#like we have a pretty broad network and no one has been resentful and everyone is really good about Actually helping

[scribefindegil]

been really scared about burning out all my friends by asking for too much help but I think what's actually happened is that I've hit a wall where I myself am just too burned out to do the asking

[mostlysignssomeportents]

#5yrsago Aaron Swartz was no criminal

Dan Purcell, one of Swartz' lawyers, writes about the spiteful and unreasonable charges that led to his suicide—and MIT's gutless support of his prosecutors.

I am a lawyer in San Francisco with a firm called Keker & Van Nest. I was one of Aaron's lawyers in his criminal case, in 2012 and early 2013.

I didn’t know Aaron that well, and our interactions were always colored by the fact that he didn’t really want to be talking to me. I was a criminal defense lawyer after all, and the only reason we knew each other was because he was facing a federal criminal indictment under the CFAA (Computer Fraud and Abuse Act) for computer fraud.

Those of you who knew Aaron don't need me to tell you what kind of person he was. Brian Knappenberger's excellent movie, "The Internet's Own Boy," will tell you more about Aaron than I could. But one thing Aaron was not was a criminal, and I'm here to clear up a few misconceptions you may have about what he did and what he was charged with.

One thing that drives me crazy is when people refer to his criminal case as a case about "hacking." And they do it in sort of a pejorative, scary way. And it's just nonsense. Aaron was, of course, a hacker in the broad sense of the term: he was an innovative thinker, looking for creative ways around problems. But in the criminal sense of the word, as somebody who breaks into a secure computer system for nefarious purposes, Aaron was no hacker, and he didn't do anything like that.

One thing that Aaron strongly believed was that the advances, the discoveries and the secrets we’ve collectively unlocked over the past millennia, about how the world works, belong to all of us. Aaron greatly resented people or entities who try to lock up scientific knowledge and keep it away from general use, so they might monetize it for personal gain.

You might be surprised at how much money is being made in this world by entities that follow just that business model. They take things that are in the public domain, and take them out of the public domain, and then charge for access to them. One field where this happens a lot is academic publishing. Obviously, there is so much information in so many books that it’s not practical to just have physical copies of them all. Digitizing all that data is an easy solution, and indeed there are many places to look up scholarly content online. But when you go to try to do that, you'll generally find that there's a subscription fee, or you can't access them unless you are affiliated with a certain institution. They're in the public domain—meaning that everyone is entitled to read it—but they’re not actually public or available for public use.

This bothered Aaron. It bothered him a lot. And he had fought against this problem throughout his life. He wanted to teach the system a lesson. So, he went to MIT, a university that had, and still has, one of the most permissive computer networks in the world—certainly for an institution of that size. At the time he did what he did, in 2010-2011, anyone in the world could walk onto MIT’s campus. With or without a student ID. With or without any affiliation with MIT at all. They could log on to MIT’s system as a guest. They didn't have to use their real name. And then they could do whatever they wanted on MIT's system.

One thing that MIT made available to its users was access to JSTOR, an online database of scholarly materials. So anybody in the world could go to MITs campus, they could get on to JSTOR, and they could download articles from JSTOR. Anyone.

That’s what Aaron did.

He went to the MIT campus, like anyone could have done. He logged onto the system, like anyone could have done. He went on to JSTOR, like anyone could have done. And he downloaded articles.

That is not hacking. That is walking through a door that MIT, the owner of the door, deliberately left open for anyone to walk through.

Of course, the story's not exactly that simple, because Aaron didn’t want to take the time to manually download thousands of articles, which would have been impractical. He wrote what experts have confirmed was a fairly simple computer program to automate the downloading. So he left his laptop behind, and he went on his way. He downloaded the files, but he didn't steal anything; he used the access freely given at MIT. All the articles that he downloaded stayed in the JSTOR database. They were still available to anybody with access to JSTOR. If you have a JSTOR subscription, and you go to the database, they are still there today. He didn't deprive anybody of access to that material.

After a while, JSTOR noticed the downloading activity and JSTOR shut down access to their database from MIT’s network. For a few days, nobody could get onto JSTOR using the MIT network. That was an inconvenience, for sure, but it was temporary, and MIT’s access to JSTOR was soon restored.

What Aaron did, whether you call it a prank or a consciousness-raising exercise, was not a crime. He downloaded a bunch of articles he was permitted to access using an automated program that made it easier. The idea that anybody could think that was a crime was insane to me. Was it inconsiderate? Possibly. Many acts of civil disobedience and conscious-raising are, and I think Aaron probably would have pleaded guilty to that.

JSTOR was the ostensible victim here, but JSTOR made it clear from the start that they didn't see this as a Federal case. They didn't want Aaron to be prosecuted; they just basically wanted it to be over.

So, why all the fuss? Why did this terrible thing happen?

The first reason is prosecutorial discretion. The prosecutor was Steve Heymann, the head of the Computer Crimes division of the United States Attorney’s office in Boston. You’ll hear a little from him, and a little about him, in Brian’s movie, but I have nothing good to say about him. You might ask, like I did, what Aaron’s actions had to do with “computer crimes.” Aaron hadn’t broken into a secure network and stolen credit card numbers. He hadn't stolen anyone's healthcare data. He hadn't violated anyone's privacy. He hadn't caused anybody to lose any money. There are things that are "computer crimes" that we all recognize are invasive and dangerous, and this was not one of them.

