Showing posts with label genius. Show all posts
Showing posts with label genius. Show all posts

Sunday, January 27, 2013

Maya of Arabia


What's bugging me about the Zero Dark Thirty controversy is how it has blocked any discussion of the movie's place in film history.  I'm not sure if this is the result of sexism, as if Kathryn Bigelow wouldn't be thinking in those terms, or just political sensitivities (my friends to the left are the ones condemning the film by comparing it to the work of Leni Riefenstahl - an incredibly sexist comparison) but when looked at within the context of Hollywood genre's, ZDT is the increasingly rare beast of an historical epic, at a time when every so-called-epic from Hollywood is a science fiction or superhero story.  The last great historical epic was, of course, Titanic, interestingly enough made by Bigelow's former husband.

Where ZDT fits is as the bookend to Lawrence of Arabia.  Each movie deals with the West's involvement with Middle Eastern politics, one from the start in the 20th Century, the other for the 21st.  Back then it's one British officer struggling through the desert, now it's batteries of U.S. soldiers flying in and out with impunity, but it both cases there's the sense of "other," that the West can never, no matter how embedded, truly understand or have a place in the desert worlds.  The threats to Maya's life are essentially urban - an assassination attempt rather than dying of thirst - but there's watching still the lone figure coming from a great distance (a fateful car rather than Omar Sharif), the hero putting on the local headgear to operate in the area, the lonely military outposts in a hostile land.

The question isn't whether the movie endorses torture, it's "Where do you want to go?" which Chastain outed on The Daily Show as the existential last line of the movie.  In Lawrence, a man is driven insane by his immersion into this Middle Eastern world.  In ZDT it's a nation (with Maya as the metaphor).  Lawrence posits that his Western influence helped create the desert nations.  ZDT asks if and how we want to be engaged with these very same nations - if, in another twist on the same theme in Lawrence, there a brutalization like torture involved.

ZDT's immediacy is blinding the arguers to the true nature (and greatness) of this movie.  Sorry, Bigelow and Boal didn't wait thirty years to tell this huge story.  They were brave enough -- and smart enough -- to tell a nine-year epic tale just moments after it concluded.

Thursday, December 06, 2012

Take 86

Mainstream breakthrough jazz legend Dave Brubeck died yesterday at age 91.  I was lucky enough to see him perform live in the mid-1970's, already gray-haired and with at least one of his sons in his band.  He had tremendous graciousness as well as grace, and his music was surprisingly accessible, per this Ashley Fetters post in The Atlantic today:

There's another reason why the popularity of "Take Five" is remarkable: It's performed in a musical structure that people in the Western world often show cognitive resistance to.

Most Western music is dependent on a structure with two, three, or four beats in a measure—or some multiple of those—with even spaces between the emphasized beats.
...
"Take Five," though, is written and performed in a 5/4 time signature, as my jazz-fan colleague David Graham mentioned yesterday—meaning there are five beats per measure. (Hence the title.) When there are five, seven, eleven, or almost any number of beats in a measure that doesn't divide evenly into twos or threes, the beats can become non-isochronous—meaning the emphasized beats, the ones you would tap your foot along with, aren't evenly spaced. For example: Try clapping along with the intro to the Mission: Impossible theme, which is also in a 5/4 time signature.

Time signatures like these are often known as "irregular," "complex," or "asymmetrical" time signatures.

Here's that very number, performed in 1966, seven years after it's initial release.  Brubeck had a relatively early racially integrated combo as well.  Right on, Dave:


Timeless cool.

Monday, May 28, 2012

A Very Good Night

Last night, Sunday, May 27, 2012, was maybe the best night ever for high-end television drama of the one-hour kind.  Both Mad Men and Game of Thrones had epic game-changing episodes.  Both are about power, in different ways.  Tonight I'll talk about the former.

In the antepenultimate episode of the season, "The Other Woman," Sterling Cooper Draper Pryce is pitching Jaguar and all they need to seal the deal is for Joan to sleep with one of the three decision makers.  At the same time, Peggy, arguably the #2 character on the show, is feeling ready to leave.  It's a show about choices and prices paid for women to do men's bidding, as filtered through a Jaguar pitch tagline, "At last, something beautiful you can truly own."

So is Peggy owned by a new agency that picks her up for more than her asking price?  And is Joan owned or owner as she take a piece of SCDP for herself and her son?  And is there anything Christina Hendricks can't make us feel?

