dan Soder on Queens of the Stone Age ‘Like Clockwork’ (2013) 192. Kingswood on The Beatles ‘Magical Mystery Tour’ (1967) 191. Comedian Becky Lucas on Michael Jackson ‘Bad’ (1987) 190. PVT on Brian Eno ‘Another Green World’ (1975) 189. Middle Kids on My Brightest Diamond ‘Bring Me The Workhorse’ (2006) 188. The Bitter Script Reader on Tom Hanks ‘That Thing You Do’ (1996) 187. Carly Rae Jepsen ‘Emotion’ (2015) with CRJ Dream Team Roundtable 186. Sarah Belkner on Peter Gabriel ‘So’ (1986) 185. Mark Hart (Crowded House, Supertramp) on XTC ‘Drums and Wires’ (1979) 184. Emma Swift on Marianne Faithfull ‘Broken English’ (1974) 183. Owen Rabbit on Kate Bush ‘Hounds of Love’ (1985) 182. Robyn Hitchcock on Bob Dylan ‘Blonde on Blonde’ (1966) 181. Dave Mudie (Courtney Barnett) on Nirvana ‘Nevermind’ (1991) 180. Brian Koppelman on Bruce Springsteen ‘Nebraska’ (1982) 179. Nicholas Allbrook (POND) on OutKast ‘The Love Below’ (2003) 178. 2016 in Review: What the hell? ft Jeff Greenstein, Rob Draper & Cookin on 3 Burners, Melody Pool, Lisa Mitchell, Emma Swift, Brian Koppelman, Mark Hart (Crowded House), Davey Lane and Alex Lahey 177. Harper Simon on The Beatles ‘White Album’ (1968) 176. Andrew P Street on Models ‘Pleasure of Your Company’ (1983) 175. Matt Farley (Motern Media) on why The Beach Boys ‘Love You’ is better than ‘Pet Sounds’ 174. Lisa Mitchell on Regina Spektor ‘Begin to Hope’ (2006) and her favorite albums of 2016 173. Peter Bibby on Sleep ‘Dopesmoker’ (2003) 172. Slate’s Jack Hamilton on Stevie Wonder ‘Innervisions’ (1973) 171. Showrunner Blake Masters on Drive-By Truckers ‘The Dirty South’ (2004) 170. Taylor Goldsmith (Dawes) on on their new album ‘We’re All Gonna Die’, loving LA and the albums that inspire him 169. Sadler Vaden on The Rolling Stones ‘Goats Head Soup’ (1973) 168. Guy Clark biographer Tamara Saviano on ‘Dublin Blues’, Guy’s songwriting process and his musical legacy 167. What does Trump mean for music? 166. A Tribute to Sir George Martin, The Fifth Beatle with Davey Lane and Brett Wolfie 165. John Oates on Joni Mitchell ‘Blue’ (1971) 164. Jimmy Vivino on the birth of the Max Weinberg 7, his relationship with Conan O’Brien, country music and the future of rock’n’roll 163. DJ Alix Brown on Transformer (1972) by Lou Reed 162. Taylor Locke on Doolittle (1989) by the Pixies, the album that inspired 90s alt-rock 161. Harts on Around the World in a Day (1985) by Prince and jamming with Prince at Paisley Park 160. Mark McKinnon (The Circus) on Kristofferson and programming the President’s iPod 159. Alan Brough on A Walk Across the Rooftops (1984) by The Blue Nile 158. Peter Cooper on Pretty Close to the Truth (1994) and why we need Americana music 157. Will Colvin (Hedge Fund) on One of the Boys by Katy Perry (2008) 156. Julia Jacklin on Extraordinary Machine by Fiona Apple (2005) 155. Japanese Wallpaper on Currents by Tame Impala (2015) 154. Montaigne on her album Glorious Heights (2016) and its inspirations 153. Alex Lahey on Hot Fuss by the Killers (2004) 152. Jack Moffitt (The Preatures) on Physical Graffiti by Led Zeppelin (1975) 151. Mike Bloom on Axis Bold As Love by Jimi Hendrix (1968) 150. Hey Geronimo on Drowning in the Fountain of Youth by Dan Kelly (2006) 149. Mickey Raphael on Teatro by Willie Nelson (1998) 148. Jack Ladder on Suicide by Suicide 147. Rusty Anderson on Hot Rats by Frank Zappa 146. Kenny Aronoff on The Beatles 145. Bob Evans on A Grand Don’t Come for Free by The Streets 144. Chris Hewitt (Empire) on New Adventues in Hi-Fi by REM 143. Dr Warren Zanes on Tom Petty and the Heartbreakers by Tom Petty and the Heartbreakers 142. Dr Mark Kermode (Wittertainment) on Sleep No More by the Comsat Angels 141. Van Dyke Parks on Randy Newman by Randy Newman 140. Imogen Clark on Heartbreaker by Ryan Adams 139. Jesse Thorn on Fresh by Sly and the Family Stone 138. Stephen Tobolowsky on The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie 137. Ben Blacker on Blood and Chocolate on Elvis Costello & the Attractions 136. Jonny Fritz on West by Lucinda Williams 135. Adam Busch on A River Ain’t Too Much to Love by Smog 134. Kelsea Ballerini on Blue Neighbourhood by Troye Sivan 133. Natalie Prass on Presenting Dionne Warwick 132. Josh Pyke on Badmotorfinger by Soundgarden 131. Kip Moore on Born to Run by Bruce Springsteen 130. Koi Child on Voodoo by D’Angelo 129. The Cadillac Three on Wildflowers by Tom Petty 128. Julian McCullough on Appetite for Destruction by Guns n Roses 127. Danny Clinch on Greetings from Ashbury Park NJ by Bruce Springsteen 126. Sam Palladio (Nashville) on October Road by James Taylor 125. Steve Mandel on Blood and Chocolate by Elvis Costello 124. Brian Koppelman on The History of the Eagles 123. Benmont Tench on Beggars Banquet by the Rolling Stones 122. Jimmy Vivino (Basic Cable Band) on Super Session by Al Kooper, Mike Bloomfield and Stephen Stills 121. Holiday Sidewinder on Pat Garrett & Billy the Kid by Bob Dylan 120. Ben Blacker on Aladdin Sane by David Bowie 119. EZTV on The Toms by The Toms 118. Jess Ribeiro on Transformer by Lou Reed 117. Whitney Rose on Keith Whitley Greatest Hits 116. Best Albums of 2015 with Danny Yau ft. Jason Isbell, Dan Kelly, Shane Nicholson, Tim Rogers, Will Hoge and Julien Barbagallo (Tame Impala) 115. Phil Spector’s A Christmas Gift For You with Jaime Lewis 114. Xmas Music ft. Kristian Bush, Lee Brice, Corb Lund and Tim Byron 113. Sam Outlaw on Pieces of the Sky by Emmylou Harris 112. Jason Isbell on Sticky Fingers by the Rolling Stones 111. Ash Naylor (Even) on Houses of the Holy by Led Zeppelin 110. Burke Reid (Gerling) on Dirty by Sonic Youth 109. Lance Ferguson (The Bamboos) on Kind of Blue by Miles Davis 108. Lindsay ‘The Doctor’ McDougall (Frenzal Rhomb) on Curses! by Future of the Left 107. Julien Barbagallo (Tame Impala) on Chrominance Decoder by April March 106. Melody Pool on Blue by Joni Mitchell 105. Rusty Hopkinson (You Am I) on ‘Nuggets: Original Artyfacts from the First Psychedelic Era’ 104. Jeff Greenstein on A Quick One (Happy Jack) by The Who 103. Dave Cobb on Revolver by the Beatles 102. Justin Melkmann (World War IX) on Coney Island Baby by Lou Reed 101. Kacey Musgraves on John Prine by John Prine 100. Does the album have a future? 99. Corb Lund on Gunfighter Ballads and Trail Songs by Marty Robbins 98. Bad Dreems on Unknown Pleasures by Joy Division 97. Davey Lane (You Am I) on Abbey Road by the Beatles 96. Dan Kelly on There’s A Riot Goin’ On by Sly and the Family Stone 95. Ash Grunwald on Mule Variations by Tom Waits 94. Stella Angelico on The Shangrilas 93. Eves the Behavior on Blue by Joni Mitchell 92. Troy Cassar-Daley on Willie Nelson’s Greatest Hits 91. Lydia Loveless on Pleased to Meet Me by the Replacements 90. Gena Rose Bruce on The Boatman’s Call by Nick Cave 89. Kitty Daisy and Lewis on A Swingin’ Safari by Bert Kaempfert 88. Will Hoge on Modern Sounds in Country & Western Music by Ray Charles 87. Shane Nicholson on 52nd St by Billy Joel 86 - Tired Lion on Takk… by Sigur Ros 85 - Whispering Bob Harris on Forever Changes by Love 84 - Jake Stone (Bluejuice) on Ben Folds Five by Ben Folds Five 83 - Pete Thomas (Elvis Costello and the Imposters) on Are You Experienced? by the Jimi Hendrix Experience 82 - Dom Alessio on OK Computer by Radiohead 81 - Anthony Albanese MP on The Good Son by Nick Cave and the Bad Seeds 80 - John Waters on Electric Ladyland by The Jimi Hendrix Experience 79 - Jim DeRogatis (Sound Opinions) on Clouds Taste Metallic by The Flaming Lips 78 - Montaigne on The Haunted Man by Bat for Lashes 77 - Guy Pratt (Pink Floyd) on Quadrophenia by The Who 76 - Homer Steinweiss (Dap Kings) on Inspiration Information by Shuggie Otis 75 - Best of 2015 (So Far) ft. Danny Yau, Montaigne, Harts, Joelistics, Rose Elinor Dougall and Burke Reid 74 - Matt Farley (Motern Media) on RAM by Paul McCartney BONUS - Neil Finn on The Beatles, Neil Young, David Bowie and Radiohead 73 - Grace Farriss (Burn Antares) on All Things Must Pass by George Harrison 72 - Katie Noonan on Blue by Joni Mitchell 71 - Harts on Band of Gypsys by Jimi Hendrix 70 - Tim Rogers (You Am I) on Bring the Family by John Hiatt 69 - Mark Seymour (Hunters and Collectors) on The Ghost of Tom Joad by Bruce Springsteen 68 - Jeremy Neale on Graceland by Paul Simon 67 - Joelistics on Graceland by Paul Simon 66 - Brian Nankervis (RocKwiz) on Astral Weeks by Van Morrison 65 - ILUKA on Pastel Blues by Nina Simone 64 - Rose Elinor Dougall on Tender Buttons by Broadcast 63 - Sarah McLeod (The Superjesus) on Siamese Dream by The Smashing Pumpkins 62 - Keyone Starr on The Miseducation of Lauryn Hill 61 - Chase Bryant on Defying Gravity by Keith Urban 60 - Brian Koppelman on Southeastern by Jason Isbell 59 - Michael Carpenter on The Beatles White Album Side 4 58 - Pete Kilroy (Hey Geronimo) on The Beatles White Album Side 3 57 - Mark Wells on The Beatles White Album Side 2 56 - Jeff Greenstein on Colossal Youth by Young Marble Giants 55 - Laura Bell Bundy on Shania Twain, Otis Redding and Bright Eyes 54 - Jake Clemons on Surfacing by Sarah McLachlan 53 - Kristian Bush (Sugarland) on The Joshua Tree by U2 52 - Kevin Bennett (The Flood) on Willis Alan Ramsey by Willis Alan Ramsey 51 - Lee Brice on Unorthodox Jukebox by Bruno Mars 50 - Davey Lane (You Am I) on the White Album (Side 1) by The Beatles 49 - Joe Camilleri on The Rolling Stones by The Rolling Stones 48 - Russell Morris on The Rolling Stones by The Rolling Stones 47 - Mike Rudd (Spectrum) on England’s Newest Hitmakers by The Rolling Stones 46 - Henry Wagons on Harvest by Neil Young 45 - Megan Washington on Poses by Rufus Wainwright 44 - Andrew Hansen (The Chaser) on Armchair Theatre by Jeff Lynne 43 - She Rex on BlakRoc by The Black Keys 42 - Catherine Britt on Living with Ghosts by Patty Griffin 41 - Robyn Hitchcock on Plastic Ono Band by John Lennon 40 - Gideon Bensen (The Preatures) on Transformer by Lou Reed 39 - Harry Hookey on Blood on the Tracks by Bob Dylan 38 - Rob Draper on Faith by George Michael 37 - Best of 2014 ft. Danny Yau, Andrew Hansen, Gideon Bensen (The Preatures) and Mike Carr 36 - Doug Pettibone on Wrecking Ball by Emmylou Harris 35 - Ross Ryan on Late for the Sky by Jackson Browne 34 - Michael Carpenter on Hard Promises by Tom Petty & the Heartbreakers 33 - Davey Lane (You Am I) on Jesus of Cool by Nick Lowe 32 - Zane Carney on Smokin’ at the Half Note by Wes Montgomery 31 - Tony Buchen on Sgt Pepper’s Lonely Hearts Club Band by The Beatles 30 - Simon Relf (The Tambourine Girls) on On the Beach by Neil Young 29 - Peter Cooper on In Search of a Song by Tom T Hall 28 - Thelma Plum on Stolen Apples by Paul Kelly 27 - James House on Rubber Soul by the Beatles 26 - Ella Hooper on Let England Shake by PJ Harvey 25 - Abbey Road Special 24 - Alyssa Bonagura on Room for Squares by John Mayer 23 - Luke Davison (The Preatures) on Green Onions by Booker T and the MGs 22 - Neil Finn on Hunky Dory by David Bowie and In Rainbows by Radiohead 21 - Neil Finn on Beatles for Sale by the Beatles and After the Goldrush by Neil Young 20 - Morgan Evans on Diorama by Silverchair 19 - Emma Swift on Car Wheels On A Gravel Road by Lucinda Williams 18 - Danny Yau on Hourly Daily by You Am I 17 - J Robert Youngtown and Jon Auer (The Posies) on Hi Fi Way by You Am I 16 - Lester the Fierce on Hounds of Love by Kate Bush 15 - Luke Davison on Green Onions by Booker T and the MGs 14 - Jeff Cripps on Wheels of Fire by Cream 13 - Mark Holden on Blue by Joni Mitchell (Part 2) 12 - Mark Holden on Blue by Joni Mitchell (Part 1) 11 - Gossling on O by Damien Rice 10 - Matt Fell on Temple of Low Men by Crowded House 9 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 2) 8 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 1) 7 - Sam Hawksley on A Few Small Repairs by Shawn Colvin 6 - Jim Lauderdale on Grievous Angel by Gram Parsons 5 - Mark Moffatt on Blues Breakers by John Mayall and Eric Clapton 4 - Darren Carr on Ten Easy Pieces by Jimmy Webb 3 - Mark Wells on Revolver by The Beatles 2 - Mike Carr on Arrival by ABBA 1 - Rob Draper on Highway 61 Revisited by Bob Dylan