But Steve Heymann did what bureaucrats and functionaries often choose to do. He wanted make a big case to justify his existence and justify his budget. The casualties be damned.

Unfortunately, he had a lot of weapons on his side, in addition to having the power of the Federal Government. He had the Computer Fraud and Abuse Act, which is an over broad federal statute that has been made more broad by federal prosecutors trying to stretch its terms. But under the indictment in Aaron's case, the government still had to prove that Aaron had gained unauthorized access to a computer system. Our defense was really pretty simple. There were going to be other nuances, and we were going to talk a lot about Aaron’s motivations and the type of person Aaron was, but our bottom line was going to be that Aaron had done only what MIT permitted him to do. He hadn't gained unauthorized access to anything. He had gained access to JSTOR with full authorization from MIT. Just like anyone in the jury pool, anyone reading Boing Boing, or anyone in the country could have done.

We hoped that the jury would understand that and would acquit Aaron, and it quickly became obvious to us that there really wasn't going to be opportunity to resolve the case short of trial because Steve Heymann was unreasonable.

Of course, after Aaron's passing, it's really easy for them to say "35 years. That was a bluff. It was never gonna happen." That was not what they were telling us. Heymann always insisted on a sentence of hard time in Federal Prison. We said, "this is really a very trivial thing. Can't we resolve it with probation or some other thing that made a little more sense and would make it possible for Aaron to go on with his life?”

He said "no." He insisted that Aaron plead to a felony and serve prison time. And of course, what he said, as prosecutors often do, is that if we go to trial, it won't be so easy, and if we lose, well, this is a tough judge, and the prosecution is going to recommend a very difficult sentence. Aaron may end up having a term of years.

These after-the-fact statements they're making in the media, to try to make them seem more reasonable? That's all they are.

It really goes to show you how much power prosecutors wield in our Federal system. They dictate the charges that are brought. They dictate how serious the sentence will be, because the sentence depends on how the crime is charged, and there are sentencing guidelines that limit the judge’s discretion. And if a prosecutor has bad judgment, as Steve Heymann did—blowing out of all proporition a harmless effort to point out a problem with how public-domain information is being locked up—there isn't a lot you can do about that other than fight, and the consequences can be terrible.

The second reason for this terrible outcome is MIT.

As a defense attorney, I never expect the prosecutors to do the right thing, but I did expect MIT to do the right thing. JSTOR, as I said, came out and said "We don't want to see Aaron prosecuted. We consider the matter closed." MIT never did that. MIT carries a lot of water in Boston. I don't know if they could have stopped Heymann from prosecuting Aaron, but they could have done a lot more than they did.

MIT is an institution that was known for creativity, for hacking, for pranks, for pushing the boundaries—and for showing that good can come out of it. In this case, they responded like a typical corporation. They were entirely gutless. They were supplicants to the government, and they did whatever they could to help the government's case. They were not cooperative with us. A lot of people in the MIT community are furious with MIT, and I think they have good reason to be.

There's no question that Aaron paid a price because of who he was, because he was in the habit of sticking his thumb in the eye of the government, of challenging things, and of challenging certain things that were happening that weren't fair. He was an activist, and he wasn't afraid to ruffle a few feathers.

We'll see what the FOIA requests come to. I don't think there were orders from on high to hurt Aaron, and that Steven Heymann was just the arm of the law. But there's no question in our society, those that go along, get along better, and Aaron wasn't willing to go along, much to his credit.

In the end, the whole thing makes me very sad. It is sad for all of us that Aaron is no longer with us. Sad for his family and friends, most of all. I’m sad I didn’t have the chance to try to help him, and walk him out of the courtroom a free man. We could have done that, and it was certainly what he deserved. But I'm glad to honor Aaron's memory, and to think about what we can do for our own sakes, and our country’s sake.

Photo: Wikipedia

https://boingboing.net/2014/11/18/aaron-swartz-was-no-criminal.html

[this-year-ive-read]

Books I’ve Read in 2019 (A List in Progress)

The Devil and Sherlock Holmes - David Grann (***)

“The course of human events is not permanently altered by the great deeds of history, nor by the great men but by the small daily doings of the little men.”

Killers of the Flower Moon - The Osage Murders and the Birth of the FBI - David Grann (**)

“History is a merciless judge. It lays bare our tragic blunders and foolish missteps and exposes our most intimate secrets, wielding the power of hindsight like an arrogant detective who seems to know the end of the mystery from the outset.”

The Things They Carried - Tim O’Brien (****)

“They carried the sky. The whole atmosphere, they carried it, the humidity, the monsoons, the stink of fungus and decay, all of it, they carried gravity.”

“I survived, but it's not a happy ending.”

“But this too is true: stories can save us.”

Every Word You Cannot Say - Lain S Thomas (***)

“There are days when everyone needs you to be strong, even if you're dying inside, and you can only cry when no one's looking because you're petrified of letting them down.”

“I don’t know if I’m ever, really, ‘Here’”

Everything I Never Told You - Celeste NG (***)

“Before that she hadn’t realized how fragile happiness was, how if you were careless, you could knock it over and shatter it.”