Then there's Don and his young bride, Megyn.  She wants to act, she's treated like chattel at the audition, and he's terrified that she's going to abandon him for her career.  Their fights are so much more awesome than Don and Betty's because they know each other's secrets, they're at way different points in their lives and they are both New York City sophisticates.  It feels like real adult fights - not TV adult fights.  A little S&Mish at times, which fits with the era.  Just as the Europeans were refinding the Marquis de Sade in literature and theatre.

If there's a project to this season it has to be revealed in the final two episodes.  This year's theme, according to creator Weiner, is "Every man for himself."  So will Don we left isolated - by Peggy, estranged from Joan by the knowledge of what she did and his adamant opposition to it, by Megyn getting the out-of-town rehearsals and previews gig?

We've had seasons with "the return of Don Draper" as the project.  Often with a diminishment of marital or family life.  Would that be a retread?  Or is there something deeper planned?

My pet theory: at the end of the season, Don quits.  Maybe goes West to design surfboards.  Maybe becomes the perfect mix on Don Draper and Dick Whitman.  Maybe quits being Don Draper.

More on Game of Thrones to come.  And if you think this season is big, the third book is oft considered the best.

Enjoy this time of plenty.  Over the next two weeks, it ends.

Sunday, May 13, 2012

Duck Down

Another great musician has been taken from us, Donald "Duck" Dunn, legend:
Donald “Duck” Dunn, the bassist who helped create the gritty Memphis soul sound at Stax Records in the 1960s as part of the legendary group Booker T. and the MGs and contributed to such classics as “In the Midnight Hour,” ‘’Hold On, I’m Coming” and “Sitting on the Dock of the Bay,” died Sunday at 70.Dunn, whose legacy as one of the most respected session musicians in the business also included work with John Belushi and Dan Aykroyd’s Blues Brothers as well as with Levon Helm, Eric Clapton, Neil Young and Bob Dylan, died while on tour in Tokyo.News of his death was posted on the Facebook site of his friend and fellow musician Steve Cropper, who was on the same tour. Cropper said Dunn died in his sleep.
...
Cropper left to become a session player at Stax, the Memphis record company that would become known for its soul recordings and artists such as Otis Redding, Sam and Dave, Isaac Hayes and the Staples Singers.
Dunn soon followed Cropper and joined the Stax house band, also known as Booker T. and the MGs.
It was one of the first racially integrated soul groups, with two whites (Dunn on bass and Cropper on guitar) and two blacks (Booker T. Jones on organ and Al Jackson on drums), and was later inducted into the Rock and Roll Hall of Fame.
...
“I would have liked to have been on the road more, but the record company wanted us in the studio. Man, we were recording almost a hit a day for a while there,” Dunn said.
...
Dunn once said that he and Cropper were “like married people.”
“I can look at him and know what he’ll order for dinner,” he said. “When we play music together we both know where we’re going.”
Condolences to Cropper and to Dunn's family.  Thanks, Duck, for all the unforgettable baselines we danced to.
As for the Lord above, Dunn might as well be playing along to, "Hold On, I'm Coming."  R.I.P.


Tuesday, May 08, 2012

WIld Man

Sad to see him go, but it's been a long, productive, influential life for Maurice Sendak, gone at age 83:

The popular children's book author wrote "Where The Wild Things Are" in 1963. He won a Caldecott Medal for the book in 1964, and was adapted into a movie in 2009.

According to The New York Times, a posthumous picture book, "My Brother's Book," is scheduled to be published in February 2013.

...

Sendak also created costumes for ballets and staged operas, including the Czech opera "Brundibar," which he also put on paper with collaborator Pulitzer-winning playwright Tony Kushner in 2003.

He designed the Pacific Northwest Ballet's "Nutcracker" production that later became a movie shown on television, and he served as producer of various animated TV series based on his illustrations, including "Seven Little Monsters," "George and Martha" and "Little Bear."

...

"I write books as an old man, but in this country you have to be categorized, and I guess a little boy swimming in the nude in a bowl of milk (as in `In the Night Kitchen') can't be called an adult book," he told The Associated Press in 2003.

"So I write books that seem more suitable for children, and that's OK with me. They are a better audience and tougher critics. Kids tell you what they think, not what they think they should think."

During that 2003 interview, Sendak also said he felt as if he were part of a dying breed of illustrators who approached their work as craftsmen. "I feel like a dinosaur. There are a few of us left. (We) worked so hard in the `50s and `60s but some have died and computers pushed others out."

...