#podcast #beatles #benmont tench #benmont #heartbreakers #ringo starr #tom petty #steve ferrone #paul mccartney #john lennon #george harrison #jenny lewis #ryan adams

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itsfinancethings · 5 years ago

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October 01, 2019 at 06:00AM

Break out the pumpkin spice lattes and the scary movies. October is here, and Netflix came prepared with films and TV shows to keep you cozy indoors.

As usual, the streaming giant has its own original films and series to premiere. The Laundromat, Stephen Soderbergh’s film starring Meryl Streep, Gary Oldman and Antonio Banderas, is based on the Panama Papers scandal. The Netflix-produced drama, which premiered at the Venice Film Festival and hit limited theaters on Sept. 27, is available online Oct. 18.

Dolemite Is My Name, a biopic, features Eddie Murphy as Rudy Ray Moore, a comedian, actor and musician who was considered the godfather of rap music. Dolemite premieres online Oct. 25, following a limited theatrical release.

One highly anticipated release, arriving on Oct. 11, is El Camino: A Breaking Bad Movie, which picks up with Jesse Pinkman (Aaron Paul) after the events of that show’s 2013 series finale.

To get ready for Halloween, check out Rattlesnake, a psychological horror movie directed by Zak Hilditch, on Oct. 25. The second season of Netflix’s Insatiable is also airing this month. You can watch the satirical comedy, starring Debbie Ryan, on Oct. 11.

The network is continuing a new experiment with rolling out a show’s episodes week by week, like its counterparts on network television, with Rhythm and Flow, a hip-hop competition. Cardi B, Chance the Rapper and T.I. will host, with new episodes airing Wednesdays, starting Oct. 9. For comedy fans, animated series Big Mouth returns with its third season on Oct. 4, and the fifth season of Schitt’s Creek, Eugene and Dan Levy’s comedy from the CBC, will air on Netflix on Oct. 10.

Here’s everything new coming to Netflix in October 2019.

Here are the Netflix originals coming to Netflix in October 2019

Availability TBD

My Next Guest With David Letterman and Shah Rukh Khan

Available Oct. 1

Carmen Sandiego: Season 2

Nikki Glaser: Bangin’

Available Oct. 2

Living Undocumented

Ready to Mingle (Solteras)

Rotten: Season 2

Available Oct. 3

Seis Manos

Available Oct. 4

Netflix BIG MOUTH

Big Mouth: Season 3

Creeped Out: Season 2

In the Tall Grass

Peaky Blinders: Season 5

Raising Dion

Super Monsters: Season 3

Super Monsters: Vida’s First Halloween

Available Oct. 5

Legend Quest: Masters of Myth

Available Oct. 7

Deon Cole: Cole Hearted

The Spooky Tale of Captain Underpants Hack-a-ween

Available Oct. 9

Eddy Chen—Netflix Cardi B in RHYTHM AND FLOW

Rhythm + Flow

Available Oct. 10

Ultramarine Magmell

Available Oct. 11

El Camino: A Breaking Bad Movie

The Forest of Love

Fractured

Haunted: Season 2

Insatiable: Season 2

La influencia

Plan Coeur: Season 2

The Awakenings of Motti Wolenbruch

YooHoo to the Rescue: Season 2

Available Oct. 12

Banlieusards

Available Oct. 16

Ghosts of Sugar Land

Available Oct. 17

The Unlisted

Available Oct. 18

The Yard (Avlu)

Baby: Season 2

Eli

Interior Design Masters

The House of Flowers: Season 2

The Laundromat

Living With Yourself

Eric Liebowitz/Netflix—Eric Liebowitz/NetflixPaul Rudd and Aisling Bea in Netflix’s ‘Living With Yourself’

MeatEater: Season 8

Mighty Little Bheem: Diwali

Seventeen

Spirit Riding Free: Pony Tales Collection 2

Tell Me Who I Am

Toon: Seasons 1-2

Unnatural Selection

Upstarts

Available Oct. 22

JoJo Whilden—Netflix Jenny Slate Comedy Special 2019

Jenny Slate: Stage Fright

Available Oct. 23

Breakfast, Lunch and Dinner

Available Oct. 24

Daybreak

Available Oct. 25

Brigada Costa del Sol

Brotherhood

Dolemite Is My Name

Greenhouse Academy: Season 3

The Kominsky Method: Season 2

Monzon

Nailed It! France (C’est du gâteau!)