“You never got what you wanted; you just learned to get by without it.”

Night - Elie Wiesel (****)

“To forget the dead would be akin to killing them a second time.

“Those who kept silent yesterday will remain silent tomorrow”

The Alice Network - Kate Quinn (**)

“Poetry is like passion--it should not be merely pretty; it should overwhelm and bruise.”

“What did it matter if something scared you, when it simply had to be done”

Love her wild - Atticus (***)

“We are made of all those who have built and broken us”

“A sky

full

of stars

and he

was staring

at her.”

When we Left Cuba - Chanel Cleeton (****)

“For the dreams that slip through our fingers.

May we hold them in our arms one day.”

“You can love someone and still not lose your reason.”

“Not all of us have the luxury of setting the world on fire, simply because we’re angry.”

Crush - Richard Siken (***)

“A man takes his sadness down to the river and throws it in the river

           but then he’s still leftwith the river. A man takes his sadness and throws it away

           but then he’s still left with his hands.”

“You’re in a car with a beautiful boy, and he won’t tell you that he loves you, but he loves you.”

“They want you to love the whole damn world but you won’t, you want it all narrowed down to one fleshy man in a bath who knows what to do with his body, with his hands.”

War of the Foxes - Richard Siken (**)

“Someone has to leave first. This is a very old story. There is no other version of this story.”

“I want to give you more but not everything. You don’t need everything.”

Murder on the Orient Express - Agatha Christie (**)

“The impossible could not have happened, therefore the impossible must be possible in spite of appearances.”

Fool Me Once - Harlan Coben (***)

“All love stories,” Maya’s father had told her many years ago, “end in tragedy.”

“There are moments in life when everything changes.”

Pirate Hunters - Robert Kurson (*****)

“They made a sound I’d never heard before but somehow had known my whole life, a waterfall of muted chimes, dense and deep and old”

“When John asked his grandfather about being heroic, Arison told him that he had not done anything special, just what he thought was right”

“The world came alive when a person got a chance to be good”

“Do it now. Tomorrow is promised to no one”

“And promised himself that no matter what, he wouldn’t put off until tomorrow what his heart told him to go for today.”

“He just looked out at the world knowing it was finally too late for his father to have an adventure, and nothing seemed in color anymore.”

The Lost City of the Monkey God - Douglas Preston (***)

“But then the teules [foreigners] arrived and everything fell apart. They brought fear, and they came to wither the flowers.”

Crashing Through - Robert Kurson (****)

“It wasn't who a person believed himself to be or what he pretended he would do in a given situation. It was what he did when he got there that defined him.”

“May opened his eyes. Electric dots of silver-white, as many as the sound of a rainstorm, ran to every space in the world, and when he tried to see where they led there was no world anymore, they led everywhere, across a blanket of night that had no edges, and for a moment May didn’t know where he was among these stars, if he was under them or around them or beyond them, they were everywhere and he was everywhere, he was where he wanted to be.”

Shadow Divers - Robert Kurson (*****)

“This is where the hangers on, and wannabes, and also rans, and once greats keep believing in the sea.”

“I love you and you’re not here for me.”

Ross Poldark - Winston Graham (***)

“The greatest thing is to have someone who loves you and—and to love in return”

“Autumn lingered on as if fond of its own perfection.”

Demelza - Winston Graham (***)

“Strange sometimes how easy bitter words came, how hard the kind ones.”

“Let me stay a little longer in the sun.”

Love Looks Pretty on You - Lang Leav (****)

“You turn him into poetry because you can’t have him any other way.”

“I have been quiet lately, I know. Not because I don’t have anything to say but because I have too much.”

“I struggle with things that are as easy to others as breathing.”

“Here is the story of my life. Hoping they would care about me or wishing they wouldn’t care so much.”

“When love swept in like the ocean

And left me in drops, like rain.”

Jeremy Poldark - Winston Graham (***)

“Resentment and bitterness and old grudges were dead things, which rotted the hands that grasped them.”

“It isn’t where you’re born in this world, it’s what you do.”

Edgar: an Autobiography - Edgar Martinez (***)

“I concentrate on the moment and Don’t let the past or the future overwhelm me.”

“Ladies and Gentlemen, I present to you the greatest mariner of all time.”

Warleggan - Winston Graham (***)

“Their lives had been the tragedy of one woman who could not make up her mind.”

“It was not the cold of the night that she felt but an inner cold that no coat would cure.”

“Remember this she thought. In times of jealousy and neglect, remember this. He said: “so you are not to be rid of me, my love.” “So I am not to be rid of you, my love.””

The Black Moon - Winston Graham (**)

“Blemishes on the beauty of a person one loves are like grace notes adding something to a piece of music.”

“We can’t alter the world, we can only adapt ourselves to it.”

The Lost Girls of Paris - Pam Jenoff (*)

“It is simply not enough to be as good as the men. They don’t believe we can do this and so we have to be better.”

Emma - Jane Austen (***)

“If I loved you less, I might be able to talk about it more.”

“I may have lost my heart, but not my self control.”

Wuthering Heights - Emily Brontë (****)

“Because he’s more myself than I am.  Whatever our souls are made of, his and mine are the same.”

“I have not broken your heart—you have broken it; and in breaking it, you have broken mine.”