"Kids don't know about best sellers," he said. "They go for what they enjoy. They aren't star chasers and they don't suck up. It's why I like them."

As the tweet from McSweeney's said, "We'll be roaring our terrible roars today."

I've read a zillion of your books, Maurice, and used to eagerly anticipate each new Little Bear volume as it came out, while eating my Chicken Soup with Rice. Thanks for making all our childhoods -- and adulthoods -- all that much more imaginative and grand, and please R.I.P.

Thursday, April 26, 2012

Great Big Ones

Stephen Colbert has the largest cajones of any major comedian working today. He was named one of Time magazine's 100 most influential people -- for the second time, as he lets everyone know at the official event. An excerpt:

Of course, all of us should be honored to be listed on the TIME 100 alongside the two men who will be slugging it out in the fall: President Obama, and the man who would defeat him, David Koch.

Give it up everybody. David Koch.

Little known fact -- David, nice to see you again, sir.

Little known fact, David's brother Charles Koch is actually even more influential. Charles pledged $40 million to defeat President Obama, David only $20 million. That's kind of cheap, Dave.

Sure, he's all for buying the elections, but when the bill for democracy comes up, Dave's always in the men's room. I'm sorry, I must have left Wisconsin in my other coat.

I was particularly excited to meet David Koch earlier tonight because I have a Super PAC, Colbert Super PAC, and I am -- thank you, thank you -- and I am happy to announce Mr. Koch has pledged $5 million to my Super PAC. And the great thing is, thanks to federal election law, there's no way for you to ever know whether that's a joke.

By the way, if David Koch likes his waiter tonight, he will be your next congressman.

Great huge brass ones.


Thursday, April 19, 2012

Levon Gone

A great has gone. From Rolling Stone:

Levon Helm, singer and drummer for the Band, died on April 19th in New York of throat cancer. He was 71.

...

Born May 26, 1940 in Arkansas, Helm was literally a witness to the birth of rock & roll; as a teenager, he saw Elvis Presley, Little Richard, Johnny Cash and Jerry Lee Lewis in concert and was inspired to play drums after seeing Lewis' drummer, Jimmy Van Eaton. (Helm went on to play mandolin and other stringed instruments as well). In 1960, Helm joined the backup band of rockabilly wildman Ronnie Hawkins – a group that would eventually include Robbie Robertson, Richard Manuel, Rick Danko and Garth Hudson, all future members of the Band.

The musicians broke from Hawkins to form their own group – their names included the Crackers and Levon and the Hawks – but it was their association with Bob Dylan that cemented their reputation. After Dylan saw the group in a club (either in Canada or New Jersey, depending on the source), he invited Helm and guitarist Robertson to join his electric band...Robertson and Helm were in Dylan's electric band for his controversial, frequently booed show at New York's Forest Hills Tennis Stadium. Afterward, various members of the Band played on Dylan's Blonde on Blonde and toured with him in 1966. (Helm left temporary in 1965, tired of the ongoing hostility from Dylan's folk fans.)

Recuperating in Woodstock after his 1966 motorcycle accident, Dylan again hooked up with the band that would soon be the Band. Before Helm rejoined them, they recorded the landmark Basement Tapes, and the Band's crackling, homespun take on American roots music began to take shape. Rechristening themselves the Band, they signed to Capitol Records and released two classic albums, Music From Big Pink (1968) and The Band (1969). Although Robertson was the Band's principal songwriter, it was Helm's beautifully gruff and ornery voice that brought the Canadian Robertson's mythic Americana songs to life. He was also one of rock's earliest singing drummers.

...

The Band continued for a while after Manuel's suicide by hanging in 1986, but Danko's death in 1999 of heart failure ended the Band once and for all. By then, Helm was dealing with throat cancer. After his recovery, he began holding intimate concerts in his combination barn and studio in Woodstock, called the "Midnight Ramble," in part to pay his medical bills. The low-key, woodsy performances became must-see shows and attracted a rock who's who; Elvis Costello, Natalie Merchant, the Grateful Dead's Phil Lesh and Donald Fagen were among the many who joined Helm and his band. The Ramble shows led to two acclaimed Helm solo albums – 2007's Dirt Farmer, which won a Grammy in the Best Traditional Folk category, and 2009's Electric Dirt, which resulted in a Grammy for Best Americana album. "This go-round has been a lot more fun," Helm told Rolling Stone in 2009. "Now I know I've got enough voice to do it."