Nailed It! Spain (Niquelao!)

Prank Encounters

Rattlesnake

It Takes a Lunatic

Available Oct. 28

A 3 Minute Hug

Little Miss Sumo

Available Oct. 29

Arsenio Hall: Smart and Classy

Available Oct. 30

Flavorful Origins: Yunnan Cuisine

Available Oct. 31

Kengan Ashura: Part II

Nowhere Man

Here are the TV shows and movies coming to Netflix in October 2019

Available Oct. 1

93 days

A.M.I.

Along Came a Spider

Bad Boys

Bad Boys II

Blow

Bring It On, Ghost: Season 1

Charlie’s Angels

Charlie’s Angels: Full Throttle

Cheese in the Trap: Season 1

Chicago Typewriter: Season 1

Crash

Exit Wounds

Good Burger

Harold & Kumar Escape from Guantanamo Bay

Honey 2

House of the Witch

Lagos Real Fake Life

Men in Black II

Moms at War

No Reservations

Ocean’s Thirteen

Ocean’s Twelve

Tomorrow with You: Season 1

Trainspotting

Troy

Tunnel: Season 1

Unaccompanied Minors

Walking Out

Available Oct. 7

The Water Diviner

Available Oct. 9

After

Available Oct. 10

Schitt’s Creek: Season 5

Available Oct. 15

Dark Crimes

Available Oct. 16

Sinister 2

Available Oct. 17

The Karate Kid

Available Oct. 19

Men in Black

Available Oct. 21

Echo in the Canyon

Free Fire

Available Oct. 23

Master Z: The Ip Man Legacy

Available Oct. 24

Revenge of Pontianak

Available Oct. 25

A Tale of Love and Darkness

Assimilate

Available Oct. 28

Shine On with Reese: Season 1

Available Oct. 31

Raging Bull

Here’s what’s leaving Netflix in October 2019

Leaving Oct. 1

A.I. Artificial Intelligence

All the President’s Men

Bonnie and Clyde (1967)

Bring It On: In It to Win It

Cabaret (1972)

Casper

Cat on a Hot Tin Roof

Charlie and the Chocolate Factory (2005)

Cloverfield

Deliverance

Divine Secrets of the Ya-Ya Sisterhood

Empire Records

Evolution

Forks Over Knives

Frances Ha

Free State of Jones

Get Carter

Gremlins

Hoosiers

Impractical Jokers: Season 1

In Bruges

Julie & Julia

Lakeview Terrace

Midsomer Murders: Series 1-19

Obsessed

Pineapple Express

Platoon

Quiz Show

She’s Out of My League

The Dukes of Hazzard

The Nightmare

The Sisterhood of the Traveling Pants

The Sisterhood of the Traveling Pants 2

Who’s Afraid of Virginia Woolf?

Leaving Oct. 5

Despicable Me 3

Leaving Oct. 7

David Blaine: What Is Magic?

Scream 4

Leaving Oct. 9

Little Witch Academia

Little Witch Academia: The Enchanted Parade

Sword Art Online II: Season 1

Leaving Oct. 15

El Internado: Seasons 1-7

Leaving Oct. 20

Bridget Jones’s Baby

Leaving Oct. 25

The Carrie Diaries: Seasons 1-2

Leaving Oct. 29

The Fall: Series 1

The Imitation Game

#IFTTT #Blogger

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gokinjeespot · 5 years ago

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off the rack #1279

Sunday, September 15, 2019

I'm posting this a day early because I've decided to go fishing tomorrow morning, possibly for the last time this season. It's been very windy this weekend which has kept me off the water. The winds tomorrow morning are supposed to be light so I will get on the lake and try my luck. My expectations are low as fall temperatures have settled in and my lake seems to be fished out. I've seen many boats in previous years and I am sure not everyone was following the rules of size and limits. I noticed a lot less boats out this year most likely because people aren't catching anything and not returning. I am happy if I land one fish and just enjoy my time doing something I love to do. I'll be busy doing the Capital Comic Book Convention next weekend, September 22. Dear friends from Calgary are visiting the weekend after that (September 29) and the weekend after that (October 5) we're doing a road trip to Freeport, Maine. I hope I don't get detained at the border.

Guardians of the Galaxy The Prodigal Sun #1 - Peter David (writer) Francesco Manna (art) Espen Grundetjern (colours) VC's Cory Petit (letters). Prince Prah'd'gul returns home to avenge the death of his father. He has an extreme reaction to his brother's betrayal and the ending made me chuckle. Peter David likes a good pun so the Sun in the title is the joke in this issue, not the Guardians of the Galaxy. Prince Prah'd'gul is a very powerful new character and it will be interesting to see where he pops up next.

Ironheart #10 - Eve L. Ewing (writer) Luciano Vecchio (art) Geoffo (layouts) Matt Milla (colours) VC's Clayton Cowles (letters). Riri and Shuri must stop a villain from gaining unlimited power but they are up against some group that includes a long lost relative of Riri's. This mystery is enough to keep me reading.

Moon Knight Annual #1 - Cullen Bunn (writer) Ibrahim Moustafa & Matt Horak (art) Mike Spicer (colours) VC's Joe Sabino (letters). This is an "Acts of Evil" one-shot. The basic concept of "Acts of Evil" is a super hero versus a super villain story. Here we have Moon Knight trying to keep Kang the Conqueror from getting three Egyptian artefacts that will give the bad guy complete control over time and remake reality in his own image. I should have stopped reading as soon as I saw who the villain was. Marc Spector jumps around in time and gets help from other Moon Knights to thwart Kang. Reality is saved once again. The end. These kinds of stories don't thrill me.

Detective Comics #1011 - Peter J. Tomasi (writer) Christian Duce (art) Luis Guerrero (colours) Rob Leigh (letters). This issue along with #1010 was a nice two-parter with Batman versus Deadshot but it wasn't very interesting. I liked the two old World War II castaways but I didn't like this version of Deadshot. I like it better when Deadshot is a semi-good guy.

Punisher Kill Krew #2 - Gerry Duggan (writer) Juan Ferreyra (art) VC's Cory Petit (letters). This book is just too ridiculously fun. Frank finds an unexpected ally while hunting down the frost giant that killed a family during the War of the Realms. It's the last person that I would have expected to be in this story. The last page has another surprise appearance that makes me want to read the next issue for sure.

Sabrina the teenage witch #5 - Kelly Thompson (writer) Veronica Fish & Andy Fish (art) Jack Morelli (letters). The first story arc ends with Sabrina saving the day. Yay. The next story doesn't hit the racks until 2020 and it should be good with Sabrina's secret identity in jeopardy.

Black Cat #4 - Jed MacKay (writer) Travel Foreman (art) Brian Reber (colours) Ferran Delgado (letters). The Fox has enlisted the help of Felicia and her henchmen for his final heist before he retires. That's why the robbery at Doctor Strange's house last time and this issue it's the headquarters of the Fantastic Four. Johnny is the dupe but plans go awry and a super villain pops up to make matters worse on the last page. We haven't seen this blowhard in a while.

Catwoman #15 - Ram V (writer) Mirka Andolfo (art) Arif Prianto (colours) Saida Temofonte (letters). I didn't mind Selina's move to Villa Hermosa after the non-nuptials but the change in writer and artist lowered my enjoyment of this title. I will be putting the cat out after this issue.

Miles Morales: Spider-Man #10 - Saladin Ahmed (writer) Javier Garron (art) David Curiel (colours) VC's Cory Petit (letters). If you noticed the higher $4.99 US cover price and the higher page count it's because this issue is Legacy #250. The main story features villains from Miles's original Ultimate Universe and a shocking final page that brought back vague memories for me of what happened back in that universe. The bonus story is the origin of Starling by Saladin Ahmed (writer) Annie Wu (art) Rachelle Rosenberg (colours) & VC's Cory Petit (letters). She's the granddaughter of the Vulture which explains the suit she wears so she can fly. I like that she's a good guy.