“The entire world is a dreadful collection of memoranda that she did exist, and that I have lost her!”

The Tenant of Wildfell Hall - Anne Brontë (****)

“beauty is that quality which, next to money, is generally the most attractive to the worst kinds of men;”

“But smiles and tears are so alike with me, they are neither of them confined to any particular feelings: I often cry when I am happy, and smile when I am sad.”

“If she gives you her heart,’ said I, ‘you must take it, thankfully, and use it well, and not pull it in pieces, and laugh in her face, because she cannot snatch it away.”

“This rose is not so fragrant as a summer flower, but it has stood through hardships none of them could bear: the cold rain of winter has sufficed to nourish it, and its faint sun to warm it; the bleak winds have not blanched it, or broken its stem, and the keen frost has not blighted it.  Look, Gilbert, it is still fresh and blooming as a flower can be, with the cold snow even now on its petals.—Will you have it?”

Jane Eyre - Charlotte Brontë (*****) {Reread}

“You think I have no feelings, and that I can do without one bit of love or kindness; but I cannot live so”

“He made me love him without looking at me.”

“I sometimes have a queer feeling with regard to you—especially when you are near me, as now: it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame.  And if that boisterous Channel, and two hundred miles or so of land come broad between us, I am afraid that cord of communion will be snapt; and then I’ve a nervous notion I should take to bleeding inwardly.”

“I am no bird; and no net ensnares me; I am a free human being with an independent will”

“Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless?  You think wrong!—I have as much soul as you,—and full as much heart!  And if God had gifted me with some beauty and much wealth, I should have made it as hard for you to leave me, as it is now for me to leave you.”

[thegeekerynj]

An Occasional Attempt to Read, Discuss and Review the Wonders of Comics

By: John Rafferty, cranky old man, and Fan of All Things Comics

Riding the IND

Designed with the intent to acknowledge the Immense Contribution of the Independent Comic Press, and  highlight a more unique stable of products

==========================================

Short Hops on the IND

Quick looks at books from the Independent Press, when the reviewer has too much on his plate

———————————————————————————-

Seven Secrets #2 (Boom! Studios)

Writer: Tom Taylor   Artist: Danielle DiNicuolo

‘You know, being a Leader, I really expected my decisions to be undermined less.

Really? That’s cute.

Why do I keep you around?

Mainly to hold this. I suspect you have unusually weak arms.’

——————————————————————————————————————————

So, Caspar has been born, and shipped off to be trained, becoming another Secret in the Order of Secrets…

And he comes back. At 9 years old, trained in the martial arts, Smarter, more inquisitive and much more driven than any Initiate before. Training with Keepers and Holders, to become one of them.

And more importantly, to discover his roots.

Taylor’s scripting is tight and fast. He packs a great deal of story into 24 pages. More importantly, he brings Caspar’s story fully around, to the point of Sigurd’s departure. 

The artwork from Danielle DeNicuolo is simply beautiful. I know… I waffled on about how pretty her pencils were last time, but Jeebus, this issue is prettier. It’s almost as if last issue was a test balloon, to see if she had the hook she wanted, and now… well, she’s fishing the pond dry!

This issue ends on a terrific cliffhanger line, one I will not repeat. 

More importantly, one which can mean many things, depending where the story goes.

Suffice to say, I am determined to follow this book. I would suggest you do so also.

Out of 5🌶        🌶🌶🌶🌶.5

======================================================================

Locke & Key ‘…In Pale Battalions Go…’ #1 (IDW)

Writer: Joe Hill   Artist: Gabriel Rodriguez

‘Where did Father find you? Be honest, I shall have the truth soon enough. I best not learn he hauled you out of some sordid immoral hole.

No. Worse. Canada.

——————————————————————————————————————————

Locke & Key.

The story of Key House, on Lovecraft Island, has spanned years, for Key House, itself is older than the Americas. 

The Lockes have forever been the guardians of the Keys to Key House, guarding them against the Evilthat wants to use them… for the Keys are Weapons. Not weapons like guns, and rifles and knives or spears. But Weapons.

Those which have the Power to Destroy. And the Keys DO want to be used.

Joe Hill and Gabriel Rodriguez have taken it upon themselves to bring us another tale in the History of Key House. Thank Gods!

The year is 1918, and the Great War is raging in Europe. Jonathan Locke is 14 years old, and wants to fulfill his destiny, for the Lockes have been represented in every war. As the only son, this is his right, and with the Keys of Key House, there’s no telling what he can do…

Gabriel Rodriguez seems to have decided to leave everything on the battlefield with his artwork. His pages are so expressive, and capture the feel of the World War One era. If the closing splash is any indication, the actual war pieces will be fantastic.

As far as Mr. Hill, what can I say? There has not been a miss, even remotely, in his portfolio… and this latest edition of the Locke Family chronicle is no exception.

My only complaint, it relies on a conceit that the Reader knows the story already, and gives little information about the Keys in play… Now, this is a minor dig, for if the Gentle Reader perusing this truly wants to find the history of Key House, and its family of Guardians, they would merely have to purchase the prior volumes of Locke and Key, and read to their heart’s content.