I was lucky enough to attend a Midnight Ramble in January last year thanks to my friend and Ramble saxophonist, Erik Lawrence. It was a magical night, the beautiful interior of the barn/studio a warm and cozy respite from the freezing winter air outside. By tradition, attendees brought food to share in the downstairs area at intermission, in keeping with the spirit of the whole event.

I had a standing position behind the band, looking down at my buddy and across at Levon. When he entered, the band assembled and playing him in, with his jacket over his shoulders, long and gaunt and smiling ear-to-ear, the audience members (all ages, some from other parts of the world) shook his hand, thanked him, loved him.

As my father used to say, "Last of the good guys." And a hell of a drummer as well.

Rest in Peace, Levon Helm.

Wednesday, April 18, 2012

Visual Style of The Wire

Finally, credit where credit is overdue. I've always thought of The Wire as having noir elements along with the social realism. It's not a documentary - it's exceptionally well-crafted and relevant fiction. Now someone has analyzed the show's visual style and, guess what, in its own way it's as brilliant as the writing:


Major kudos to Erlend Lavik. This one gets added to the canon.

Tuesday, April 10, 2012

Caine's Arcade

Get ready to be amazed and grab the Kleenex:


This kid shows so much ingenuity, smarts and just plain good character...is it any wonder that the filmmakers have set up a Facebook page to raise money for his college scholarship?

Monday, April 09, 2012

Haley Freed

Love the retro outfits, hair, locale and sexiness. Love the massive replayability:


Love that a year after Idol, Haley's out there and free to be herself, album coming late May.

Sunday, April 08, 2012

Titanic Raised

Maybe I was too harsh back in 1997, teed off at James Cameron's ferocious ego and the success of the picture. Maybe the new 3D -- and IMAX, in which I saw it -- has added a layer of depth that's actually psychological in nature. Maybe it's just that no one has spent that kind of money successfully making a huge epic Hollywood movie that isn't a science fiction or superhero movie since then.

No matter what it is, I found Titanic to be a revelation in re-release when viewing it yesterday.

It's long and towards the end it may seem to drag a little, but the movie is the full meal, something so rare these days. It has touches of David Lean in scale, John Ford in Irish spirit and Stanley Kubrick in technical audacity. It not only holds up very, very well, but it puts current movies to shame. When you look at Academy Award Best Picture winners of the past several years -- The Artist, The King's Speech, The Hurt Locker -- good as they may be, none is in the same category of majesty. Cameron may have made the last great Hollywood epic the way they used to make 'em. Except bigger.

Here's the joys:
  • The Actors: Not only are Kate Winslet and Leonardo DiCaprio completely believable together in the movie, but both have used their fame wisely since, moving on to artistically significant careers. DiCaprio has become Martin Scorsese's first new muse since Robert De Niro, and Kate Winslet has won an Oscar and an Emmy, notably for her fine turn as Mildred Pierce.

  • The Historical Detail: Cameron did a fine job of weaving history and fiction, from the knowing touches regarding John Jacob Astor to a simple scene with a young boy playing with an old-fashioned wooden top on the deck. Like the best historical fiction, fidelity to these real-like details make the made-up story palatable, and Cameron was no slouch, particularly with regard to how each of the two men responsible for building the ship made different choices when their masterpiece was going down.

  • The Shooting Style: My greatest pet peeve is the over-cut movie (i.e. Michael Bay), made more egregious when combined with handheld camerawork (from what I have heard, The Hunger Games). Both are generally for the lazy director who can't visualize in advance, just wants endless "choices" in the cutting room and hence shoots coverage rather than masterful shots, or tries to create energy from shaking the camera like an episode of NYPD Blue. Sometimes this is justified as "documentary style." But if I want to see a documentary, I'll see one; when I go to see a big budget feature, I expect artfulness.

  • The Present-Day Wraparound Story: By this is should say, The Sense of Time's Passage. While the teenage girls who enjoyed repeat viewings may have pined most for Rose and Jack in the past, it's the moment when the aged Rose, played so well by Gloria Stuart, sees the drawing of herself on television and ignites the plot that choked me up. Maybe it's being a decade and a half older than when I first saw the picture, but it is rather glorious in how it captures the painful shades of history as we each live it, the massive tragic scope of human existence, defined for every one of us by birth and death, and for those of us who live long enough to experience it, those lost times gone by. And how about that footage of the real-life decayed Titanic itself? Amazing.