Young Justice #8 - Brian Michael Bendis (writer) John Timms (art) Gabriel Eltaeb (colours) Wes Abbott (letters). Wes Abbott (letters). The team wind up in Earth-3, home of the Crime Syndicate of Amerika. This earth's version of Young Justice is just as nasty as their missing elders and we go from fight to fight as Wonder Girl, Superboy, Red Robin and Impulse battle their evil counterparts. It's all narrated by a native good guy who wants to rid their world of the evil doers. It was a nifty surprise to find out who that was. I can't wait for them to get out of this universe because constant fight scenes get boring.

Silver Surfer Black #4 - Donny Cates (writer) Tradd Moore (art) Dave Stewart (colours) VC's Clayton Cowles (letters). Reading this penultimate issue was a mind blowing experience. Part of this is Galactus's origin story and wow, was it ever cool. Tradd Moore really captures the cosmic scale of this story. The panels showing the Surfer towing Galactus's incubator were awesome.

Batman Universe #3 - Brian Michael Bendis (writer) Nick Derington (art) Dave Stewart (colours) Carlos M. Mangual (letters). Batman's time on Thanagar doesn't last long and he's back on Earth healing up at the Hall of Justice. Now we know that Vandal Savage has his hands on a mysterious power source and he's trying to use it to conquer the world. This issue has Batman teaming up with Green Lantern on Dinosaur Island. It's nice seeing a lighter side of Batman in this adventure.

King Thor #1 - Jason Aaron (writer) Esad Ribic (art) Ive Svorcina (colours) VC's Joe Sabino (letters). I can't believe I've been reading Jason Aaron's Thor stories for seven years and loving every issue. This final story takes place in the far flung future as the universe is dying and King Thor and his granddaughters are trying to save it from Loki the All-Butcher. Between this and Silver Surfer Black the universe is in dire straits all due to the god Knull. This book looks so pretty. When the big bad shows up on the last page I just knew they couldn't keep him dead.

Powers of X #4 - Jonathan Hickman (writer) R.B. Silva (art) Marte Gracia (colours) VC's Clayton Cowles (letters). Each issue of this book and House of X builds on the new Mutant Foundation. Jonathan Hickman has made me care about the X-Men again. The beautiful art certainly helps too. I like when minor characters come to the fore. Mister Sinister and Doug Ramsey/Cypher are featured this issue.

Batman #78 - Tom King (writer) Clay Mann (art) Tomeu Morey (colours) Clayton Cowles (letters). I loved this issue of True Romance. It's Selina and Bruce, wearing a Magnum P.I. disguise, getting all hot and bothered on a tropical isle. Batman continues to get stronger in preparation for his return to Gotham City and a confrontation with Bane. This single issue illustrates why I've enjoyed this title so much.

Age of Conan Valeria #2 - Meredith Finch (writer) Aneke (art) Andy Troy (colours) VC's Travis Lanham (letters). I'm trying to decide if I want to continue reading this story of Valeria hunting for her brother's killer now that I know who it is. The art isn't bad but it sure doesn't do much for me.

Gwenpool Strikes Back #2 - Leah Williams (writer) David Baldeon (art) Jesus Aburtov (colours) VC's Joe Caramagna (letters). As if Gwenpool wasn't hilarious on her own, this issue ups the frantic antics quotient by teaming her with Deadpool. Their adventure inside 4 Yancy Street made me laugh a few times. I need this kind of humour now and then.

Loki #3 - Daniel Kibblesmith (writer) Oscar Bazaldua (art) David Curiel (colours) VC's Clayton Cowles (letters). I liked the little tour inside the House of Ideas with the Children of Eternity, Now and Then. I think they're a great new concept. This is a nice interlude issue before we get back to Loki's battle with Nightmare.

Daredevil #11 - Chip Zdarsky (writer) Marco Checchetto (art) Nolan Woodard (colours) VC's Clayton Cowles (letters). I wish there wasn't so much @#%*!-ing in this book. My brain tries to substitute the appropriate swear word which disrupts the reading process. I eventually smoothed things out by going bleep in my head whenever those annoying symbols appeared. Matt still hasn't donned the red costume yet and he even turned down help from an ex-girlfriend. Meanwhile, one of Daredevil's followers is nabbed by the cops while stopping a guy from abusing his girlfriend. I'm really happy Marco Checchetto is on this book. His Kingpin and Owl made an impact on me.

Invisible Woman #3 - Mark Waid (writer) Mattia De Iulis (art) VC's Joe Caramagna (letters). If you passed on reading this solo adventure of Suzie's you're missing out on a great spy story and some gorgeous art, especially this issue. Sue looks hot in Adam Hughes's cover but she's even hotter inside going under cover to a posh party. This story is surprising me all to heck.

The Amazing Spider-Man #29 - Nick Spencer (writer) Francesco Manna (art) Carlos Lopez (colours) VC's Joe Caramagna (letters). Here's another enduring love story. Peter Parker and Mary Jane Watson have known each other for a very long time. MJ knows Peter's secret and she's cool with his super heroing. I'm glad they're a couple again. There's more action in this than Batman #78 with Spider-Man trying to rescue a S.H.I.E.L.D. agent from the bad guy with the outcome setting up more problems for the web-slinger.

Event Leviathan #4 - Brian Michael Bendis (writer) Alex Maleev (art) Josh Reed (letters). The identity of Leviathan is still a mystery and it's the reason I'm reading this story. I also think that it's going to have a significant affect on the DCU after it's done. Brian and Alex have collaborated for a long time and I have enjoyed all of their projects. It's unfortunate that more fans don't appreciate Alex's art. This book should be selling a lot better than it is.

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blackkudos · 8 years ago

Text

Marlon Riggs

Marlon Troy Riggs (February 3, 1957 – April 5, 1994) was a filmmaker, educator, poet, and gay rights activist. He produced, wrote, and directed several television documentaries, including Ethnic Notions, Tongues Untied, Color Adjustment, and Black is... Black Ain't. Riggs' aesthetically innovative and socially provocative films examine past and present representations of race and sexuality in America. The Marlon Riggs Collection is now housed at Stanford University Libraries.

Early life

Riggs was born in Fort Worth, Texas on February 3, 1957. He was a child of civilian employees of the military and spent a great deal of his childhood traveling. He lived in Texas and Georgia before moving to West Germany at age 11 with his family. Later in his life, Riggs remembered the ostracism and name-calling that he experienced at Hephzibah Junior High School in Hephzibah, Georgia. He stated that black and white students alike called him a “punk," a “faggot,” and “Uncle Tom.” He explains that he felt isolated from everyone at the school: “I was caught between these two worlds where the whites hated me and the blacks disparaged me. It was so painful.”

Riggs excelled at Nurnberg American High School, where he played football and ran track, and was elected President of the Varsity Club while only a sophomore. He also performed a solo interpretive dance in the school's talent show that interpreted American slaves' experiences from Africa through emancipation. From 1973 to 1974 Riggs attended Ansbach American High School's opening year in Katterbach, Germany. He was elected student body president at the military dependents school. In 1974, Riggs returned to the United States to attend college. As an undergraduate, Riggs studied history at Harvard University and graduated magna cum laude in 1978. As Riggs began studying the history of American racism and homophobia, he became interested in communicating his ideas about these subjects through film.

After working for a local television station in Texas for about a year, he moved to Oakland, California, where he entered graduate school. He received his master's degree in journalism with a specialization in Documentary film in 1981 from the University of California, Berkeley, having co-produced/co-directed with Peter Webster a master's thesis titled Long Train Running: The Story of the Oakland Blues, a half-hour video on the history of the blues in Oakland, California.

Film career

Upon finishing graduate school, Riggs began working on many independent documentary productions in the Bay Area. He assisted documentary directors and producers initially as a production assistant and later as a post-production supervisor, editor, and sound editor on documentaries about the American arms race, Nicaragua, Central America, sexism, and disability rights. Because of his proficiency in video technology, Riggs was the on-line editor for a video production company. In 1987, Riggs was hired as a part-time faculty member at the Graduate School of Journalism at Berkeley to teach documentary filmmaking. He became a tenured professor at Berkeley shortly thereafter.

That same year he completed his first professional feature documentary Ethnic Notions. The film was produced in association with KQED, a public television station in San Francisco, and aired on public television stations throughout the United States. In Ethnic Notions, Riggs sought to explore widespread and persistent stereotypes of black people – images of ugly, savage brutes and happy servants – in American popular culture of the late 19th and early 20th centuries. The film uses a narrative voice-over provided by African-American actress Esther Rolle in explaining striking film footage and historical stills which expose the blatant racism of the era immediately following the Civil War. The documentary also presents a set of contemporary interviews with expert commentators, including historians George Fredrickson and Larry Levine, cultural critic Barbara Christian, folklorist Patricia Turner, collector Jan Faulkner, and many others, who discuss the consequences of historical African-American stereotypes. This film expanded the commonly held assumptions about the parameters of documentary film aesthetics through its bold use of performance, dance, and music to explore a historical narrative.