Out of 5🌶        🌶🌶🌶🌶

======================================================================

A Man Among Ye #1 & 2 (Image / Top Cow)

Writer: Stephanie Phillips    Artist: Craig Cermak

‘You might try using the eyes that head, Jack, unless you fancy a new breathing hole. Still I do love the smell of gunpowder in the morning…

——————————————————————————————————————————

Well, this is a pleasant surprise…

A comic about pirates. Not any pirate, not a ‘Jack Sparrow’ type of pirate.

No, this is a look at Captain John ‘Calico Jack’ Rackham, and more importantly, his first mate, Anne Bonny.

The stories of Jack Rackham, Anne Bonny and Mary Read are almost as extensive, and fantastic as those of Blackbeard, William Kidd and Bartholomew Roberts.

What makes Anne Bonny and Mary Read so special is their being successful Female Pirates in a male dominated world. Every bit as strong, independent, and batshit crazy as all the others of their time, Bonny and Read ran the British Navy ragged throughout the Caribbean, while doing so an all-male crew, an amazing feat for the 18th Century.

Stephanie Phillips has certainly done her research, taking this story from the sinking of a British frigate by Rackham and his crew, to the British Governor of the Bahamas, and his plan to capture all the pirates, and execute them. 

Cermak’s art is nicely complementary to the story, however I find it a little trope-y… The Heroes / anti-heroes are pretty, the ‘Villain’ is an ugly brute, and things are a little to clean… This is a pirate story, on the High Seas, there is nothing clean and pretty about this…

But, I digress.

With two issues in, and the British on their tail, Rackham, Bonny and Read have their hands full. Knowing a little of the history here, I am looking forward to seeing how much legend Phillips mixes in with the facts of the raids on the Barbary Coast, the Tortugas, and the shipping lanes.

It’s really nice to see a non-Super, strong Female Led Book. Here’s hoping it gets legs, and readers!

Out of 5🌶        🌶🌶🌶🌶

======================================================================

Bomb Queen - Trump Card Part 1 (Image - Shadowline)

Creator - Jimmie Robinson

‘Why the FU*%ing rush? *cough - cough* He’ll be gone like every asshole politician. They’re all the same.

Not this time. Trump changed the Constitution by repealing the 22nd Amendment. He’ll make himself President for Life if he wins this election.

——————————————————————————————————————————

Sweet Jeebus. As if Jimmie Robinson hasn’t fed the zeitgeist enough with cut-off shirts and tiny, tight skirts, now he feeds the fears of America, outlining an America with a lunatic trying to rewrite Democracy… And the need for Bomb Queen to run against him!

This is my introduction to Bomb Queen, the ninth mini-series, each of the earlier ones a titillating wonder of humor and over-sexed action. At this point in her world, the anti-hero has had her own country for Super-Villains, and is now on the run, having beset upon by the World’s Heroes.

Captured by her Clone / Sire (these things are never clear), Bomb Queen is offered a choice, as it were. Run for office against the Orange Horror, or well, you know, because heroes aren’t really heroes…

His artwork is pretty, simple, and clean. There’s a certain elegance about the characters he draws. They’re not overmuscled, although the ladies do have exceptionally large ‘lungs’, which are emphasized by uniform cutouts (a’la Power Girl)…

This book is full of hoots, giggles, belly laughs, and unfortunately, the harsh reality of the 2016 Election. There’s a two page spread which harkens back to the CNN / MSNBC / National Television Network ‘Man on the Street’ interviews, with paraphrased quotes I heard about Trump over his opponents, and over Clinton. The idea that Robinson could make it fit so easily, and fluidly… well it both makes me ill, and gives me pause to want to read much more.

As I said, Jimmie Robinson has grabbed the National Zeitgeist by the shorthairs with this storyline, not because he’s rich, and just can, but because it’s just too soon, and no one will be able to deny the ugly nature of what they are reading.

This is worth a read to see where he takes it, to see if he has the stones to finish what he started, and to see HOW THE HELL Bomb Queen WALKS IN THOSE FRICKIN BOOTS!!!

Out of 5🌶        🌶🌶🌶🌶

======================================================================

Cyberpunk 2077  Trauma Team #1 (Dark Horse Comics)

Writer: Cullen Bunn  Artist: Miguel Valderrama

‘Everyone’s resentful of how little money they make. Doesn’t change anything.

We get the call.

We do the job.

—————————————————————————————————————————

As I read this book, and watched the flashes of color race across my eyes, my first thoughts were ‘godsdamn, this guy makes Frank Miller look good!’

Gentle Readers, in my introduction to this book, inside the first 5 or six pages, I was making comparisons between the artist of this book, and the master of dark, splatter mayhem.

Miguel Valderrama has a very special touch to his pencils and inks, maybe he buys them from the same place, perhaps they are fashioned from the same tree and graphite quarry… whatever the reason, the cause, I want MORE!

The biggest difference is the lightness of touch, the fine lines, there are many more, much more elaborate detail than the broad strokes Master Miller uses, however, this is not a complaint. Rather , the observation is more of a wistful longing for a, well, a ‘What if Frank Miller Drew Everything The Way He Drew His Crowd Scenes?

The answer might be found in this book

Cullen Bunn’s story reads like a reality television story. This is a look into the psych eval of the lone surviving member from a Medical Evac Team. This Trauma Team has medics, and soldiers to act as guards, as the areas they are sent into aren’t exactly Beverly Hills, unless the 90210 has been overrun by the Crips and Bloods, and they are eating the shop owners.