  • The Class Consciousness: Like the best novels and, yes, movies, Titanic, shows all walks of life, from First Class to Steerage, and is clearly conscious in depicting the caging of the lower class by those working for the upper class as the lower decks fill with water and the lifeboats fill with the wealthy. The sense of class is felt in the engine rooms as well, where strong men toil in the furnace-like heat -- and are the first to drown after the iceberg is hit.

  • The Sinking: It's spectacular. I can't think of another movie that has done such a great job devoting such massive resources to recreating a true-life, real-time disaster. In a sense, the sinking of the Titanic was made for the cinema. With the brilliant juxtaposition of the tender lover story comes the almost unbearably ominous and terrifying sinking of the luxury liner. I had forgotten how intense it is -- my nine-year-old had to leave the theater for a few minutes. What freaked him out the most was when Jack was handcuffed to the pipe as the lower deck around him vacated and the water rose. My favorite shots are when the stern goes perpendicular to the ocean and people start to fall, but what's so striking now after 9/11 is watching some passengers choose to jump from the insane heights, so many dropping to their deaths, one we see hitting the water and not coming up.

  • The 3D: I've seen less than half-a-dozen movies in 3D that were at all memorable for that reason, including Kiss Me Kate, Avatar and, best to date, Hugo. Creating 3D effects after a movie is shot with 2D cameras is a much maligned process, by Cameron himself, usually creating a "cut-out" effect that doesn't happen when you shoot with 3D cameras. Well, Cameron must have supervised every frame, because this 3D transformation is gorgeous. It's not overdone but draws you it, less clearly important in the action scenes than in the dramatic ones, and (in our screening) without any obvious loss of luminosity. The worst thing about 3D is how it darkens the image, but this one seemed just as bright and vibrant as you'd want from a movie. Maybe the IMAX projection helps. It just feels very justified, and gives a good reason to return to the theater to see the movie.

Ultimately, it's a successful marrying of scale and human story, for all the reasons listed above. The spectacle never overwhelms the actors. In fact, like the best old Hollywood movies, each of the two leads gets a brilliant reveal for their entrance -- Winslet under her grand chapeau, DiCaprio from the back in his fateful poker game, both with the camera moving just so to give them power within the frame. And when they look into each others eyes, when they talk to each other, unlike so many failed big-budget pairings, they seem to actually be listening and reacting to each other.

I'm sure in a more picky mood I'd find the flaws. But to me the scene that will always endear me to the movie is when DiCaprio, having saved Winslet's life when they met, is invited to dine with her party in First Class, handles the dinner with aplomb. As I always tell me kids, learn your manners and you can dine with kings and queens. My favorite line maybe sums up how I feel about life at it's best: "Just the other night I was sleeping under a bridge and now here I am on the grandest ship in the world having champagne with you fine people."

Consider Titanic raised by this 3D release and, for some of us, rehabilitated.


Sunday, April 01, 2012

The Game is On

Loved the first episode of the second season of Game of Thrones and I'm grateful they aren't spending any time explaining who everyone is who's survived from last season. The recap at the beginning went by like lightning so if anyone is new to the show, they probably are still mystified.

In fact, I'm not sure if I'd be adrift in this new episode without having read the books in the interim -- and would love to know if anybody who reads this was -- but HBO has done a service by providing the following introduction to the new characters, some of whom we've met tonight:



The show is huge and the story even more vicious than the first season. And much more viciousness to come...

Thursday, March 29, 2012

Elise 2012 = Haley 2011

Last night on American Idol, a rock star was born. If you haven't been following, meet 20-year-old Elise Testone originally of Kinnelon, New Jersey:



She's twelve years older than the youngest female contestant and not only has a woman not won for the past five years straight, the oldest woman to win was Carrie Underwood at a mere 22-years-old. What chance does Elise have against all the young and old female votes for the male cuties?

On the other hand, like Haley Reinhart, Elise could win by losing. She builds the core fan base that's all the more adamant due to any injustice in the voting and gets the make the record she wants. Like Haley, she does so many interesting things with her voice, makes great choices, and records just as well as she performs live. Like Haley, she's got the blues in her and a rock & roll heart.

Because I'd be hella surprised if people aren't paying to see her sing within the next 24 months.

Monday, March 26, 2012

GoT Recap

This is the perfect way to prepare for the second season of Game of Thrones:



Melisandre. Weasel Stew. Wildfire. The Ironborn.

We're in for a ten-week long treat.