While Riggs continued working as an educator at Berkeley, he kept making his own films. The 1989 film Tongues Untied, a highly personalized and moving documentary about the life experiences of gay African-American men, was aired as part of the PBS television series P.O.V. The film employs autobiographical footage as well as performance, including monologues, songs, poems, and nonverbal gestures such as snapping, to convey an authentic and positive black gay identity. In order to demonstrate the harmful effects of silence on self-esteem, the film contrasts this image with negative representations of gay black men as comic-tragic stock caricatures and drag queens in contemporary American popular culture. The three principle voices of Tongues Untied are those of Riggs as well as gay rights activists and men infected with HIV Essex Hemphill and Joseph Beam. Riggs characterized the film as his legacy, his "last gift to the community," that displays him as both a filmmaker and a gay rights activist. He described the production as his own personal "coming out" film celebrating black gay life experiences and that he ultimately became "the person, the vehicle, and the vessel" for these experiences. Riggs explained that Tongues Untied was a catharsis for him: "It was a release of a lot of decades-old, pent-up emotion, rage, guilt, feelings of impotence in the face of some of my experiences as a youth. . . It allowed me to move past all of those things that were bottled up inside me. . . I could finally let go."

In 1988, while working on Tongues Untied, Riggs was diagnosed with HIV after undergoing treatment for near-fatal kidney failure at a hospital in Germany. The film shows the pain as well as the mentally and physically agonizing therapy that Riggs had to go through in order to deal with his kidney failure. But despite his deteriorating health, Riggs decided to continue to teach at Berkeley and make documentaries.

In the short 1990 piece Affirmations, Riggs further developed his critique of homophobia that he originally expressed in Tongues Untied. In Affirmations, a film made from the outtakes of "Tongues Untied", Riggs included a coming-out story of black gay writer Reginald T. Jackson and footage of black gay men marching in a Harlem African American Freedom Day Parade. In 1991, Riggs directed and produced Anthem, a short documentary about African-American male sexuality. The film includes a collage of erotic images of black men, hip-hop music, and a call to celebrate difference in sexuality.

In 1991, Marlon founded Signifyin' Works, a non-profit corporation whose mission is to produce films about African-American history and culture. The founding Board of Directors included: Herman Gray, Vivian Kleiman, Patricia Turner and Cornelius Moore.

The 1992 documentary Color Adjustment was Riggs's second film to air on the PBS television series P.O.V. The film Color Adjustment was Riggs's follow-up to Ethnic Notions, focusing on images of black people in American television from the mid-1940s through the 1980s. However, unlike Ethnic Notions, which presents a putative, neutral stance on popular American representations of blacks, Color Adjustment presents a cultural criticism of these images through an African-American perspective on race. The film is narrated by African-American actress Ruby Dee. Using contemporary interviews of television actors, directors, producers, and cultural commentators, the documentary conveys personal reflections and academic analyses of such television programs as Good Times and The Cosby Show.

In 1992, Riggs directed the film [Non, Je Ne Regrette Rien (No Regret)], in which five gay Black men who are HIV-positive discuss how they are battling the double stigmas surrounding their infection and homosexuality. It was commissioned as part of a series of documentaries on the AIDS crisis. In 1993, Riggs received an honorary doctorate degree from the California College of Arts and Crafts. That same year, Riggs's experimental short Anthem was featured in a collection of short films entitled Boys' Shorts: The New Queer Cinema.

Shortly after completing "Color Adjustment", Riggs began work on what was to be his final film Black Is. . . Black Ain't, a project that was completed posthumously by co-producer Nicole Atkinson, co-director/co-editor Christiane Badgley, Jasmine Dellal and Signifyin' Works. Much of the final text of Black Is. . . Black Ain't was developed by Riggs one night in his hospital room. "It was as if the film were rolling before me," he said, "and I was just transcribing; I almost couldn't keep up." The film therefore contains many scenes of Riggs on his hospital bed. The documentary takes on the topic of African-American identity, including considerations of skin color, religion, politics, class stratification, sexuality, and gender difference that revolve around it. "In this film, Marlon Riggs meets a cross-section of African Americans grappling with the paradox of numerous, often contradictory definitions of blackness. He shows many who have felt uncomfortable and even silenced within the race because their complexion, class, sexuality, gender, or speech has rendered them "not black enough," or conversely, "too black." The film scrutinizes the identification of "blackness" with masculinity as well as sexism, patriarchy and homophobia in black America." (University of California)

Filmmaker John Mulholland holds Marlon Riggs in higher esteem than any other film artist; Riggs is his filmmaker ideal: "That I am gay has no bearing on my admiration for the man. Marlon Riggs had such invigorating passion, such unbridled intellectual and emotional ferocity, such wit, such rage, such compassion, as he savaged the minefield that is race, racism, gayness, homophobia, masculinity, black history, black self-hate, black pride, black masculinity, black gay manhood, gay self-hate, gay pride; what a gift that he gave us such a rich and lasting body of work in his oh-too short life. We are all in Marlon's debt and in his shadow."

Poetry

Besides making documentaries and teaching at Berkeley, Riggs also wrote poetry from time to time, as evidenced in Tongues Untied, which contains several of his poems about his life experiences as a black gay man. In his poem “Tongues Untied,” Riggs discusses the racism he encountered as a child while living in Georgia as well as coming out about his homosexuality.

Writings

In his noteworthy essay “Black Macho Revisited: Reflections of a SNAP! Queen,” Riggs discusses how representations of black gay men in the United States have been used to shape Americans' conceptions of race and sexuality. He argues that Americans' emphasis on the “black macho” figure – the warrior model of black masculinity based on a mythologized view of African history – signifies an exclusion of black homosexual males from the African American community, which results in their dehumanization and rationalizes homophobia. Riggs makes a distinction between the black gay man's perception of himself and his representation in America as the “Negro faggot,” an extreme displacement and distortion of black homosexuality. He explains that the “black macho” image is sustained through performances such as rap music, television shows, the films of Spike Lee, and the comedy routines of Eddie Murphy. According to Riggs, the black homosexual male is therefore defined as the deviant Other in relation to the African American community, and Riggs claims that this contemporary practice mirrors the historical racist constructions of the African American identity: “Blacks are inferior because they are not white. Black gays are unnatural because they are not straight. Majority representations of both affirm the view that blackness and gayness constitute a fundamental rupture in the order of things, that our very existence is an affront to nature and humanity.”

Personal life

Soon after arriving in California for graduate school at UC Berkeley, Riggs settled in Oakland. For 15 years, he made his home with his life companion Jack Vincent. His parents Jean and Alvin Riggs and his sister Sascha live in Arlington, Virginia.

Themes and style

Riggs's films deal with representations of race and sexuality in the United States. Riggs was critical of American racism and homophobia. He used his films to show positive images of African -American culture as well as those of physical and emotional love between black men in order to challenge representations of African Americans and black gay men in popular culture. However, he recognized that the images he conveyed would cause resistance among many Americans: “People are often frightened of difference. . . that requires that they rethink their own beliefs, their own premises, their own sense of self, culture and history, and sense of belonging. When you present anything on the level of contention, you encounter resistance.”

Riggs believed that being a filmmaker was a means to communicate his message, not an end in and of itself. Riggs explained that he did not become a filmmaker because he loved films as a child but because he wanted to communicate his message: “I didn't know anything about filmmaking when I decided to become a filmmaker. What drew me to film and video was that I wanted to communicate so much. . . I wanted to communicate to the broadest possible audience and for me that was television.” Riggs strongly believed in speaking out about the topics he cared about through his films. He explained that whenever he became passionate about an issue, he could not stop himself from speaking out about it: “Silence kills the soul; it diminishes its possibilities to rise and fly and explore. Silence withers what makes you human. The soul shrinks, until it's nothing.”

As a graduate student at Berkeley, Riggs was educated in conventional documentary filmmaking, which stresses objectivity and employing an academic stance. But his film style quickly evolved to be rather personal and emotional. His first professional film Ethnic Notions, was composed of expert commentary, historical stills and film footage, and omniscient narration—standard elements for documentary films of the time. Yet at the same time, the film greatly departs from the norm of the day through its playful use of performance, satire and audio. Philip Brian Harper, an associate professor of English at New York University, explains that by challenging the norms of standard television documentary, Riggs was an innovator of television programming in America: “Riggs's work itself challenged television's generic boundaries. Riggs troubled broadcast convention, seen as implicitly under attack in the presentation of his work.”

According to Nichols, Marlon Riggs used the Performative Mode for films such as Anthem and Tongues Untied. His use of poetry and performance conveys the "affective and emotion-laden quality of performative Documentary. Tongues Untied is another highly personal, emotional, and artistic form of the Performative Mode that Marlon's films evoke.

Awards

Riggs's documentaries have received much critical acclaim. Riggs received a National Emmy Award in 1987. Tongues Untied was awarded Best Documentary at the Berlin Film Festival. The film also received recognition from the Los Angeles Film Critics Association, the New York Documentary Film Festival, the American Film and Video Festival, and the San Francisco International Lesbian and Gay Film Festival. In 1992, Riggs was awarded the Maya Daren Lifetime Achievement Award from the American Film Institute. Additionally, Color Adjustment won the prestigious George Foster Peabody Award, Erik Barnouw Award from the Organization of American Historians, the International Documentary Association Outstanding Achievement Award, and a premier screening the Sundance Film Festival. Riggs also received the Frameline Award from the San Francisco International Lesbian and Gay Film Festival for his film Non, Je Ne Regrette Rien (No Regret). Moreover, Black is. . . Black Ain't won the Golden Gate Award at the San Francisco International Film Festival and was praised by the Sundance Film Festival.