As Nadia is running through her memories of the events, we are seeing it in real time, along with the interviewer’s requests for clarification. She appears to be a solid medic, her only concern being getting back in the field. She has a job to do…

Now, at first glance, this could be seen as pretty derivative… like Judge Dredd / Anderson as a Guard / Medic team… BUT… and this is a Big One, the comparison ends with the big helmets and firefights. 

There’s none of the cynicism, or the poking fun at the Government / Branches / Cabinet Offices. Rather, there’s what feels like a genuine look at how being a survivor has effected this character, and how she is going to handle getting back out into the field.

I liked this. I have to say, I went in to this book with some preconceptions, and was happy to see them dashed.  The interactions between the Team characters come across as real, there’s little stilted, unnatural dialogue… and that was a great thing to see.

The twist Bunn slams at the reader on the last page of the book, well, I want to see Issue 2, just to see how this plays out.

Out of 5🌶        🌶🌶🌶.5

======================================================================

HEAVY #1 (VAULT Comics)

Writer:  Max Bemis    Artist: Eryk Donovan

‘I’ve got fifteen Hitlers to do away with before the end of the night!

They’re throats aren’t gonna slit themselves!

——————————————————————————————————————————

Have you ever read ‘The Punisher’?

Seen R.I.P.D.?

Put the two together, you’ve pretty much read this book. 

Hyperviolence, set to a redemption arc, while saving the Multiverse from the worst iterations of the Famous (both good and bad… Leonardo DaVinci as a bisexual foot fetishist who uses his genius to become Dictator of the World, and build weapons that are sexual torture devices???!!!???)

The redemption part?? To get to the Other Side, and redeem yourself, you have to partner with, and train the jerk who killed you and your girl, and make sure he doesn’t get killed when you are on the job!

Unless this is what you are into… HARD PASS!

Out of 5🌶        🌶🌶🌶

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We Only Find Them When They’re Dead #1  (Boom! Studios)

Writer: Al Ewing    Artist: Simone De Meo

Boss, tell me if I’m out of line here, I don’t mind not knowi—

— But what IS this between you and Richter? What happened?

Oh, it’s quite simple, Jason.

She killed my PARENTS.

—————————————————————————————————————————

I was hooked on this book before I got to these lines of dialogue.

I don’t know if it was the absolutely wonderful artwork, the beauty of the layouts, the detail, the ——Oh Hell, Simone De Meo’s artwork grabbed me and held me for the three readings I gave this book. I couldn’t get over the visuals, her place ts of panels, the character sketches… Hell, some of this was downright cinematic.

There are panels, and pages, that made me think of James Gunn’s vision of Knowhere… and that is high praise from me.

Al Ewing, what is there to say. After reading his work on Judge Dredd, i sought out his work wherever I could find it.. This is tough for me, not being a big Marvel Fan, since almost everything he has written has been for the House of the Iron Mouse…

The story, is simplicity. Explorers in Space find the corpses of the Gods. Well, that is as close as they can come to what they are. 

There is a market for their meat, the materials which clothe them, certain parts of their organs, both a legal and a Black Market.

Once a Godcorpse has been identified, the Sutopsy Ships descend upon it, to stake claims. these are monitored by Escort Ships, in place to enforce Government Regulations concerning what can and cannot be stripped from the Godcorpse.

Violate protocols and die.

This is the story of the Vikaam Two, her captain, Georges Malik, his crew, and his plan to find a Living God.

I can’t wait!

Eight Bells… All is well…

Out of 5🌶        🌶🌶🌶🌶🌶

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Grendel, Kentucky  #1  (AWA /Upshot)

Writer: Jeff McComsey  Artist: Tommy Lee Edwards

‘You believe what Pap said about Clyde?

How he died?

Do I believe a bear killed my Daddy?

No Fuckin’ Way.

——————————————————————————————————————————

1976. Junior Year of High School, my AP English class was assigned ‘Beowulf’ as an Advanced Placement Test read. In the Olde English translation. 

It was an attempt by my teacher, a wonderful elf of a nun, to get her literary stunted students to stretch, comprehend, and recognize themes once they see them, in preparation for the exam and the expectations of college.

2020. As is my wont, I picked up all the First Issues of the Indy Comics at my local purveyor of Four Color Sequential Art, The Geekery.

While running up my near National Deficit weekly Comics tab, my eyes slid across the title, and the gritty cover… Hmmmmm, too much of a draw not to at least give a look, add it to the pile.

In the opening pages of this book, Clyde Wallace has dressed himself in catcher’s mask, chest protector and knee / shin guards (poor man’s body armor), and strapped on enough real and makeshift weaponry (baseball bat with spikes driven through the business end to an M-60 grenade launcher) to make Rambo, Negan and Max Rockatansky run screaming into the night.

Clyde marches into the mouth of a mine…

WHOA! By Hrothgar, King of the Danes… This is Beowulf… In Kentucky!!??!!

Set in 1971, the Beowulf character, Denny, is a veteran of the Viet Nam Police Action, his warriors, well they are an all female biker gang, led by Marnie, a woman his father raised from childhood. The King, Pap, is the Town Elder, and he knows something he isn’t talking about.