Thursday, March 22, 2012

Vienna Waits for You

An extraordinary week on American Idol - the theme was The Billy Joel Songbook, and it didn't end up feeling dated. Several contestants really made the songs their own, including my three top favorites.

Elise Testone is the oldest contestant -- 28 -- and easily the most sophisticated. She's my favorite for her bluesy rasp, her unbelievable musicality, her range and passion, and her tremendous sense of rhythm. And watch/listen how beautifully she works her voice with the piano -- seamless, touch of swing -- to make the best-ever version of "Vienna":



Phillips Phillips is just so his own, excellent man. At age 19 his voice sounds eight to twelve years older, but his energy and edge is for real. His radical re-making of "Movin' Out" is the coolest this song has ever, ever been:



At age 16, Jessica Sanchez is a phenom. Yes, she has crazy range, (clearly) great training and God-given vocal chords, but she also has a surprising bluesy/urban strain in her and it belies her age. She's clearly the most marketable of the three, ready to be a young fashion icon as well as a musical one. Will the pop world accept a young Filipino-Mexican American in the footsteps of Celine and Whitney? She does wonders with "Everybody Has a Dream"?



Sorry, haters. It's an incredibly gifted cast of contestants this year, #11. And any of the Top Ten Finalists this year would have knocked out all but winner Kelly Clarkson in Season 1. Justin Guarini would have been lucky to be #8. And it's a tribute to the show that they can have a performer as individual as Phil or Elise on the show, making it so their own.

Yes, some real, serious talent.

Monday, March 19, 2012

Royal Pitch

It seems that HBO releases a new Game of Thrones Season Two trailer every week. From last night:


Which brings me to the question of Mad Men, returning with Season Four this upcoming Sunday, one week prior to the HBO show season premiere. I understand creator Matt Weiner's ironclad refusal to give spoilers, but there's no new footage in any of the trailers released for this season thus far. Will that hurt viewership?

Yes, the HBO series is based on a series of published novels the spoiler issue isn't the same, but they sure are giving fans what they want -- and building to a fever pitch. Just this past weekend, at WonderCon in Anaheim, they put my head on a spike:


Ouch!

Saturday, March 17, 2012

The Ghost of Sam Cooke

I like the song "When a Man Loves a Woman" as much as the next guy, but I've never loved it like I did when Joshua Ledet performed it on Idol this past Wednesday night:


He took it to church, but when he drops his jacket, it's Jackie Wilson, Sam Cooke, Percy Sledge all rolled up in one extremely powerful, soulful, gospel trained voice. It's the right kind of throwback -- same training, lots to draw on both gold and contemporary.

Want to see what Josh does next. Because I've never seen that song done so well as that young man just did.

Sunday, March 11, 2012

Moebius



Jean "Moebius" Giraud, the brilliant and uber-influential French graphic artist/comic book auteur has died. This is a huge bummer. His sci-fi visions influenced filmmakers and fans alike, and his Western work is legendary. He just had such a huge imagination and such a clean yet personal style, sparse yet voluptuous, his panels and pages blow open the doors of the reader's imagination.



Tom Spurgeon has the best obit I've yet seen. Just one selection, about his name and Heavy Metal magazine (the American import of Metal Hurlant, how I came upon his work:
Giraud created the powerful "Moebius" handle for the loose, satirical work he had done for the magazine Hara-Kiri in the early to mid-1960s. He simply liked the name, and didn't even know if it referred to a person with whom he might have to share the appellation. In 1975 he resuscitated the name for the new group he co-founded Les Humanoides Associes and their magazine Metal Hurlant. Described by Giraud as a natural reaction to a groundswell of storytelling from comics-makers that had no natural place to put this material -- you can see precedents in some of the short stories Giraud did for Pilote just proceeding these newer comics -- and therefore needed to create a new press to do so, all in the tradition of the French avant garde. That magazine would become the home of two of Giraud's best-remembered series, Arzach and The Airtight Garage. Giraud would later describe the revolution driven by his work and others as one of creative choice rather than content, that the feeling of the artist inhabiting the work was more important than the kind of work being done. He drew a connection to the undergrounds and cartoonists like Robert Crumb, although he felt that the work of he and his peers existed in an entirely different cultural context.


Even his one Silver Surfer story, with Stan Lee scripting, is legendary:



He will be missed.

Wednesday, February 29, 2012

Game of I Can't Wait

April 1st, it returns. Here's the longest look yet:


It's already been up on the Net for a few days, so please forgive me.

And, to be sure, War is Coming.