Controversy

During the late 1980s and early 1990s, Riggs's production Tongues Untied triggered a national controversy surrounding the airing of the video on American public television stations. Along with private donations, Riggs had financed the documentary with a $5,000 grant from the Western States Regional Arts Fund, a re-granting agency funded by the National Endowment for the Arts, an independent federal agency that provides funding and support for visual, literary, and performing artists. The P.O.V. television series on PBS, which Tongues Untied was a part of, also received funding from the National Endowment for the Arts in the amount of $250,000. The film received much contention due to its depiction of nudity, use of street lingo, and scenes of men making love.

News of the film's airing sparked a national debate about whether or not it is appropriate for the Federal government of the United States to fund artistic creations that to some are considered obscene. Artists stressed their basic right of free speech and vehemently opposed censorship of their art. However, several right-wing United States government policymakers and many conservative watchdog groups were against using taxpayer money to fund what they believed were repulsive artistic works. In the 1992 Republican presidential primaries, presidential candidate Pat Buchanan cited Tongues Untied as an example of how President George H. W. Bush was investing “our tax dollars in pornographic and blasphemous art.” Buchanan released an anti-Bush television advertisement for his campaign using re-edited clips from Tongues United. The ad aired for several days throughout the United States but was quickly removed from television channels after Riggs accused Buchanan of copyright infringement and asked his campaign to stop airing the ad.

Reverend Donald E. Wildmon, the president of the American Family Association, opposed PBS and the National Endowment for the Arts for airing Tongues Untied but hoped that the film would be widely released, because he believed most Americans would find it offensive. “This will be the first time millions of Americans will have an opportunity to see the kinds of things their tax money is being spent on,” he said. “This is the first time there is no third party telling them what is going on; they can see for themselves.”

Riggs defended Tongues Untied for its ability to “shatter this nation's brutalizing silence on matters of sexual and racial difference.” He explained that the widespread attack on PBS and the National Endowment for the Arts by moral critics in response to the film was predictable, since “any public institution caught deviating from their puritanical morality is inexorably blasted as contributing to the nation's social decay.” In his defense, Riggs claimed that “implicit in the much overworked rhetoric about 'community standards' is the assumption of only one central community (patriarchal, heterosexual and usually white) and only one overarching cultural standard (ditto) to which television programming must necessarily appeal.” Riggs stated that ironically, the censorship campaign against Tongues Untied actually brought more publicity to the film than it would have otherwise received and thus allowed it to achieve its initial aim of challenging societal standards regarding depictions of race and sexuality.

Wikipedia

#Marlon Riggs

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eddycurrents · 6 years ago

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For the week of 27 August 2018

Quick Bits:

A Walk Through Hell #4 focuses largely on flashbacks to the case the agents were working before whatever’s currently happening happened and...I’m not really sure of anything that’s going on. I think that’s kind of the point, unsure as to how everything is supposed to connect and what any of it all adds up to. Great art from Goran Sudžuka and Ive Svorcina, though.

| Published by AfterShock

Beyonders #1 is off to a great start. Between this and The Lost City Explorers, it seems like AfterShock right now has pseudoarchaeology stitched up and it’s wonderful. Paul Jenkins, Wesley St. Claire, and Marshall Dillon kick this one off with a wee bit more crunch, though there’s a very interesting upheaval this issue that will make you wonder what’s going on.

| Published by AfterShock

Blackwood #4 brings this series to an end and it is dark. Very dark. Evan Dorkin, Veronica & Andy Fish have crafted a wonderful horror story here, with some interesting twists, and one hell of an ending.

| Published by Dark Horse

Bone Parish #2 takes a deep dive in to some of the foundational moments of the Winters clan, even as they begin to deal with the fallout of one of their dealers dying from an overdose. This is great stuff. The art from Jonas Scharf and Alex Guimarães is incredible. Great detail and atmosphere, perfectly bringing to life the premise and characters from Cullen Bunn.

| Published by BOOM! Studios

Brothers Dracul #5 circles back around to the beginning of the story, as we reach the end of this interesting retelling and interpretation of the intersection of both the historical and legendary story of Vlad the Impaler, from Cullen Bunn, Mirko Colak, Maria Santaolalla, and Simon Bowland. There’s an interesting twist here that certainly paints Vlad’s action in a different light, and I hope we see it followed up upon in a second series.

| Published by AfterShock

Cyber Force #5 is a nice change of pace as Bryan Hill, Matt Hawkins, Atilio Rojo, and Troy Peteri introduce us to another old familiar face. This incarnation of the team definitely is taking its time to be brought together, but when the storytelling is as entertaining and the artwork is as gorgeous as this, it doesn’t really matter. To note, though, this is not the kind of decompression that feels empty or padded, it’s just fleshing out characters and their lives more than what we’ve seen before.

| Published by Image / Top Cow

Daredevil Annual #1 presents a standalone story of Misty Knight’s days as a detective and her first meeting with Daredevil. It’s good. It feels a bit more like a pilot for a Misty Knight series than necessarily a Daredevil tale, but, as I said, it’s good. The art from Marcio Takara and Marcelo Maiolo is nice. I really like Takara’s style which gives me hints of Phil Hester, Jim Mahfood, and Tomm Coker.

| Published by Marvel

Dungeons & Dragons: Evil at Baldur’s Gate #5 is another fun one, with a focus this issue on Boo. I’ve really enjoyed this series, with Jim Zub giving the party a bit of a breather between larger adventures and giving a great look at them as individual characters. Great art, too, including this issue from Francesco Mortarino and Jordi Escuin.

| Published by IDW

Edge of Spider-Geddon #2 gives us a view into another alternate Spiderverse, circling back around to SP//dr, and giving us a new twist on the power and responsibility rubric and VEN#m. It’s nice to see Lonnie Nadler and Zac Thompson play with more technological horror, with some incredible artwork from Alberto Alburquerque and Tríona Farrell.

| Published by Marvel

Euthanauts #2 is a thing of beauty. Nick Robles and Eva De La Cruz are seriously delivering some of the best art in comics right now with this series. The page layouts, character designs, use of colour, and incorporation of lettering choices from Aditya Bidikar, just elevate the storytelling immensely. Not even to mention how Tini Howard is making the weird science seamless in the dialogue. This is great.

| Published by IDW / Black Crown

Exiles #7 concludes the Old West-ish arc with cowboy T’Challa. Drop dead gorgeous artwork from guest artist Rod Reis. His depiction of the ultimate villain here shows some nice influence from Bill Sienkiewicz.

| Published by Marvel

Extermination #2 brings the fight to the school, even as the team (and the reader, although it’s not a bad thing) is still confused as to what is really going on. I love this, the tension that Ed Brisson, Pepe Larraz, and Marte Gracia are building is palpable, and the hints of kid!Cable’s actions are chilling. Also, the art is just phenomenal.

| Published by Marvel

Harbinger Wars 2 #4 is kind of the end to this, but the ramifications and fallout are all supposed to appear in the Aftermath issue. That being said, Matt Kindt, Tomás Giorello, Renato Guedes, Diego Rodriguez, and Dave Sharpe go all out for the spectacle in this final confrontation between Livewire and X-O Manowar. It is still kind of insane how Capshaw could possibly consider what GATE and OMEN have done as being “good”, especially in light of Palmer going absolutely batshit insane, but it does lead to interesting set-up for future conflicts.

| Published by Valiant

Hillbilly: Red-Eyed Witchery From Beyond #1 begins the next adventure of the black-eyed tramp. I get a bit of a Beowulf vibe from Eric Powell’s set-up and I’m interested to see where it goes. This series sees Powell passing on the artistic duties to Simone Di Meo, Brennan Wagner, and Warren Montgomery and it’s an interesting visual shift from the washes of Powell’s own work in the original series. I quite like Di Meo’s style, which reminds me a bit of James Harren and Troy Nixey.

| Published by Albatross Funnybooks

House Amok #1 is something I’m not sure I can describe. It’s kind of a family drama, but if that family were all collectively sharing a hallucinatory experience or delusion. It’s a very interesting concept that’s only partially revealed by Christopher Sebela, Shawn McManus, Lee Loughridge, and Aditya Baker, but it leads to a very compelling start here. Gorgeous artwork from McManus and Loughridge.

| Published by IDW / Black Crown

Hunt for Wolverine: Dead Ends #1, like all four of the Hunt for Wolverine mini-series, is kind of a bit of treading water. I cannot say it or any of the previous series are bad, taken on their own separated from this “event”, they’re usually quite good, but as a whole it’s kind of disappointing. It’s a search for Wolverine that kind of comes up empty, acting as a prequel to the return of Wolverine, despite already having returned in Marvel Legacy and hopped across numerous different titles, before apparently being used for evil, as per throwaway bits in the fourth issues of those previously mentioned minis that didn’t necessarily connect with the plots of those minis. It feels a bit scattered and unnecessary, unfortunately, especially when it comes to comparing notes, coming up with the organization we already knew was behind it, and a bit of hand-waving mystery and grandstanding that still tells us a whole lot of nothing. It’s sound and fury. All of which is a bit of a shame because I otherwise generally enjoy the work of Charles Soule and Ramon Rosanas.