Yeah, this is already good, one issue in.

Jeff McComsey has written an offbeat take on the Beowulf epic, taking some very severe literary license with the story lines. The epic heroes and warriors, well, not so much. Relatively amoral, criminal for support, ahhhh lets face it, these guys are all anti-heroes, at best. 

If this were today’s America, I’m not sure I wouldn’t be rooting for the monster.

But I digress.

The artwork by Tommy Lee Edwards is gritty, hard on the eyes, and, well appropriate to the story. His artwork HURTS at times, you can feel the violence, the intent, through the eyes. America in 1971, it was not a pretty place.

As a miniseries (1 of 4, so far), this is worth the read. Too much more, and it would feel like I was prepping for a test again… but I digress.

Out of 5🌶        🌶🌶🌶🌶

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Inkblot #1 (Image Comics)

Creators: Emma Kubert and Rusty Gladd

‘Sweet Suckleberries!

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Her Name is KUBERT. As in Joe, and Adam and Andy and Katie.

That alone earns her the right to a viewing.

The fact that this is a fun little book she co-created with Rusty Gladd, well, that’s a gallon of whipped Italian Sweet Cream on top of the cake!

Give this a shot! Buy it for your little ones, if you have any!  Lie about having little ones, and buy it for yourself! You won’t be disappointed!

Out of 5🌶        🌶🌶🌶🌶.5

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Spy Island #1   (Dark Horse Comics)

Writer: Chelsea Cain   Cover / Designer / Supplemental Art: Lia Miternique    Artist: Elise McCall

‘Some people are afraid of the ocean. There’s a word for it: ‘Thalassophobia’. A fear of the open ocean and what lies beneath its surface.

Not me.

I think the ocean’s great*.

*except for the Kraken.

——————————————————————————————————————————

SO. That happened.

There is an area of the Atlantic Ocean, delineated by vertices at Miami, Florida, San Juan Puerto Rico, and Bermuda, which has been the source of many stories concerning the disappearance of airplanes, ships, crews of ship, and unusual activities. This area, lovingly referred to as the Devil’s Triangle, or the Bermuda Triangle, is the source of this tale.

Spy Island is located somewhere inside the Triangle, and it plays host to spies, bad actors, scientists, etc from all nations, some other worlds, and all times.

It’s the story of Nora Freud, Agent for an unnamed country, possibly the USA, possibly not. She is a spy, and so much more. She is also a woman of action, who can perform any assignment given to her.

Including assassination.

Lia Miternique and Elise McCall have put together an artistically gorgeous offering in this book. Between the inserts for the fish, maps, the advertisements and covers, this a visually wondrous.The underwater scenes in and of themselves are masterful, offering a view of the ocean one might actually see off t a Caribbean island.

The story, well it is OK. Lots of self exposition, not much action (the best stuff is in the first 4 pages), this is setting up like a spy thriller, of sorts. DUH, bimbo!!! Look at the title!

It is a first issue, and seems to be tagged for a longer run, so, I’m willing to give Ms. Cain the benefit of the doubt here. She had to have given the artists the perspective to draw from, and I am cautiously optimistic, based on Mockingbird, and her NYT Best Seller Status…

It’s worth a shot, just for the eye candy…

Out of 5🌶        🌶🌶🌶.5

[riting]

Stephanie Zaletel in conversation with Alana Reibstein

Stephanie Zaletel in conversation with Alana Reibstein

szalt (dance co.) is a collection of dancers, designers, and musicians led by Stephanie Zaletel, who have been generating and producing work in Los Angeles since 2012. I've been curious about her experiences as a generative artist coming up in LA, and wanted to check in on the back-end of their structure as they prepare for a new piece to emerge at this year's LAX festival.

AR: I wanted to talk to you a little bit about being an artist in Los Angeles because you’ve been making work here for a long time, and I’m pretty new here, so to me that is just really interesting.

SZ: Oh, cool.

AR: ...and amazing.

SZ: I’m pretty happy making work here in LA. I honestly can’t imagine making work anywhere else at this stage in my life. That said, when I’m in a process I don’t get to see work as much as I want. I either don’t have the time because I’m in a process, or I don’t have the mental space. I believe it’s vital for artists to support and learn from other artists, but I think sometimes it can be really challenging to create the space for that.

How do I show up and support, and also be fed by other artists, but then also have space set aside for my own energy and process later?

Right. Totally.

It’s hard.

It is hard. Of course seeing what other LA artists are doing is pretty vital to your own making.

Oh, and I love it! I love that people are making work. I love this. I want to be there. It is just not always possible. LA is a challenging landscape to maneuver.

Are there things that you feel you have to do to keep working here that you don’t really want to do? A thing that I don’t want to do as an artist, but feel like I have to do is Instagram. Which I don’t have right now, but know that that can be pretty vital. But I don’t know how to relate to it and how I would curate it in a way that feels right for my process and work. So I was wondering how you feel promotion and marketing and things like that interact with your process of making, developing and presenting, and what the process itself of curating those materials is like.