| Published by Marvel

Isola #5... Just look at the artwork. Karl Kerschl and Msassyk just keep delivering page after page after page of beauty.

| Published by Image

Jessica Jones #2 reaffirms that this is one of the best things that Marvel is currently publishing, with the next two chapters in this story. Kelly Thompson’s dialogue, narration, and banter throughout this issue is spot on, propulsive, and funny as hell when it needs to be, but what elevates it is that this isn’t your typical talking heads approach. The characters are doing stuff, like hunting sea monsters, instead of sitting at a desk or whatever. It’s a refreshing change that overall just makes this all the better. Not to mention Mattia De Iulis’ stunning artwork. It’s slick and polished with a line style that somewhat reminds me of Paul Gulacy and a bit of Rick Mays, and an approach to shadow and colour similar to Frazer Irving. This is a great series that really shouldn’t be missed.

| Published by Marvel

Judge Dredd: Under Siege #4 wraps up this entertaining series from Mark Russell, Max Dunbar, Jose Luis Rio, and Shawn Lee. I really like Dunbar’s take on Dredd and the Russell’s idea of people creating their own law in the absence of law is an interesting philosophical counterpoint to the idea of man naturally sliding towards a state of chaos. Even the mutants striving for society is an interesting challenge to the typical idea of things falling apart.

| Published by IDW

New Mutants: Dead Souls #6 concludes the series with Illyana putting the pieces together for what actually has been going on, it isn’t a pretty picture. This has been a great series from Matthew Rosenberg, Adam Gorham, Michael Garland, and Clayton Cowles and the revelations this issue are heavy. The implications for the X-universe is huge and I want more.

| Published by Marvel

The New World #2 essentially reveals itself as a romance comic, amidst the ultraviolence and social engineering. Didn’t really see that coming, but it’s an interesting move. Trippy art from Tradd Moore, Heather Moore, and Ludwig Olimba.

| Published by Image

Paradise Court #2 continues to be an entertaining horror comic from Joe Brusha, Babisu Kourtis, Leonardo Paciarotti, and Taylor Esposito. This gives us the part of the story where our protagonist is experiencing the horror and everyone else is telling her she’s just imagining it, but it’s still well told and well illustrated.

| Published by Zenescope

Rick and Morty vs. Dungeons & Dragons #1 is about as perfect a crossover of two properties as you can get. Morty trying to get into D&D because he thinks it will get him laid is the perfect in to the world of the game and the cartoon, perfectly blending the two for fans of both without alienating or diminishing either. Jim Zub, Patrick Rothfuss, Troy Little, Leonardo Ito, and Robbie Robbins are faithful to both and in doing so deliver a wonderful beginning to this story, that also educates along the way.

| Published by IDW & Oni Press

Runaways #12 is easily one of the best issues in what has already been an exemplary series. Rainbow Rowell, Kris Anka, Matthew Wilson, and Joe Carmagna focus here on forgiveness, acceptance, and second chances, with some truly beautiful character work between Gert & Victor and Nico & Karolina. If you don’t have a giant grin on your face by the end of the issue, I question your humanity.

| Published by Marvel

Submerged #2 is still weird, very weird, but there’s some really good bits in here demonstrating some of the emotional manipulation that family members sometimes employ. Beautiful, ethereal artwork from Lisa Sterle and Stelladia.

| Published by Vault

Venom: First Host #1 is somewhat strange to see in light of where Donny Cates and Ryan Stegman have taken the character, but this limited series from Mike Costa, Mark Bagley, Andrew Hennessy, Dono Sánchez-Almara, and Clayton Cowles serves as both an interesting addendum to the symbiote’s history and as a continuation (and likely capstone) to the previous creative team’s run. It’s pretty decent.

| Published by Marvel

Web of Venom: Ve’Nam #1 is a one shot fleshing out the backstory of Rex Strickland and the SHIELD experiment that bonded the early symbiotes to soldiers set loose during the Vietnam War. It’s an entertaining tale with some nice guest stars and sweet art by Donny Cates, Juanan Ramírez, Felipe Sobreiro, and Clayton Cowles. I particularly like the scratchy, faded look in the art to make it look a bit “old”.

| Published by Marvel

X-23 #3 is great. Mariko Tamaki has nailed the characters and the art from Juann Cabal and Nolan Woodard is incredible. The page designs alone elevate the storytelling immensely.

| Published by Marvel

The X-Files: Case Files - Hoot Goes There? #2 concludes the second of this new approach of a series of mini-series and it’s...weird? Funny, but weird. Definitely taking a page out of some of the more outlandish episodes of the series, where you question whether or not what you saw happened actually happened. Still, it’s entertaining, which is all that really matters. Fun from Joe and Keith Lansdale, Silvia Califano, Valentina Pinto, and Shawn Lee.

| Published by IDW

X-Men Blue #34 looks like it largely serves as a capstone to Cullen Bunn’s work with Magneto over the past four years or so, as he winds down his run here and continues to tidy the characters up a bit before he’s done and hands the reins off to the next band of storytellers. It feels like there’s a lot more here that he would have like to have told, but what we get here is still excellent. The hints at the next stage for Magneto and mutantkind are intriguing. Great art from Marcus To and Matt Milla.

| Published by Marvel

X-O Manowar #18 gives an interesting transition from this flashback of Aric’s pre-Shanhara life to his return to Earth, focusing on how ideas, people, and culture keeps changing. Matt Kindt delivers a pretty chilling reaction to it. All with some nice artwork from Trevor Hairsine, Brian Thies, and Diego Rodriguez.

| Published by Valiant

Other Highlights: Deadpool: Assassin #6, GI Joe: A Real American Hero #255, KINO #9, Marvel Two-in-One #9, Mighty Morphin Power Rangers: Shattered Grid #1, Modern Fantasy #3, Moon Knight #198, Ms. Marvel #33, Red Sonja #20, Rick & Morty #41, StarCraft: Scavengers #2, Star Wars: Lando - Double or Nothing #4, Star Wars: Poe Dameron Annual #2, Star Wars Adventures #13, TMNT: Bebop & Rocksteady Hit the Road #5, Wayward #28, X-Men: Grand Design - Second Genesis #2

Recommended Collections: 2021 - Volume 1, 30 Days of Night, Big Trouble in Little China: Old Man Jack - Volume 1, Black Cloud - Volume 2: No Return, DuckTales Classics - Volume 1, Eugenic, Factory, Femme Magnifique, I Hate Fairyland - Volume 4, James Bond: Hammerhead, Judas, Killer Instinct, Stray Bullets: Sunshine & Roses - Volume 2

d. emerson eddy is not the very model of a modern major general. Nor a scientist salarian for that matter.

#This Week in Comics

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yahoo-shutdown-corner-blog · 6 years ago

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2018 NFL Preview: The Cam Newton-Norv Turner marriage is crucial for Panthers

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Yahoo Sports is previewing all 32 teams as we get ready for the NFL season, counting down the teams one per weekday in reverse order of our initial 2018 power rankings. No. 1 will be revealed on Aug. 1, the day before the Hall of Fame Game kicks off the preseason.

(Yahoo Sports graphics by Amber Matsumoto)

It wasn’t a move that got as much attention as a head coaching change, or a splashy free-agent signing, but the Carolina Panthers made a switch that is as important as any other in the NFL.

Suddenly, Norv Turner is in charge of Cam Newton’s prime.

Head coach Ron Rivera fired offensive coordinator Mike Shula, citing the desire to bring in some new ideas to an offense that had gone into a funk since a tremendous 2015 season. Immediately, Turner was rumored to be the preferred replacement, and it was no surprise when he was hired. Theoretically, Turner could be so good he gets another shot at a head-coaching job, or so bad he’s fired in a year or two. Realistically, the Panthers’ new offensive coordinator will be guiding Newton well into his 30s.

What would Newton’s legacy be right now, as he heads into his age-29 season? His college legacy is set for his amazing 2010 season at Auburn. His pro legacy isn’t as well established. His NFL story probably starts with his 2015 MVP, when he led the Panthers to the Super Bowl. He has undeniably had a good career, but a great one? As a passer he has only one 4,000-yard season (as a rookie), has exceeded 24 touchdowns only once and has thrown double-digit interceptions each season. His ability as a runner is a huge plus on his resume. Only Michael Vick (6,109) and Randall Cunningham (4,928) have more rushing yards among quarterbacks than Newton, who has 4,320 yards in 109 games. Vick played in 143 games and Cunningham 161. Newton already holds the NFL record for a quarterback with 54 rushing touchdowns.

There’s a lot to like, but it feels like there could be another level for Newton. Maybe that place could take Newton back to the Super Bowl, and perhaps to the Hall of Fame. It’s now on Turner to help unlock it.