OK. Yeah, because szalt is such a small operation I really have to wear every hat-- fundraising, administration and media, creating the work, and getting the word out about who we are, teaching, etc. For a long time I was a bit resentful about all of that because I felt pulled in so many directions, especially administratively, writing so many e-mails and accumulating many stressors outside of the creative work. Fortunately this year I’m able to delegate a lot more within the company. This is pretty much the first year that we’re able to do that. I guess that I finally started to realize that we all have to wear many hats to make our work. It’s built-in, and it might just be built-into what it means to be a millennial artist in Los Angeles.

How else is anyone going to care that Stephanie Zaletel is making work unless I tell them who I am and why they should be looking. It took a while, but I also, like I said, I have help now. One of the dancers helps me organize all of the classes, workshops, and bookkeeping. And then I have another dancer who helps with media, or the newsletter, etc. We also rotate who teaches and leads company classes so we are constantly feeding and sharing with one another.

It’s just sort of like a schedule, like eating breakfast. Like okay 6 o’clock we’ll post this, great.

In the meantime I’ve become so grateful for social media platforms because I started to realize, oh my god, Instagram is a huge part of why so many people know who we are.

All these people start coming to shows and it’s like who are you, oh I found you on Instagram. So, I’m thinking, I’m definitely going to keep posting on Instagram! But it’s a constant grapple you know, because it’s not what I’m passionate about. I’m not a passionate administrator or a passionate social media expert.

But it also feels like that kind of moment of realizing, I have to tell people who I am, I feel like that could also be sort of exciting and legitimizing in a way that is useful. I don’t know, does doing that kind of work inform and make clear to you certain stuff about how you represent your company?

Yeah, definitely. It’s weird because it starts to have this bizarre effect where you really identify with what you’re posting. Or even like hashtags, where I’m like that hashtag is totally what I meant to talk about during the piece the other day but I didn’t think of it until now, so it starts to sort of feed who you are and the room.

I’m very grateful for all those platforms, and for the necessity to wear all the hats, because now it’s all built-in-- it’s all one thing, part of making work in this time.

And I imagine being able to do that has been pretty useful in securing tours and developing relationships with dance communities in other cities too?

Yeah, it’s pretty amazing because also you’re not always checking in with people via e-mail or phone. But if we visit a school in Seattle and a bunch of their students are still following the work, then we’re still in touch with them. Every day you’re in people's’ brains more, and you’re able to foster more personal relationships, even though it’s very distant. But I’m amazed at how broad of a network we’ve been able to cultivate just from this first year of touring.

So I’m interested in the tour and how working outside of LA feels for you and szalt as a company and collaborative community of artists. Does performing for a different audience, teaching workshops in unfamiliar studios, and just being together in a new city shape your relationships and how you guys work together?

Oh, yeah. Touring made it very clear what we offer, why what we’re doing is special. Because you’re away from everything that’s familiar and you’re sort of just relying on habit. What is our habit in the studio? What is our habit when we teach? What are our defaults? And we talk about everything.

Everyday we kind of debriefed, and it just became clearer and clearer what kind of dance company we want to be, what kind of energy we want to have in the room. What are we teaching people? Why are we teaching this to people, why are we bringing this piece to this place? It just became very clear. I felt very close to all of them.

Another wonderful thing that just happens when you travel is you realize how warm people are. You know? I felt so supported everywhere we went. It’s a really refreshing experience, and then when we come home we come back with this really clear sense of entity, like what we are.

I’m interested in the idea of company “habits.”Could you describe what some of those habits are and are they things that you found “positive” or were you sometimes like, oh this is something we do in LA, and we should adjust to this new community and environment?

Generally it is very positive. The kind of work that I’m interested in with szalt is creating a safe environment for people to really explore clarity without judgement. I really believe that you can facilitate very strong, high quality movement and movement research, but in a warm, supportive way where there’s plenty of time and information, and you have space to try things on your own and talk about things, and say whatever comes to mind, and delete any unconscious judgement, or whatever. And it’s really difficult to work that way. And it’s not always immediately "successful".

Part of the work is having it fail. But when we teach in other places it’s even more clear what our intentions are. I think in LA sometimes we can get in a rhythm of how we teach class, cool, but then when you have to really explain to people who’ve never met you how to approach what we’re doing, or after they see the work and they want to talk about it, it’s like oh, okay, that’s what I was trying to do, great. We are constantly growing and always trying to be mindful of energy and what we might be wearing on top of the dance that might affect the room.

Yeah. It’s so special that you’ve been working so consistently with such devoted artists and collaborators. For me that kind of commitment implies that every dancer and collaborator you work with feels and enacts their individual agencies within the collective, and I think that’s a hard thing to achieve and to cultivate as a leader, so that’s really great.

Thank you. I am very grateful for my team.

That’s not a question, but a closing thought. You’ve had company members with you for a long time right, 2012, a couple of them?

Well two of them I graduated from CalArts with, and then I think the others joined like two or three years ago, and then we have one brand new woman joining us for this premiere which I’m really excited about.

I really appreciate that it’s definitely a constant conversation. We have to make sure we’re always respecting each other, that everyone feels valued, and at the same time prioritizing the work that needs to be made.

szalt’s Marshmallow Sea will have its Los Angeles premiere October 6th-8th, 2017 at the Bootleg Theater as part of the Los Angeles Exchange (LAX) Festival, 5th ed.