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Turner has been a good offensive coordinator for decades, though it is troubling how his time with the Minnesota Vikings ended. He quit midseason, saying he thought he was holding the offense back, though there also seemed to be differences with head coach Mike Zimmer. While Turner is mostly known for work with Troy Aikman and Philip Rivers – big, strong-armed quarterbacks who could throw it downfield, just like Newton – he also adjusted to have success with Teddy Bridgewater, who isn’t like Aikman, Rivers or Newton. Turner can adapt to fit his personnel’s strengths. Newton, however, seems to fit what he prefers. Newton has never been the type of quarterback who will work a defense underneath with precise short passes that generate a huge completion percentage. And Turner mostly hasn’t been that kind of coordinator.

As a passer, Newton should be comfortable throwing deep to Devin Funchess, first-round pick D.J. Moore and tight end Greg Olsen off play-action (Turner’s offenses have had six running backs lead the league in rushing, so a strong run game is always a foundation). Also, Turner understands what makes Newton special and won’t change that.

“He’s incredible as a runner. He’s just an amazing player at that position,” Turner said, according to the Panthers’ transcripts. “There’s two ways that he ends up carrying the ball, obviously: It’s designed runs, and then he’s made a lot of plays where he’s kept the ball in passing situations or when he drops back to throw it and the opportunity to run opens up. I think that’s a real threat to defenses. Defenses, they’re really bothered by that. He’s always got to have that as part of his game. He’s always got to have the threat to run. Depending on who we’re playing, how we’re playing and things that are going, I think it’s always going to be a part of what we do.”

The Panthers have done very well with Newton. He helped turn around a franchise that took him with the first overall pick. Carolina is 49-26-1 over the past five years when Newton starts. Had the Panthers finished a dream season in 2015 with a Super Bowl win, that would be Newton’s legacy. Ask Eli Manning or Joe Flacco how Super Bowls can carry a reputation. Instead, Newton is entering a key point in his career in which he’ll define how we remember him.

However Newton’s legacy ends up, it will be a big part of Turner’s football legacy too.

Panthers offensive coordinator Norv Turner talks with Cam Newton (1) and Devin Funchess (17). (AP)

Only one 2017 first-team All-Pro player changed teams this offseason: guard Andrew Norwell, who left the Panthers for Jacksonville. The Panthers also lost some familiar veterans: defensive tackle Star Lotulelei, safety Kurt Coleman, tight end Ed Dickson and running back Jonathan Stewart. While teams don’t want to get stuck hanging onto old veterans too long, that’s a lot of experience and production out the door. Among acquisitions, the largest contract by far went to defensive tackle Dontari Poe (three years, $28 million). The other additions were low-priced contributors: receiver Jarius Wright, cornerback Ross Cockrell, safety Da’Norris Searcy, running back C.J. Anderson. I like the first-round pick of receiver D.J. Moore, and third-round cornerbacks Donte Jackson and Rashaan Gaulden could contribute right away. Norwell was a big loss, and that knocks down the grade a bit.

GRADE: C+

The Panthers, as usual, have a lot of talent in the front seven. Tackle Dontari Poe replaces Star Lotulelei, and he should form a really good duo with Kawann Short. End Mario Addison has 20.5 sacks over the past two seasons. Once Thomas Davis returns from a four-game suspension, the Panthers have a tremendous trio of linebackers with Luke Kuechly, Shaq Thompson and Davis. There are plenty of questions in the secondary, but the front seven covers up a lot of issues.

The Panthers had one big stumbling block last season. Including playoffs, they went 11-3 against everyone not from New Orleans, and 0-3 against the Saints. The Saints won those games by a combined 36 points. Forecasting the Panthers for 2017, you have to consider they play in perhaps the toughest division in the NFL. They didn’t match up well against the Saints last season. The Falcons will be good again. The Panthers’ games against the Buccaneers come in Weeks 9 and 13, long after Jameis Winston’s suspension expires. The Panthers have a tough road, starting with trying to figure out the Saints.

Sage Rosenfels, a former NFL quarterback who played for Norv Turner, had some interesting comments to the Charlotte Observer about the relationship between Turner and Cam Newton.

“Cam has twice the talent of a Drew Brees – stronger arm, physically, just a lot of those skills. But it doesn’t feel like to me that he brings that same energy that his teammates can feed off,” Rosenfels told the Observer.

“It’s not necessarily X’s and O’s. But maybe Norv can help him bring that type of tenacity and energy to not only make Cam better and take less hits, but make his teammates around him better.”

It also sounds like Turner will be coaching Newton pretty hard.

“Norv’s demanding. He feels strongly about his offense. He feels strongly about the plays he has designed over the years, helped design, and the way he sees the game,” Rosenfels said, according to the Observer. “And he wants that offense to run smooth and be very precise, and that starts with the quarterback being very precise.

“He puts the most pressure on the quarterback more than any other position, without a doubt.”

When the offensive coordinator change was made, the conversation centered on two topics: Cam Newton, and how to get even more out of running back Christian McCaffrey.

McCaffrey, the eighth pick of last year’s draft, was solid as a rookie with 1,086 yards from scrimmage. He caught 80 passes. But the Panthers want more. Since McCaffrey isn’t a traditional between-the-tackles running back like fellow 2017 rookie Leonard Fournette – though McCaffrey has the ability to run inside – it’s important for the staff to get creative.

The good news is Norv Turner is already talking up McCaffrey, even making a comparison to Darren Sproles, who Turner coached early in Sproles’ career.

“He’s got such talent, you’re just going to keep finding ways to get him the ball and try to create more space for him,” Turner said in an interview with the team’s site. “That hard-nosed running between the tackles he can certainly do, but I don’t know that’s what you want to lead with him.

“Christian is ahead of [where Sproles was], and there are some things we can do that he did, but Christian can run wide receiver routes. So yeah, there’s a lot of things we did with Darren that apply, and there are some things that I think we can do differently with Christian.”

From Yahoo’s Liz Loza: “Christian McCaffery had a heck of a rookie campaign, as evidenced by his current draft stock. While I’m infatuated with the 22-year-old’s talent, I’m not interested in paying peak value for his services.

“The RB11 overall in half-point PPR formats in 2017, McCaffery was the most targeted RB in the league. He also hauled in the third most receptions at 80 catches on the season. How much better can he realistically do? An increase in totes is the only place for him to significantly up his production. Maybe he averages 10 carries per game – and stays healthy in the process – but that’s not a gamble that I’m willing to take in the first round. Not when perennial producers like Devonta Freeman and Jordan Howard are still on the board.”

[Booms/Busts: Fantasy outlook on the Panthers.]

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The Panthers had a tremendous record in close games last season. Carolina was 7-1 in contests decided by seven or fewer points, and won all four games decided by a field goal or less. No team had a better winning percentage in close games. Only Pittsburgh had more wins in games decided by seven points or less, with eight victories. As I often say in these previews, extremely good or bad records in close games don’t tend to repeat. If the Panthers went .500 in those games last season, we’re having a lot different conversation about them.

CAN LINEBACKER LUKE KUECHLY STAY HEALTHY?

Unfortunately, it’s a question we’ll ask about Kuechly the rest of his career. Kuechly, one of the league’s most dynamic players, has dealt with multiple concussions. Last year he suffered another one in a game against the Eagles, and missed one game. The Panthers’ defense looked entirely different in that loss to Philadelphia without Kuechly, and that’s no surprise. His value is tremendous. Over the past three seasons, Carolina is 26-11 when Kuechly is in the lineup and 5-5 in games he has missed with concussions (h/t to ESPN).

Hopefully Kuechly won’t have to deal with more concussion issues, but it will be a concern the rest of his career.

The Panthers have posted at least 11 wins three of the past five seasons. Cam Newton is a difference maker and if he takes to Norv Turner’s scheme, we know he can play at an MVP level. I’m not sure another 15-1 season is possible, but if the Panthers can get over the Saints hump, they could win the NFC South. And because of Newton, they could be a team that makes noise in the playoffs.

The 2013 and 2015 Panthers were dominant teams. The 2017 version was good, but a little lucky to reach 11-5. They’re not going 7-1 in close games again. That’s not to say the Panthers can’t be in playoff contention again, but some improvements will have to happen to fight regression in one-score games. Because Norv Turner has never coached a quarterback quite like Cam Newton, it’s not a sure thing the offense will click right away. The Panthers’ foundation is strong so I doubt they will collapse, but in a tough division they could see a significant step back.

I have the Panthers at a strong No. 13 on my countdown, and there are two NFC South teams ahead of them. This is a rough division. The Panthers could end up being a very good team and still finish third in their division, in a conference that has 8-10 playoff-level teams. There will be some very good teams in the NFC that don’t make the playoffs, and even though I like the Panthers, they’ll be in that group.

32. Cleveland Browns 31. Indianapolis Colts 30. New York Jets 29. Arizona Cardinals 28. Buffalo Bills 27. Cincinnati Bengals 26. Chicago Bears 25. New York Giants 24. Miami Dolphins 23. Washington Redskins 22. Tampa Bay Buccaneers 21. Houston Texans 20. Seattle Seahawks 19. Oakland Raiders 18. Denver Broncos 17. San Francisco 49ers 16. Detroit Lions 15. Tennessee Titans 14. Baltimore Ravens

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Frank Schwab is a writer for Yahoo Sports. Have a tip? Email him at [email protected] or follow him on Twitter! Follow @YahooSchwab

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